Esta investigación busca reflexionar sobre las relaciones de género en el hogar de los personajes femeninos y masculinos en las obras dramatúrgicas de Henrik Ibsen: Rosmersholm y Casa de muñecas. Para ello, será necesario identificar el origen de la crisis del drama europeo de finales del siglo XIX, y analizar las características del mismo en cuanto a su recuperación de los valores clásicos, de la reconfiguración del sistema aristotélico y el entendimiento de los personajes como seres con voluntad y capacidad de decisión. Asimismo, se definirá el concepto de género desde la familia y la sociedad a partir de una visión decimonónica que ubicaba al sexo masculino en una posición jerárquica, pero que al mismo tiempo develaba el pensamiento y las acciones de los personajes femeninos de Ibsen. En ese sentido, se pretende determinar la visión que Nora y Rebeca sostienen en su relación con los personajes masculinos mediante la profundización de algunos diálogos intersubjetivos. De esa manera, se espera proporcionar una nueva mirada de ambas obras desde la estructura de los dramas familiares y la forma en la que son entendidas las relaciones de los personajes.

Made available in DSpace on 2016-04-27T17:27:20Z (GMT). No. of bitstreams: 1 Raquel Kobashi Gallinati.pdf: 412702 bytes, checksum: 2fc8df8533225cbc6d9ca2781ad6127a (MD5) Previous issue date: 2007-10-01 / Deontic Logic to arise in the middle of the 1926, though the thinker Ernest Mally. Years latter, in 1951, George Henrik VON WRIGHT published the article Deontic Logic, stimulating its development. Our goal, on this work, is to show the purposes and convictions of the Deontic Logic of VON WRIGHT and the connection between Finalistic Theory of HANS WELZEL. First of all, we will begin the work, dealing with logic. We will do a brief introduction about logic, with the intention of the enter studies of the Deontic Logic of VON WRIGHT. We will accept yours concepts and theories about the Deontic Logic. This work finish with the connection between causality bordered of the Action Theory of HANS WELZEL and the causality of VON WRIGHT. / A lógica deôntica surgiu como estudo em meados de 1926, através do grande pensador Ernest Mally. Anos mais tarde, em 1951, George Henrik VON WRIGHT publicou o artigo Deontic Logic, e a partir daí a lógica deôntica teve maior desenvolvimento. Nosso objetivo, neste trabalho, é o de expor os pressupostos e convicções da lógica deôntica de VON WRIGHT e a relação com a teoria finalista da ação de HANS WELZEL. Iniciaremos o trabalho, discorrendo sobre a origem da lógica. Faremos uma breve introdução sobre à lógica, com o intuito de adentrarmos no estudo da lógica deôntica de VON WRIGHT. Aceitaremos seus conceitos e teorias a respeito da lógica deôntica. O trabalho termina com a relação de causalidade limitada pela teoria da ação de HANS WELZEL e a causalidade de VON WRIGHT

The aim of this Master thesis is to describe why and how public librariesuse the social networks Facebook and Twitter. The focus is to study whatbrought about their use, how the work is carried out, ideas and objectivesbehind the use and what libraries actually convey on the networks. Themethodology is twofold: semi-structured interviews with responsiblepersonnel at four Swedish public libraries, and an ethnographic contentanalysis of four months of the libraries' status updates and tweets onFacebook and Twitter. The theoretical framework consists of a model forthe roles of the public library in society, and of discourses about thepublic library in media.Results indicate that social networks are used to market, make accessibleand inform of the library's resources and services. Furthermore, networksare used to communicate/interact with followers and to inspire people toread. We also detect a tutoring trait. Libraries also view social networksas a meeting place. What libraries do on the networks can be seen as anonline interpretation of traditional library goals. All four spaces from themodel for the new library – Inspiration, Learning, Meeting andPerformative – were represented in the objectives expressed in theinterviews. In what is conveyed on the networks focus lay on Inspirationand Meeting. Social networks also act as a place to market the physicallibrary. From a discourse perspective the study suggests that librariesexpress disidentification and demonstrate ability to remain open both todifferent media formats and different methods for library servicesdelivery. / Program: Bibliotekarie

"June 2003." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (p. 280-300). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

