The paper presents an original literary concept that describes both the philosophical system of L. Gubanov and the originality of his poetry. The logic of the master's thesis is subject to the presentation of this concept. The work outlines the originality of lyrical poetry by L. Gubanov; investigates the images of Chaos and Cosmos, as well as the main myths that define the uniqueness of artistic and philosophical system of the poet. The work analyses some of the author's poetic techniques, presents observations on the ways of organization of the poetic expression. / В работе представлена оригинальная литературоведческая концепция, описывающая как философскую систему Л. Губанова, так и своеобразие его поэтики. Изложению этой концепции и подчинена логика магистерской диссертации. В ней очерчено своеобразие лирического героя поэзии Л. Губанова; исследованы макрообразы Хаоса и Космоса, основные мифологемы, определяющие своеобразие художественно-философской системы поэта; осуществлен анализ некоторых приемов авторской поэтики, представлены наблюдения над способами организации поэтического высказывания.

В диссертации рассмотрена динамика образа героя и времени в русских исторических романах XIX века. На изображение героя и времени влияет историческая концепция автора. Историческое повествование включается в контекст вечных тем и проблем. Это сближает исторический роман с философским. Такая тенденция нашла воплощение в историко-философской дилогии Вс. С. Соловьева «Волхвы» и «Великий Розенкрейцер». / The dissertation examines the dynamics of the image of the hero and time in Russian historical novels of the 19th century. The historical concept of the author influences the image of the hero and time. Historical narrative is included in the context of eternal themes and problems. This brings the historical novel closer to the philosophical one. This trend was embodied in the historical and philosophical dilogy of Vs. S. Solovyov «Sorcerers» and «The Great Rosicrucian».

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Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology, including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of contemporary cultural reproduction, particularly the South African mass media and fine arts. / History of Art and Fine Arts / M.A. (History of Art and Fine Arts)

Les polémiques ont joué un rôle important dans la réception des romans de Mordecai Richler au Québec francophone. Contrairement à l’idée reçue voulant que cet antagonisme ait empêché la lecture de l’oeuvre richlérienne, c’est plutôt à partir de la publication des essais sur le nationalisme québécois que la critique commencera à s’intéresser à l’écrivain. En effet, que ce soit avant ou après les polémiques, c’est au nom d’un rapport de correspondance au collectif que sera jugée l’oeuvre de Richler. L’abandon d’une conception restreinte de l’identité québécoise ouvre la porte à la relecture contemporaine des romans de Richler, même si cette relecture ne fait pas pour autant l’économie d’un rapport au collectif et cherche plutôt à opposer une identité québécoise exclusivement francophone à une identité prête à inclure un auteur longtemps identifié comme un ennemi public. Les mécanismes de ce rapatriement peuvent être mis en parallèle avec les conflits identitaires qui marquent le personnage richlérien. Dans Son Of A Smaller Hero (1955), Noah Adler tente de se définir en tant qu’être humain et de trouver une morale qui lui est propre en fuyant ses origines. Toutefois, cette fuite ne peut se solder que par un échec et le héros apprend que son idéal d’émancipation passe par une réinterprétation de son héritage plutôt que par l’abandon de celui-ci. Barney’s Version (1997) est en partie le récit de formation d’un écrivain tardif. Si Barney Panofsky s’en prend aux impostures collectives dans le roman, son incapacité à être totalement honnête par rapport à lui-même et à plonger dans une création et une défense sincères de ce en quoi il croit le poussera à s’aliéner ceux à qui il tient véritablement. Cette situation laisse le narrateur avec une oeuvre inachevée qui ne pourra s’accomplir que par l’intervention de ses héritiers. Dans les deux romans, la définition du personnage passe par une réappropriation herméneutique de son héritage qui rappelle, dans son rapport à la trace, au collectif et à l’illégitimité, les relectures francophones de l’oeuvre richlérienne. / Polemics have played an important role in the reception of Mordecai Richler’s novels in French Quebec. Contrary to the common idea that this opposition has prevented Quebec’s critics from reading the novelist’s work, Richler’s articles and essays on nationalism are the starting point of its reception. Whether it has been published before or just after the polemics, Richler’s writing is evaluated for the accuracy of his depiction of communities. The progressive rejection of a strictly French conception of Quebec’s identity opens the way to contemporary readings of the writer’s production. Still, these new readings are mostly attached to a conception of the collective, opposing an inclusive portrayal of Quebec’s identity, ready to let in the old enemy, to a uniquely French perspective on the imaginary. The mechanisms of this repatriation can be read in parallel with conflicting identities in Richler’s novels. In Son Of A Smaller Hero (1955), Noah Adler tries to define himself as a human being and to find his own moral standards by rejecting his origins. However, this escape path can only lead to failure and the main character learns that his ideal of freedom can only happen by a reinterpretation of his heritage rather than by its denial. Barney’s Version (1997) is, in part, the story of the education of a late writer. If Barney Panofsky attacks every collective imposture in the novel, his incapacity to be completely honest with himself and to accept a sincere creative activity and defence of his beliefs leads him to be alienated from those he truly loves. This situation leaves the narrator with an unfinished story, which can only be told by his successors. In both novels, the self definition of the character’s identity can only happen by a hermeneutical re-appropriation of his heritage that is similar to francophone readings of Richler’s work by its relation to the trace, the collective and illegitimacy.

