This paper explains at the intersection of Memory theory, Feminist Theory, Existential Psychology, Faith and Contemporary Art, I have found a way to embrace and integrate memories and experiences into my art and be a more fully integrated, emotionally healthy person living fully in the present moment. I articulate my exploration of the broad concept of memory and addressing unresolved negative memories in order to realize healthy change in forming my identity. Through art and philosophical research I have found substantial corroboration, conceptually supporting my information supporting my Post Minimal art making process. I employ memory evoking materials through the use of repetitive acts and strict self-imposed rules throughout the art making process, communicating ne living in the present moment, embracing yet uninhibited by their past.

The dissertation involves a threefold investigation of sculpture. Firstly, the interpretations are focused on particular artworks by three British sculptors: Antony Gormley (b. 1950), Anish Kapoor (b. 1954), and Rachel Whiteread (b. 1963), respectively. The notion of applied minimalism is tentatively applied to their sculptures. A primary argument is that these works are idiomatically, thematically, and theoretically founded on the heritage of American Minimalism from the 1960s. The sculptures by these three artists are seen as readings and transformations in themselves of the Minimalist sculptural idiom. Secondly, the dissertation aims at an investigation of the notion of sculpture, which is explored as a discursive term, i.e. as a working notion. Therefore, each specific sculpture in the study is analysed in terms of the means it is manifested as such. Thirdly, interpretation per se is recognised as a performative act inscribed and restricted by specific contextual features. The constituent aspects are acknowledged and employed in terms of the white cube gallery locality, minimalist theory, sign theory, sculpture as staged, and the crucial recognition of a/the corporeal viewer's own presence and movements within the gallery space. Especially pertinent to the interpretations are Michael Fried's notion of theatricality, notions of performativity, and meaning as site-specific, respectively. The dissertation argues that the notion of sculpture, specifically in the wake of Minimal sculpture and the artworks inscribed by that category in art critical discourse, relies on the imperative of a corporeal acknowledged viewer/interpreter and that significant relations as regards the notion of sculpture are therefore external to a high degree.

In recent years, attempts to simplify the grammatical mechanisms used in syntax have led to proposals to reduce the relationships between elements in a sentence to relations between heads and complements, doing away with free adjunction. For the analysis of modifying relations one consequence has been the rise of analyses that use the properties of selecting heads to stipulate unexpected syntactic behaviour, such as the use of light verbs to derive transparency in complex verb constructions. This thesis shows that such accounts are empirically inadequate and argues that the relationship between heads and adjuncts provides a more empirically-satisfactory model of modifying relations, such as complex verb constructions, than one restricted to the selection relation between heads and complements in the syntax. In support of the adjunct relation, I show how a modular approach to adjuncts in which the position of adjunction is licensed in the semantics and long-distance dependencies are licensed in the syntax can provide a more unified account of subextraction from two separate types of island configurations, viz. asymmetric subextraction from coordination and subextraction from participial adjuncts, either than analyses involving complementation in the syntax (Borgonovo and Neeleman, 2000; Fabregas and Jiménez-Fernández, 2016; Wiklund, 2007), or hybrid analyses mixing processing filters with syntactic licensing of long-distance dependencies (Truswell, 2009, 2011). The first part of the thesis shows that Chomsky’s (2000; 2001) phase theory gives rise to blackholes in the specifier positions of phases from which movement cannot take place. I provide a theoretical account in terms of feature-licensing, where blackholes are formed by the impossibility of licensing at least one unlicensed feature on a phase head, and show how this account derives the distinction between canonical adjuncts from which subextraction is not permitted and subextraction from single event constructions in which subextraction is permitted. The section speculatively concludes with a demonstration of how blackholes might provide a unified analysis of islandhood in general. The second part of the thesis concentrates on the empirical phenomenon of subextraction from coordination and participial adjuncts. I report the results of a series of judgement experiments run in parallel across two sets of constructions, coordination and participial adjuncts, in three languages, English, German and Norwegian. The aim was to test whether acceptability of subextraction from within coordination and participial adjuncts varied depending on the aspectual or grammatical type of matrix predicate. The results show that acceptability of subextraction does depend on the type of matrix predicate. The crucial factor is intransitivity, partially confirming the bias towards unaccusatives in subextraction from participial adjuncts observed informally in Borgonovo and Neeleman (2000); Fabregas and Jiménez-Fernández (2016); Truswell (2011) whilst providing evidence against theoretical accounts that rely primarily on unaccusativity (Borgonovo and Neeleman, 2000; Fabregas and Jiménez-Fernández, 2016), primarily on aspectual distinctions (Truswell, 2007b) or primarily on agentivity (Truswell, 2009, 2011). Interestingly, the hierarchy in acceptability between the four types of matrix predicates stays constant across all three languages, despite both pseudocoordination and subextraction from within participials being ungrammatical in German.