The primary purpose of this dissertation is to study the dialogue between the Scandinavian drama and the Uruguayan theatre; how drama from Scandinavia has been received in the Río de la Plata during the last hundred years; how it has been adapted and activated to be meaningful to the audience; how it has been integrated within the Uruguayan theatre and society and how the play changes with that new dialogue. As this is the first study of Scandinavian plays in Uruguay a secondary purpose is to document what has been put on stage; fifty-three productions, ninety percent of which were plays by Henrik Ibsen and August Strindberg. The study is organized in three parts: a) a historical and sociological description of the Uruguayan society and its theatre; b) a presentation of Scandinavian drama, staging of Scandinavian theatre and its reception during the twentieth century; c) a comparative analysis of the reception in its widest sense at different periods of eleven productions of two dramas by Ibsen and one by Strindberg. The work is thus part of a tradition of the history of reception. According to the hermeneutic method, the reading is done from the horizon of expectation at the time of the staging interwined with today’s perspective. I follow the Argentinean investigator of theatre Osvaldo Pellettieri’s definition of the concept “reception”: passive reception by the public; reproductive reception, reception including translation and criticism; productive reception, creative reception expressed as staging or as a text that is evidently influenced by another text. In studying the process from the source text of a play to the reception of a performance, the four steps that Patrice Pavis has pointed out have been followed: 1) the interidiomatic translation of the text, 2) the translation of the text into a manuscript as base for a production 3) the staging and 4) the performance as received by the public. More emphasis is put on the linguistic aspect of the reception and reconstruction than is generally the case in theatre research, as this study lies on the border between literature and theatre studies. Do the Scandinavian plays fall into the topics of the day, politically, socially, culturally and aesthetically? Ibsen’s and Strindberg’s dramatic production have drawn the attention of Uruguayan critics since 1894, four years before the public had the opportunity to see a play on stage in Montevideo. Their contents and dramatic aesthetics were evaluated and we can also see how their ideas are discussed and integrated in the social debate on womens’ rights and the economic consequences of divorce. In order to see where the critics put their emphasis, the following aspects were considered: the author, the plot and its actuality, the audience, the translation, the direction, the scenography, the acting, the scenery and the music. The emphasis and interest of the critics have changed during this period of a hundred year. At the turn of the century 1900 they focused on the plot, the protagonist and also put a lot of emphasis on the public’s reactions. A realistic interpretation was appreciated but its content was not related to the situation in the surrounding society. During the first half of last century we only find visiting companies from Europe playing the Scandinavian dramatists. At first they introduced Ibsen and later Strindberg to the public in Montevideo via performances made by European actors for a European public. The Montevidean public was sometimes amazed by the new theatrical form and stunned by the contents of the play, but, according to the critics, the spectators eventually accepted it all and thus widened their horizon. There is a great contrast in connection with the distribution of the critics' interests from the fifties onwards. The theme and its actuality were discussed, the author got a lot of space as did the director and the actors. The audience’s reaction was seldom commented upon, nor the scenography. Towards the end of the century the direction, the scenography and the scenery drew the critics’ attention on behalf of the actors, but the theme and its actuality preserved their interest. In the late forties the Uruguayan theatre had developed a theatre system. Scandinavian plays were now staged by native theatre groups and can be considered as integrated within the Uruguayan cultural and social system. We can see how the Scandinavian theatre performances accompanied theatre life in Montevideo; its rise during the fifties and sixties, its fall during the dictatorship of the seventies, its resurrection and its present condition, more free, more open and difficult to define in a few words. The last three chapters are a study of A doll’s House, An Enemy of the People and Creditors in Montevideo. It is a more detailed analysis of the translation of the texts, the transposition to the stage, how the performances relate to the cultural, social and political context and how they are received by the critics. A comparative study shows how the directors and the theatregroups have searched for different solutions to represent the plays. It shows great differences in the realization, differences that depend on the varying conditions of the groups; if they are part of the official theatre or an independent group, their political and aesthetical orientation, their intentions and artistic level and the social context in which the staging takes part.

Enemies of the People is a book that examines whistle-blowing—i.e., the unauthorized conveyance of sensitive information to mass media and authorities—and the social responses this performance provokes. The book develops a fresh view of this phenomenon by framing the trend of events according to a couple of fundamental elements found in tragedy. The book also includes a critical appraisal of the perspectives that set the tone in the existent whistle-blowing research. The prevalent one-sidedness found in this field of research is reviewed and contrasted with the contributions delivered in the present study. The analysis is based on three famous whistle-blowing cases that received a lot of attention in mass media: Ingvar Bratt and the Bofors affair; Odd F. Lindberg and the Norwegian seal hunting affair; and finally, Paul van Buitenen and the Leonardo-affair in the European Commission. The author claims that by studying the sociology of tragedy, it is possible to develop a new way of examining social processes where the final outcome is the excommunication of the appointed culprits through, for example, expulsion or avoidance. This purgatorial process is treated as a social status degradation, where the offender experiences a thorough social identity transformation that turns his or her social position to a lower social rank than initially held. The title of this book alludes to a stage play written by the Norwegian playwright Henrik Ibsen. His dramatic piece An Enemy of the People, written in 1882, plays a prominent part in this study.

Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Elliott School of Communication

Zugl.: Köln, Univ., Diss.

Made available in DSpace on 2014-06-11T19:26:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-09-28Bitstream added on 2014-06-13T19:54:32Z : No. of bitstreams: 1 barros_w_me_mar.pdf: 614692 bytes, checksum: e7bd6bdb69a59fc31f250c3a28cf5250 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Diese Arbeit hat zum Thema der Eigentlichkeitsbegriff. Die Eigentlichkeit trifft auf eine eigene Existenz zu, in der das Individuum seine eigenen Entscheidungen nimmt und macht. Die Wahrheit ist eine Wahrheit für es. Der Mann, der eine eigene Existenz hat, handelt nach seinem Willen. Durch die Stücke von Ibsen, insbesondere Nora, die Puppenheim, Der Volkesfeind und die Damem des Meeres, sucht man Spuren einer Existenz zu finden, die sich selbst stimmen kann. Als einer der Vorläufer des modernen Dramas, zeigt Ibsen in seiner Werken die menschliche Konflikte, die Spannung zwischen Subjektivität und Objektivität, zwischen individuellen Wünsche und das moralische Gesetz. Infolgedessen durchquert das Thema der Eigenltichkeit in größe Teil seiner Dramaturgie. Damit wird die Kierkegaards Philosophie benutzen, weil Kierkegaard, mit der Definition der Enkelte, zur Formulierung der moderne Begriff des Individuums beitragt. Der Enkelte ist das Individuum, im das Ich durchgeführt ist. Die Arbeit findet ihre Einheit im gemeinsamen thematischen Fond, denn die Texten beitragen zur Diskussion über die Möglichkeit einer eigenen, treuen und echten Existenz. Wie bereits erwähnt, diese Diskussion passt in die heutige Debatte über den Tod des Subjektes / O presente trabalho tem como tema o conceito de existência autêntica (Eigentlichkeit). A autenticidade refere-se a uma existência verdadeira, na qual o indivíduo assume e faz escolhas próprias. A verdade é uma verdade em relação a si. O homem que possui uma existência autêntica age de acordo com a sua vontade. Busca-se, mediante uma análise dos dramas de Ibsen, mais precisamente as peças Casa de Boneca, O inimigo do povo e a Dama do mar, encontrar traços de uma existência capaz de determinar a si mesma. Considerado um dos precursores do teatro moderno, Ibsen ressalta em suas peças os conflitos humanos, a tensão entre a subjetividade e a objetividade, entre os desejos individuais e as leis morais. Com efeito, o tema da autenticidade perpassa grande parte de sua dramaturgia. Diante deste cenário conceitual, utilizar-se-á a filosofia elaborada por Kierkegaard. Kierkegaard contribui para a formulação do conceito moderno de indivíduo com a sua definição do Enkelte, que é o indivíduo no qual o Eu está realizado. Embora de autores distintos, o trabalho encontra a sua unidade diante do fundo temático comum, pois são textos que contribuem para a discussão da possibilidade de uma existência verdadeira, fiel a si mesma. Como se observa, a presente discussão insere-se dentro do debate contemporâneo sobre a morte do sujeito

Submitted by Giovanna Brasil (1154060@mackenzie.br) on 2017-08-15T18:21:43Z No. of bitstreams: 2 José Eduardo das Neves - Versão Final - 26-07-2017.pdf: 945018 bytes, checksum: 9fdf4d6c357b3ae366c961b5ff8ed029 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Amarante (1146629@mackenzie.br) on 2017-08-22T19:02:37Z (GMT) No. of bitstreams: 2 José Eduardo das Neves - Versão Final - 26-07-2017.pdf: 945018 bytes, checksum: 9fdf4d6c357b3ae366c961b5ff8ed029 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-08-22T19:02:37Z (GMT). No. of bitstreams: 2 José Eduardo das Neves - Versão Final - 26-07-2017.pdf: 945018 bytes, checksum: 9fdf4d6c357b3ae366c961b5ff8ed029 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-06-20 / The present dissertation discusses the character Nora Helmer of Henrik Ibsen’s play “Doll’s House”, written in 1879, through an artistic and cultural history point of view, in a multidisciplinary bias, where the character development in the mentioned work points to a dialogue between the Nineteenth Century and contemporaneity, contributing in the illustration of women’s actions in the construction of hers historical becoming. / A presente dissertação discute a personagem Nora Helmer da obra teatral “Casa de Bonecas” de Henrik Ibsen, escrita em 1879, através de um ponto de vista artístico e histórico cultural num viés multidisciplinar, onde o desenvolvimento da personagem na referida obra aponta para um diálogo entre o Século XIX e a contemporaneidade, contribuindo na ilustração das ações das mulheres na construção de seu devir histórico.