No description available.

Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology, including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of contemporary cultural reproduction, particularly the South African mass media and fine arts. / History of Art and Fine Arts / M.A. (History of Art and Fine Arts)

Mat, språk och kultur är tätt sammanlänkade, och i matlagningsprogram förekommer en rad olika sorters kulturspecifika referenser. Kulturspecifika referenser definieras som ”any reference to a cultural entity which, due to its distance from the target culture, is characterized by a sufficient degree of opacity for the target reader to constitute a problem” (Mailhac i Ranzato 2015:54) och kan vara sådant t.ex. som måttenheter (pint), märken (Tabasco) och maträtter (surf and turf). Denna undersöknings fokus är översättningen av kulturspecifika referenser i matlagningsprogram, och eftersom merparten av de matlagningsprogram som översätts för svensk tv är på engelska består denna studies material av 21 engelskspråkiga matlagningsprogram och deras svenska översättningar. De matlagningsprogram som undersökts är Det goda livet, Jamie Olivers smarta rätter, David Roccos ljuva matresa – Italien, Kitchen Hero och Hela England bakar. Genom att att konstruera en korpus och analysera de kulturspecifika referenserna har normerna för översättningsstrategier gällande kulturspecifika referenser i matlagningsprogram kartlagts, och jämförts med resultaten från Pedersens välkända undersökning av primetime-TV (2011). Resultaten kategoriserades sedan enligt Pedersens taxonomi. Resultaten visade att normerna för matlagningsprogram liknade dem för primetime-TV, trots att det fanns ett par domänspecifika skillnader. Eftersom språk formar hur vi ser världen är det intressant att se hur kulturspecifika referenser översätts från en kultur till en annan, eftersom det formar hur den kulturen ses och värderas, eller åtminstone dess matkultur. / Food, language and culture are closely linked and cooking shows are peppered with culturally specific references. Culturally specific references are defined as “any reference to a cultural entity which, due to its distance from the target culture, is characterized by a sufficient degree of opacity for the target reader to constitute a problem” (Mailhac in Ranzato 2015:54) and can be things such as measurements (pints), brands (Tabasco), and dishes (surf and turf) to name a few. This study focuses on the translation of culture specific references in cooking shows. Since most of the cooking shows translated into Swedish are in English, the material for this study consists of 21 cooking shows in English and their Swedish translations. This study will look at the shows 3 good things, Save with Jamie, David Rocco’s Dolce Vita, Kitchen Hero and The Great British Bake off. By constructing a corpus and analyzing the culturally specific references, the norms regarding translation strategies for the translation of culturally specific references in cooking shows have been mapped out, and compared to the results of a well known study on primetime TV by Pedersen (2011). These were categorized in accordance with Pedersen’s taxonomy (2011:76). The results showed that the norms were very similar to those of primetime TV, with the exception of some domain-specific norms. Language influences how we see the world. Thus, the way culturally specific references are translated from one culture into another is important because it affects how cultures are viewed and interpreted, at least within the food community.