[pt] Esta tese investiga a aquisição de pessoa, como traço formal do português brasileiro, por crianças com desenvolvimento lingüístico normal e comprometido. A hipótese de trabalho é a de que a criança, diante do input de sua língua, proceda à delimitação de elementos de categorias funcionais e lexicais encontrados no fluxo da fala, identificando a expressão morfológica de pessoa na categoria funcional D e no afixo flexional do verbo (classes fechadas, delimitadas na interface fônica) e que o locus da interpretabilidade do traço pessoa na interface semântica constitui um problema na aquisição do PB. A tese fundamenta-se nos pressupostos do Programa Minimalista (Chomsky, 1995) e numa proposta teórica que visa a uma articulação entre teoria lingüística e psicolingüística no tratamento da Aquisição da Linguagem e do Déficit Específico da Linguagem (DEL) (Corrêa, 2002; 2006). A operação computacional de concordância sujeito-verbo necessária para a valoração de pessoa em T é considerada no contexto da produção e da compreensão. A expressão morfofonológica do traço de pessoa é analisada em dados de fala espontânea de duas crianças de 18 a 30 meses. 5 experimentos são relatados, nos quais se busca verificar a compreensão da informação referente a pessoa por crianças sem queixas de linguagem, de 3 e de 5 anos de idade, de duas classes sociais (131, no total) e por duas crianças diagnosticadas como portadoras de DEL. Os resultados sinalizam que crianças por volta dos 20 meses já expressam 1a e 3a pessoa do discurso por meio de formas de 1a e 3a pessoa gramatical tanto no DP sujeito (Dmax) quanto no verbo, ainda que apenas por volta de 24 meses haja evidência da expressão morfológica da concordância sujeito-verbo e 1a pessoa do discurso e 1a pessoa gramatical se identifiquem. O estabelecimento da referência com base exclusiva na compreensão de informação gramatical relativa a pessoa apresenta dificuldades para crianças de idade inferior a 5 anos. Crianças DEL de idade superior a 5 anos apresentam dificuldades na compreensão de informação relativa à 3a pessoa e no processamento de informação relativa a pessoa associada a número plural. / [en] This thesis is concerned the acquisition of person, as a formal feature of Brazilain Portuguese (BP), by normally developing and language- impaired (SLI) children. The working hypothesis is that children initially identify grammatical information concerning person in the closed classes delimited at the phonetic interface and that the locus of the interpretability of this formal feature at the semantic interface constitutes a difficulty children face in the acquisition of BP. The theoretical framework is the Minimalist Program (Chomsky, 1995), in the context of a psycholinguistic approach to language acquisition (Corrêa, 2002; 2006). The computation of Agree in the valuation of the person feature in T is considered both in the production and in the comprehension of linguistic utterances. The morphophonological expression of person is analyzed in the longitudinal data of the spontaneous speech of two Brazilian children (18 to 30 month old). Five comprehension experiments are reported, which aimed at investigating how person information is processed by 3 and 5 year olds (total= 131), from two social groups, as well as by two SLI children. The results suggest that the morphophonological expression of person both in D and in the verbal affix is present in children´s early production though morphological evidence of subject-verb agreement can be detected only by the age of 24 months.. The establishing of reference exclusively on the basis of the morphological expression of person presents difficulties for the normally developing children under five. SLI children older than five have particular difficulty in the comprehension of the third person and in the processing of both person and plural number information.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-06Bitstream added on 2014-06-13T20:35:54Z : No. of bitstreams: 1 lancia_jc_me_ia.pdf: 1949570 bytes, checksum: de65c06be1d96f797a0b1521e72e719c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática – e, portanto, não-teleológica – antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos. / The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static – and as a result, a-teleological – music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.

Orientador: Giséle Manganelli Fernandes / Banca: Maria Elisa Cevasco / Banca: Álvaro Luiz Hattnher / Resumo: O escritor norte-americano Raymond Carver (1938-1988) é considerado uma das principais vozes responsáveis pelo boom do conto na década de 1980 nos Estados Unidos e pelo desenvolvimento de técnicas narrativas do minimalismo literário. Suas histórias condensadas, desprovidas de ornamentação e caracterizadas por uma sintaxe despojada, paratática colaboram para a composição de um retrato límpido do cotidiano de suas personagens, que, em geral, representam os trabalhadores menos favorecidas das classes operárias. A presente dissertação estuda a maneira pela qual os textos de Carver criticam o mito do Sonho Americano e, a partir da publicação do volume Cathedral (1983), como a ficção do autor sofre uma transformação de estilo, culminando com os jogos pós-modernos da indeterminação na fase final de sua carreira. / Abstract: The American writer Raymond Carver (1938-1988) is regarded as one of the major voices responsible for the short story boom in the 1980s in the United States of America as well as for the development of narrative techniques of literary Minimalism. Carver’s condensed, unadorned stories, which are also characterized by a paratactic, and not complex syntax, contributes to the composition of a limpid portrayal of everyday life experienced by his characters that generally represent the poorest people of working class. The present thesis analyses the way Carver’s texts criticize the myth of the American Dream and, after the publication of the volume Cathedral (1983), how his fiction undergoes a change of style, culminating with the post-modern games of indeterminacy in the last phase of his career. / Mestre

