Ivan Vladislavić’s fiction shows a preoccupation with the South African past in terms of both time and space and with the influence of ideology on the interpretation of the past and of cultural artefacts such as cityscapes, buildings, monuments, photographs, and fine art within the South African context. No study has yet considered Vladislavić’s entire oeuvre in terms of the interaction between time and space and their particular manifestation in concrete cultural expressions that generate meaning that can only be recognized over time and within the limits of different perspectives. In order to situate his work within such a paradigm, this thesis discusses various theories on the representation of time and space and their application and argues that Vladislavić represents concrete reality and abstract ideas about the past and ideologies in an interrelated manner, in order to illuminate the ways in which concrete reality influences perceptions of the past and its associated ideologies, but also how past and ideology, in turn, influence how concrete reality is perceived. His fiction can thus be described as exploring the complex dynamic between concrete and abstract. Perspective plays an important role in his fiction in terms of both his representation of concrete (city and artefacts) and abstract reality (past and ideology). Characters’ perspectives come into play as they negotiate, create and interpret concrete and abstract reality, and in the light of how they ‘see’ the world, their identities are shaped. Vladislavić shows that perspective is inevitably blurred with ideological prejudice. He does so, in such a way, that a reader is often led to reconsider her/his own way of perceiving both concrete and abstract. Cultural artefacts, in particular, mediate perceptions of time and of place; they are (in)formed by ideology and also have singular signifying possibilities and limitations. By drawing attention to his own expression in language, by creating seemingly random lists, or focusing on the multiple meanings of a word in a playful manner, Vladislavić shows that, like artefacts, language too is a medium for mediation that is subject to and formative of ideology. / Thesis (PhD (English))--North-West University, Potchefstroom Campus, 2012.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2007

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Vita. Includes bibliographical references.

The thesis deals with psychosomatical studies and mainly studies of the Acting with the Inner Partner discipline by Ivan Vyskočil. In connection with the theoretical dialogue principle in the work of Martin Buber and out of her own reflections of practical studies, the author tries to touch spiritual lapping such disciplines might offer. Through an essayistic form she is also looking around her own spiritual life path and is asking about how much does one's experiencing of the spiritual grow out of his own body awareness.

This diploma thesis deals with the issue of Czech underground culture in 80ies and 90ies. It submits the explanation of the term underground, then its periodization and political and social context. There are introduced three monographies of writers which were chosen, Egon Bondy, Ivan Martin Jirous and Jáchym Topol. The main attention is especially paid to these three authors. The meaning of this diploma thesis in all cases is to compare one book which was written before the velvet revolution with one written after that and then highlight or refer the changes and remains in their creations.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-10-07T16:48:13Z No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) / Made available in DSpace on 2016-10-07T16:48:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 18219531 bytes, checksum: 0e90b5a1339f54b242beb9a61d7e6e1b (MD5) Previous issue date: 2015-03-30 / Various compositions and violin musical creations were developed with the tonal system and diatonic scale. And many musical contemporary works are like construction tools that favor the technical standard learning and giving considerable importance to scale studies. Currently, the execution of musical works is to get into music courses in schools, conservatories and universities. Considering this, the present study intended to make a descriptive, comparative and reflective analysis of the scale systems of violin from Carl Flesch (1926), Ivan Galamian (1985) and Simon Fischer (2012), checking their main characteristics, similarities and differences of approach and the design of teaching methodology. The above-mentioned authors´s works exercised and still influence on practice and on the technique of violinists generations. So the intention of the present work is, with the bibliographical, exploratory and descriptive research, to help the student with his contact to the scale systems, promoting an access to educational content and the study proposals. In order to facilitate the contact of student with the various types of technical approaches and points of view, we identify similarities and differences in relation with the left hand as fingerings, position changes, chromatic scales, double stops, "broken" thirds , arpeggios, tenths, octaves, articulations and the challenges of the right hand, on the subject of sound production, diversity of rhythms and of bowings. With this, we question the efficiency of exercises and the real motivations led these authors to write their systems. The differences of technical approaches, styles and teaching methodologies also contribute to the clarification and understanding of the changes that occurred in the period that each method was written. / Com a consolidação do sistema tonal e sua consequente formação escalar diatônica, diversas composições e criações musicais para o repertório do violino foram desenvolvidas. E muitas obras musicais da contemporaneidade são como ferramentas de construção que favorecem a aprendizagem técnica padrão e conferem ao estudo de escalas uma considerável importância. Na atualidade, frequentemente a execução de escalas é exigida em testes de admissão para cursos de música em escolas, conservatórios e universidades. Considerando o exposto, o presente estudo pretendeu fazer uma análise descritiva, comparativa e reflexiva entre os sistemas de escalas para o violino de Carl Flesch (1926), Ivan Galamian (1985) e Simon Fischer (2012), verificando suas principais características, semelhanças e diferenças na abordagem e na concepção da metodologia de ensino. Considerando que os trabalhos dos autores citados exerceram e, ainda, exercem influência na prática e técnica de várias gerações de violinistas, buscou-se com a pesquisa bibliográfica, exploratória e descritiva, auxiliar o estudante no seu contato com o sistema de escalas, promovendo um acesso ao conteúdo de ensino e às propostas de estudo. A fim de facilitar a aproximação do aluno com os diversos tipos de abordagens técnicas e dos pontos de vista, identificamos as semelhanças e diferenças em relação à mão esquerda, tais como dedilhados, mudanças deposição, escalas cromáticas, cordas duplas, terças “quebradas”, arpejos, décimas, oitavas, articulação e agilidade dos dedos, assim como os desafios da mão direita, no que diz respeito à produção sonora, diversidade de ritmos e de arcadas. Com isso, questionamos a eficiência dos exercícios e compreendemos as reais motivações que conduziram esses autoresa escreverem seus respectivos sistemas. As diferenças de abordagens técnicas, distintos estilos e metodologias de ensino também contribuem para o esclarecimento e entendimento das mudanças ocorridas no período em que foi escrito cada método.