[ES] A lo largo de la historia, cada era configura su propio imaginario respecto al héroe, de modo que la mitología resultante se conforma en función a la cosmogonía del momento. Sin embargo, este imaginario también posee una ascendencia cultural y está constantemente influida por las distintas corrientes cosmogónicas del pasado. Eso permite comprender que la aprehensión del arquetipo sucede en un entorno noológico en transformación constante que se extiende hasta tiempos ancestrales. En esta investigación, presentamos un estudio sobre el arquetipo del héroe en cada edad, para poder comprender la función mítica de este referente mítico a lo largo de la historia, y sus repercusiones en la contemporaneidad. Del mismo modo, esto nos permite reflexionar sobre la función sociopolítica del heroísmo, y cómo la mitología está sujeta al control del discurso de las jerarquías sociales. En cualquier caso, estudiamos cómo frente a esto, en el imaginario colectivo popular subsisten temáticas y héroes independientemente de quien ostente la hegemonía cultural. Analizamos también, el imaginario de la sociedad contemporánea, para determinar qué héroe es el más representativo de nuestro tiempo, en función del orden del discurso y los intereses sociales. Del mismo modo, también prestamos atención a los héroes que, sin ser protagónicos, representan mejor los ideales democráticos que fundamentan las sociedades occidentales. Asimismo, identificamos aquellos héroes que han llegado hasta nuestros días debido a su arraigo cultural. Por último, el desarrollo de la investigación en torno a la noología del héroe y la evolución del imaginario colectivo nos permite comprender mejor el carácter esencial del héroe. Al final de la tesis es posible considerar el grado en que los arquetipos son monolíticos y si, en algunos de los casos, la transformación de su aprehensión puede dar lugar a referentes singulares, a pesar de conservar rasgos comunes. / [CA] Al llarg de la història, cada era configura el seu propi imaginari respecte a l'heroi, de manera que la mitologia resultant es conforma en funció a la cosmogonia del moment. No obstant això, aquest imaginari també posseeix una ascendència cultural i està constantment influïda pels diferents corrents cosmogònics del passat. Això permet comprendre que l'aprehensió de l'arquetip succeeix en un entorn noològic en transformació constant que s'estén fins a temps ancestrals. En aquesta recerca, presentem un estudi sobre l'arquetip de l'heroi en cada edat, per a poder comprendre la funció mítica d'aquest referent mític al llarg de la història, i les seves repercussions en la contemporaneïtat. De la mateixa manera, això ens permet reflexionar sobre la funció sociopolítica de l'heroisme, i com la mitologia està subjecta al control del discurs de les jerarquies socials. En qualsevol cas, estudiem com enfront d'això, en l'imaginari col·lectiu popular subsisteixen temàtiques i herois independentment de qui ostenti l'hegemonia cultural. Analitzem també, l'imaginari de la societat contemporània, per a determinar quin heroi és el més representatiu del nostre temps, en funció de l'ordre del discurs i els interessos socials. De la mateixa manera, també parem esment als herois que, sense ser protagonistes, representen millor els ideals democràtics que fonamenten les societats occidentals. Així mateix, identifiquem aquells herois que han arribat fins als nostres dies a causa del seu arrelament cultural. Finalment, el desenvolupament de la recerca entorn de la noologia de l'heroi i l'evolució de l'imaginari col·lectiu ens permet comprendre millor el caràcter essencial de l'heroi. Al final de la tesi és possible considerar el grau en què els arquetips són monolítics i si, en alguns dels casos, la transformació de la seva aprehensió pot donar lloc a referents singulars, malgrat conservar trets comuns. / [EN] Throughout history, each era configures its own imaginary regarding the hero, so that the resulting mythology is shaped according to the cosmogony of the moment. However, this imaginary also has a cultural ancestry and is constantly influenced by the different cosmogonic currents of the past. This allows us to understand that the apprehension of the archetype happens in a noological environment in constant transformation that extends to ancient times. In this research, we present a study on the archetype of the hero in each age, in order to understand the mythical function of this mythical reference throughout history, and its repercussions in contemporaneity. Similarly, this allows us to reflect on the sociopolitical function of heroism, and how mythology is subject to the discourse control of social hierarchies. In any case, we study how, in the face of this, the themes and heroes subsist in the popular collective imagination regardless of who holds the cultural hegemony. We also analyze the imaginary of contemporary society, to determine which hero is the most representative of our time, based on the order of discourse and social interests. In the same way, we also pay attention to the heroes who, without being protagonists, better represent the democratic ideals that underpin Western societies. Likewise, we identify those heroes who have survived to this day due to their cultural roots. Finally, the development of research around the noology of the hero and the evolution of the collective imagination allows us to better understand the essential character of the hero. At the end of the thesis it is possible to consider the degree to which the archetypes are monolithic and whether, in some of the cases, the transformation of their apprehension can give rise to singular referents, despite preserving common features. / Sanmartín Cava, JF. (2022). El héroe en el imaginario colectivo. Aproximación arquetípica desde los primeros relatos hasta las industrias de la comunicación y culturales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/182257 / TESIS