A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora. / Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.

This diploma thesis deals with Dmitry Shostakovich and his works. Its aim is to map the life of the composer and to further characterize his two works, Concerto for Violin and Orchestra No. 1 a minor op. 77 and String Quartet No. 8 in C minor op. 110. The thesis is divided into three chapters. The first chapter is about composer's life in the difficult living and creative conditions of the Soviet Union of that time and about selected compositions of his. In the following two chapters, the analyzes of the two above-mentioned works and the historical context in which they were create are presented. The thesis also provides an interpretative analysis of the Concerto for Violin and Orchestra No. 1 a minor, which is also an interpretative comparison of the concert recordings of David Oistrach and Julian Rachlin.

In this thesis we examine intra-seasonal oscillations (ISO) in the aqua-planet setup of the Community Atmospheric Model (CAM) version 5.1, mainly based on July and January climatological sea surface temperature (SST). We investigate mainly two questions -what should be the SST distribution for the existence of (a) northward moving ISO in summer, and (b) eastward moving MJO-like modes in winter. In the first part of the thesis we discuss the northward propagation. A series of experiments were performed with zonally symmetric and asymmetric SST distributions. The basic lower boundary condition is specified from zonally averaged observed July and January SST. The zonally symmetric July SST experiment produced an inter tropical convergence zone (ITCZ) on both sides of the equator. Poleward movement is not clear, and it is confined to the region between the double ITCZ. In July, the Bay of Bengal (BOB) and West Pacific SST is high compared to the rest of the northern tropics. When we impose a zonally asymmetric SST structure with warm SST spanning about 80 of longitude, the model shows a monsoon-like circulation, and some northward propagating convective events. Analysis of these events shows that two adjacent cells with cyclonic and anticyclonic vorticity are created over the warm SST anomaly and to the west. The propagation occurs due to the convective region drawn north in the convergence zone between these vortices. Zonally propagating Madden-Julian oscillations (MJO) are discussed in the second part of the thesis. All the experiments in this part are based on the zonally symmetric SST. The zonally symmetric January SST configuration gives an MJO-like mode, with zonal wave number 1 and a period of 40-90 days. The SST structure has a nearly meridionally symmetric structure, with local SST maxima on either side of the equator, and a small dip in the equatorial region. If we replace this dip with an SST maximum, the time-scale of MJO becomes significantly smaller (20-40 days). The implication is that an SST maximum in the equatorial region reduces the strength of MJO, and a flat SST profile in the equatorial region is required for more energetic of MJO. This result was tested and found to be valid in a series of further experiments.

This thesis examines the intersection between lithium extraction and contemporary art through a visual semiotic analysis of three contemporary artworks: Unknown Fields’ We Power Our Future With the Breast Milk of Volcanoes, Marcela Magno’s Land [2] Litio, and Julian Charrière’s Future Fossil Spaces. It explores how lithium extraction is visualised in the selected artworks, what connotations can be extracted from them, the geopolitical dimension expressed in them, and how they relate to the myth of ‘green’ transition. This text takes a starting point in the notion of critical visualisations of extractivism in contemporary art as an urgent political, artistic, and ecological issue. Extractivism is a crucial concept in this thesis, and it is further explored through the intersection of art and extractivism in dialogue with previous research by, for example, Eray Çaylı, Macarena Gómez-Barris, and T.J. Demos. The artworld’s interest in lithium has grown in the last years, with cultural projects and exhibitions on lithium taking place in Sweden and the Netherlands, yet there are no academic texts that explore the intersection of lithium extraction and contemporary art. The aim of this thesis is to thoroughly examine this intersection through three contemporary artworks, to expand academic literature regarding this topic, but also to make the results available to curators, cultural workers, and artists who are currently developing cultural projects around lithium and its extraction. The results of the visual semiotic analysis demonstrated that all three of the artworks critically engaged with lithium extraction by visibilising either present or future green sacrifice zones. They all countered the myth of ‘green’ transition with different strategies: by showing the two-furthermost-apart links in the lithium supply chain, by recuperating Indigenous creation myths of the extracted landscapes, and by exploring the supposed intangibility of our ever-expanding digital world.