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-02-16Bitstream added on 2014-06-13T19:59:47Z : No. of bitstreams: 1 sobreira_rs_me_sjrp.pdf: 1038632 bytes, checksum: 30397b2542f6feaac73a9e10f4263b69 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O escritor norte-americano Raymond Carver (1938-1988) é considerado uma das principais vozes responsáveis pelo boom do conto na década de 1980 nos Estados Unidos e pelo desenvolvimento de técnicas narrativas do minimalismo literário. Suas histórias condensadas, desprovidas de ornamentação e caracterizadas por uma sintaxe despojada, paratática colaboram para a composição de um retrato límpido do cotidiano de suas personagens, que, em geral, representam os trabalhadores menos favorecidas das classes operárias. A presente dissertação estuda a maneira pela qual os textos de Carver criticam o mito do Sonho Americano e, a partir da publicação do volume Cathedral (1983), como a ficção do autor sofre uma transformação de estilo, culminando com os jogos pós-modernos da indeterminação na fase final de sua carreira. / The American writer Raymond Carver (1938-1988) is regarded as one of the major voices responsible for the short story boom in the 1980s in the United States of America as well as for the development of narrative techniques of literary Minimalism. Carver s condensed, unadorned stories, which are also characterized by a paratactic, and not complex syntax, contributes to the composition of a limpid portrayal of everyday life experienced by his characters that generally represent the poorest people of working class. The present thesis analyses the way Carver s texts criticize the myth of the American Dream and, after the publication of the volume Cathedral (1983), how his fiction undergoes a change of style, culminating with the post-modern games of indeterminacy in the last phase of his career.

This thesis is a response to a lacuna in musicology, namely the near absence of postcolonial and decolonial epistemologies. Employing both diachronic and synchronic perspectives, it provides a historical overview of the institutional positioning of musicology as an academic discipline founded on structures of expectation and exploitation indebted to Western imperialism. This longer historical view is accompanied throughout by an examination of ethics in its institutionalised forms, specifically in the domains of knowledge production and the university. The thesis maintains that while such ostensibly ethical underpinnings may promise redress on the basis of the violence inflicted by an imperialist past, the discourse employed in its application in fact serves to strengthen the ideological hold of Western hegemony and, in so doing, betrays the promise of reparation that ethics is ordinarily understood to encompass. The thesis examines different aesthetic and epistemological manifestations of the postcolonial, considering at length Steve Reich's string quartet, Different Trains (1988), Philip Glass's opera, Waiting for the Barbarians (2005), and Philip Miller's choral work, REwind: A Cantata for Voice, Tape and Testimony (2006). Both content and style weave these works together as they engage, by means of a post-minimalist aesthetic, stream-of-violence narratives intimately bound up with the postcolonial condition. Of particular importance in the consideration of these musical texts is the urgent necessity for epistemological transformation, marked in musicology as the lack of post- and decolonial perspectives. Finally, the thesis grapples with the (im)possibility of complicit scholarship that must, through its very expression, wound its subject.