The thesis sloves graphic elaboration of book of poetry Tento večer written by Ivan Blatný. The thesis is divided to teoretical and practical part. In teoretical part are solved resources important for understanding the sense and essence of this poetry production. It`s necessary for create right form of practical realisation, which has to be created in accord of form and subject of poems. The source for this analysis are text of poems and special and technical literature about art literature, aesthetics and theory of art. Practical part resolves more than one art form. All these forms are trying to express essence of literary work. After analysis it seems that banality and commonness of human life are the essence of these poems. And the essence is to express myth of human life and searching sense of life.

O trabalho ambiciona expor como se efetua a representação da morte na obra de Lev Tolstói. Não há, entretanto, uma análise da totalidade de sua obra, o que seria impossível em face do espaço reservado, mas o exame de uma amostra de três de suas narrativas-cânone a respeito da morte: A Morte de Iván Ilitch, Senhor e Servo e Três Mortes; textos que dialogam entre si. Nesse sentido, a pesquisa também disserta sobre as inter-relações existentes entre a morte e a criação literária, pautando-se em textos de Mikhail Bakhtin e Maurice Blanchot; e aponta os principais acontecimentos de morte na vida de Lev Tolstói, responsáveis por definir sua personalidade dualista e, em um segundo momento, conduzi-lo à conversão, processo narrado no fragmento Uma confissão. / The paper aims to show how the representation of death is done in the work of Lev Tolstoy. There isnt, however, an analysis of all of his work, which would be impossible face to the place settled, but the examination of a sample of three of its canon-narratives related to death: The Death of Ivan Ilyich, Master and Man and Three Deaths; texts that talk to one another. In this sense, the research also talks about the interrelations between literary creation and death, basing on texts by Mikhail Bakhtin and Maurice Blanchot, and highlights the main events of death in the life of Lev Tolstoy, responsible for defining his dualistic personality, and latter on, lead him to conversion, a process exposed in the fragment Confession.

During the 19th century, nationalism was generally connected to ideas of democratisation and the contestation of power and status quo. In Russia, there was an ongoing struggle between Official Nationalism, aimed at preserving the empire, and cultural nationalism. This essay is an inquiry into the differences and similarities between how the 19th century Slavophiles and contemporary Russian national democrats, exemplified by Aleksei Naval’nyi, view the Russian nation. The focus is on how the Russian nation is defined, how the two nationalist visions relate to competing views of the Russian nation, and how the idea of a Russian nation is used as part of a vision for social and political change. The essay finds that although “the Other” against which the Russian nation is defined differs in the two historical cases, the use of nationalism to frame an opposition against the regime and to advocate social and political change is persistent across time. However, because of its excluding tendencies, in the cases studied here cultural nationalism is found to be wanting as a basis on which to build a democratic form of government.

Philosophiae Doctor - PhD / This thesis undertakes an analysis of how six published works by the South African writer Ivan Vladislavić form the perspective of writing the city – Johannesburg – into being. Beginning from the basis that Vladislavić’s writing constitutes what I have coined dialogic postcolonialism, the thesis engages with both broader contemporary urban and postcolonial theory in order to show the liminal imaginative space that the author occupies in his narrations of Johannesburg. Underlining the notion of postcolonialism being a “work in progress” my thesis problematises the issue of representation of the postcolonial city through different aspects like space, urbanity, identity and the self, and thus locates each of the texts under consideration at a particular locus in Vladislavić’s representational continuum of the continually transforming city of Johannesburg. Until the recent appearance of Mariginal Spaces – Reading Vladislavić (2011) the extant critical literature and research on the writing of Ivan Vladislavić has, as far as I can tell, not engaged with his work as a body of creative consideration and close analysis of the city of Johannesburg. Even this latest text largely consists of previously published reviews and articles by disparate critics and academics. The trend has therefore largely been to analyse the texts separately, without treating them as the building blocks to an ongoing and perhaps unending project of imaginatively bringing the city into being. Such readings have thus been unable to decipher and characterise the threads which have emerged over the period of the writer’s literary engagement with and representation of Johannesburg. I suggest that, as individual texts and as a collection or body of work, Ivan Vladislavić’s Missing Persons (1989), The Folly (1993), Propaganda by Monuments and Other Stories (1996), The Restless Supermarket (2006 – first published in 2001), The Exploded View (2004) and Portrait with Keys: Joburg & what-what (2006), are engaged in framing representations of the postcolonial city, representations which can in my view best be analysed through the prism of deconstructive engagement. To this end, the thesis examines contemporary South African urbanity or the post-apartheid metropolitan space (as epitomised by the fictive Johannesburg) and how it is represented in literature as changing, and in the process of becoming. As a consequence, the main conclusion I arrive at is on how the irresolvable nature of the city is reflected in the totality of Ivan Vladislavić’s writing. In that way, it was possible to treat every text in its own right (rather than forcing it to conform to an overarching thesis). This central insight allowed for the effective application of urban theory to the close readings of the texts.