From 1838 until the end of the European Revolutions in 1852, the French Revolution provided Chartists with a repertoire of symbolism that Chartists would deploy in their activism, histories, and literature to foster a sense of collective consciousness, define a democratic world-view, and encourage internationalist sentiment. Challenging conservative notions of the revolution as a bloody and anarchic affair, Chartists constructed histories of 1789 that posed the era as a romantic struggle for freedom and nationhood analogous to their own, and one that was deeply entwined with British history and national identity. During the 1830s, Chartist opposition to the New Poor Law drew from the gothic repertoire of the Bastille to frame inequality in Britain. The workhouse 'bastile' was not viewed simply as an illegitimate imposition upon Britain, but came to symbolise the character of class rule. Meanwhile, Chartist newspapers also printed fictions based on the French Revolution, inserting Chartist concerns into the narratives, and their histories of 1789 stressed the similarity between France on the eve of revolution and Britain on the eve of the Charter. During the 1840s Chartist internationalism was contextualised by a framework of thinking about international politics constructed around the Revolutions of 1789 and 1830, while the convulsions of Continental Europe during 1848 were interpreted as both a confirmation of Chartist historical discourse and as the opening of a new era of international struggle. In the Democratic Review (1849-1850), the Red Republican (1850), and The Friend of the People (1850-1852), Chartists like George Julian Harney, Helen Macfarlane, William James Linton, and Gerald Massey, along with leading figures of the radical émigrés of 1848, characterised 'democracy' as a spirit of action and a system of belief. For them, the democratic heritage was populated by a diverse array of figures, including the Apostles of Jesus, Martin Luther, the romantic poets, and the Jacobins of 1793. The 'Red Republicanism' that flourished during 1848-1852 was sustained by the historical viewpoints arrived at during the Chartist period generally. Attempts to define a 'science' of socialism was as much about correcting the misadventures of past ages as it was a means to realise the promise announced by the 'Springtime of the Peoples'.

Several earlier generations of historians described the later Middle Ages as an 'age of fear'. This account was especially applied to accounts of the presumed mentality of the later medieval layperson, seen as at the mercy of the currents of plague, violence and dramatic social, economic and political change and, above all, a religiosity characterised as primitive or even pathological. This 'great fear theory' remains influential in public perception. However, recent scholarship has done much to restitute a more positive, affective, incarnational and even soteriologically optimistic late-medieval vernacular piety. Nevertheless, perhaps due to the positive and recuperative approach of this scholarship, it did not attend to the treatment of fear in devotional and literary texts of the period. This thesis responds to this gap in current scholarship, and the continued pull of this account of later-medieval piety, by building an account of fear's place in the rich vernacular theology available in the Middle English of the fourteenth and fifteenth centuries. It takes as its starting point accounts of the role of fear in religious experience, devotion and practice within vernacular and lay contexts, as opposed to texts written by and for clerical audiences. The account of drede in Middle English strikingly integrates humbler aspects of fear into the relationship to God. The theological and indeed material circumstances of the later fourteenth century may have intensified fear's role: this thesis suggests that they also fostered an intensified engagement with the inherited tradition, generating fresh theological accounts of the place of fear. Chapter One begins with a triad of broadly pastoral texts which might be seen to disseminate a top-down agenda but which, this analysis discovers, articulate diverse ways in which the humble place of fear is elevated as part of a vernacular agenda. Here love and fear are always seen in a complex, varying dialectic or symbiosis. Chapter Two explores how this reaches a particular apex in the foundational and final place of fear in Julian of Norwich's Revelations, and is not incompatible even with her celebratedly 'optimistic' theology. Chapter Three turns to a more broadly accessed generic context, that of later medieval cycle drama, to engage in readings of Christ's Gethsemane fear in the 'Agony in the Garden' episodes. The N-Town, Chester, Towneley and York plays articulate complex and variant theological ideas about Christ's fearful affectivity as a site of imitation and participation for the medieval layperson. Chapter Four is a reading of Piers Plowman that argues a right fear is essential to Langland's espousal of a poetics of crisis and a crucial element in the questing corrective he applies to self and society. It executes new readings of key episodes in the poem, including the Prologue, Pardon, Crucifixion and the final apocalyptic passus, in the light of its theology of fear.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

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