Nous nous proposons dans cette étude d’analyser l’œuvre narrative, théâtrale et théorique de l’écrivain italien Natalia Ginzburg (1916-1991) au travers de la notion d’insignifiance. Tout en mettant en évidence les ressemblances et les divergences entre ce corpus et des courants littéraires du XXe siècle qui se sont interrogés sur la question du sens de l’œuvre et du monde tels que l’Absurde et le Nouveau Roman, nous cernerons ce que recouvre d’un point de vue axiologique et d’un point de vue sémantique la notion d’insignifiance.Ce corpus produit un effet d’insignifiance grâce à un style et des procédés d’écriture qui tendent à niveler le signifiant et l’insignifiant. Notre objectif principal est de montrer que d’un point de vue axiologique, l’œuvre ne valorise pas l’insignifiant et le petit au détriment du signifiant et du grand. Grâce à « l’understatement », l’auteur a dissimulé le signifiant (l’Histoire et Dieu) qui réémerge, non seulement intentionnellement de l’écriture, à travers des réseaux de symboles et de récurrences, mais aussi inconsciemment grâce au rythme et à la musicalité spécifiques de ce style. Dans ce système où tout fait sens, le lecteur est appelé à amplifier la portée de ce qui est dit et à expliciter les nombreux indices et références intertextuelles. Par ailleurs, si Ginzburg vise la représentation d’un réel au sein duquel tout aurait une importance égale, c’est parce que signifiant et insignifiant s’équivalent au sein d’une approche totalisatrice du réel qui relève d’une dimension métaphysique influencée par la psychanalyse jungienne et le mysticisme juif. / Comparing and contrasting Ginzburg's works with 20th century literary trends that broached the meaning of the world and of literature itself, such as Absurdism and the Nouveau Roman, we aim to identify the implications of insignificance from an axiological and a semantic viewpoint.Ginzburg's works create an impression of insignificance using writing style and specific techniques to give the significant and insignificant equal weight. Our main purpose is to show that, from an axiological viewpoint, Ginzburg's works do not promote the small or insignificant at the expense of the large and significant. The author uses understatement to downplay the significant (History, God), then lets it re-emerge, both intentionally through written networks of symbols and recurrences, and subconsciously through the rhythm and musicality of her specific writing style. In a context where everything has a meaning, readers are required to amplify the scope of the written word and interpret the manifold signs and inter-textual references. Indeed, Ginzburg aims to represent a reality where everything has equal importance, precisely because the significant and insignificant are equal when reality is portrayed from a totalising perspective that is inspired by metaphysical cons! iderations and influenced by Jungian psychoanalysis and Jewish mysticism.

Sous l’impulsion des travaux du Conseil de l’Europe, l’éducation plurilingue et interculturelle s’est développée jusqu’à devenir aujourd’hui une option morale dominante en didactique des langues-cultures. En vue de clarifier la question de l’éthique professionnelle des enseignants de langue-culture en contexte multiculturel et de la constituer comme un véritable champ de recherche, notre thèse se propose d’abord d’interroger les conceptions morales véhiculées par les discours du Conseil de l’Europe en didactique des langues-cultures. Pour cela, nous recourons principalement aux apports conceptuels de la philosophie morale et plus particulièrement à la distinction entre le maximalisme et le minimalisme. Dans une perspective normative, nous montrons que l’éducation plurilingue et interculturelle, en ce qu’elle repose notamment sur l’idée de perfectionnement personnel, correspond à une conception maximaliste de la morale. Face à la dérive moraliste d’une telle visée éducative, nous prônons une conception plus minimaliste, laquelle apparaît aussi comme mieux adaptée à des contextes marqués par le pluralisme moral. Dans une perspective empirique, notre étude montre un décalage entre les repères moraux mobilisés par les enseignants dans leur pratique et ceux mobilisés par les experts du Conseil de l’Europe dans leur discours. Sur la base de cette observation, nous en appelons à une prise en compte des limites contextuelles de l’éducation plurilingue et interculturelle. Contre la logique de l’expertise caractéristique des travaux du Conseil de l’Europe et contre le monisme de l’éducation plurilingue et interculturelle, nous proposons finalement l’idée d’une formation complexe à l’éthique, laquelle suppose une diversification des options morales disponibles en didactique des langues-cultures et, consécutivement, le développement des recherches empiriques menées sur l’éthique professionnelle des enseignants de langue-culture. / Under the impetus of the Council of Europe’s work, plurilingual and intercultural education has now grown to be a dominant moral choice in language and culture didactics. The primary aim of our dissertation is to examine the moral concepts conveyed by the Council of Europe’s discourse on language and culture didactics. This is for the purposes of clarifying the issue of professional ethics for teachers of language and culture in a multicultural context, and making it into a genuine field of research. To this end, we shall turn principally to the conceptual contributions of moral philosophy and, more specifically, to the distinction between maximalism and minimalism. From a prescriptive standpoint, we shall show that plurilingual and intercultural education, inasmuch as it is based on the notion of personal development, represents a maximalist concept of morality. Faced with the drift into excessive moralism of such an educational aim, we advocate a more minimalist model which also seems best suited to contexts marked by moral pluralism. Taking an empirical approach, our study shows a discrepancy between the moral reference points incorporated by teachers into their classroom practice and those taken up by the Council of Europe in their discourse. Based on this observation, we call for the contextual limitations of plurilingual, intercultural education to be taken into consideration. Lastly, in opposition to the system of expert assessment which is typical of the Council of Europe’s work, and contrary to the monism of plurilingual, intercultural education, we put forward the idea of sophisticated ethical training. This presupposes a diversification of the moral options available in language and culture pedagogy and, consecutively, the development of empirical research conducted into the professional ethics of teachers of language and culture.