This study focuses on the development of architectural education at the University of Oregon's School of Architecture and Allied Arts (A&AA) in Eugene, Oregon. Applying a historic preservation perspective, this study examines how architectural perceptions are manifested through institutional changes in architectural education. Beginning with a focus on the A&AA under the administration of Dean Ellis F. Lawrence and Professor W. R. B. Willcox, this study transitions into an exploration of Dean Sidney W. Little's decidedly modernist alteration of the curriculum and building in the mid-twentieth century. During this period, the A&AA underwent a major shift from a curriculum and building based on the principles of the Arts and Crafts movement to a radically different approach that fully embraced the philosophy of modernism and actively rejected any allegiance to past architectural forms.

This thesis centers on Kurt Schwitters’s Merz Barn (1947-1948), exploring the relationship between nature and the Merz principles of formung (forming) and entformung (un-forming) within the context of this late work. The Merz Barn, the last of Schwitters’s Merzbauten, has yet to receive the extensive level of research accorded to its famous Hannover predecessor, resulting in an underdeveloped grasp of the project as a whole within Merzbau scholarship. The present study considers Schwitters’s increasing orientation towards nature as a model for artistic creation to elicit an understanding of the ways in which his paradoxical Merz formula, “Formen heißt entformeln,” evolved during his period of exile. I contend that Schwitters employed the organic processes of natural growth and decay to realize the principles of formung and entformung in his Merz Barn. Furthermore, the sculptural interior underscores the dialectical exchange between forming and un-forming, highlighting the liminal space between the opposing processes.

This dissertation rereads sonnets by three crucial but misunderstood early twentieth-century women poets at the intersection of the study of American literary history and scholarship of the sonnet as a genre, exposing and correcting a problematic loss of nuance in both narratives. Genre scholarship of the sonnet rarely extends into the twentieth century, while early twentieth-century studies tend to focus on nontraditional poem types. But in fact, as I show, formal poetry, the sonnet in particular, engaged deeply with the contemporary social issues of the period, and proved especially useful for women writers to consider the ways their identities as women and poets functioned in a world that was changing rapidly. Using the sonnet’s dialectical form, which creates tension with an internal turn, and which engages inherently with its own history, these women writers demonstrated the enduring power of the sonnet as well as their own positions as women and poets. Tying together genre and period scholarship, my dissertation corrects misreadings of Edna St. Vincent Millay, Sarah Teasdale, and Helene Johnson; of the period we often refer to as “modernism”; and of the sonnet form.

The Spinozan Strain identifies a group of American modernist writers who use elements of Spinoza’s metaphysics, mediated by the writings of the Transcendentalist Ralph Waldo Emerson, as the basis for an aestheticized monism that explores what Spinoza’s thought makes possible affectively, socially, and politically, rather than philosophically. These monistic modernists use Spinoza and Emerson to disrupt a host of binary oppositions that were important sites of contest in modernist culture, such as life and death, time and eternity, and interiority and exteriority. They imagine these oppositions as derivative effects of a single, self-differentiating force that they portray alternately as an inorganic vitality, a structure of interlinked causes, or a universal blur. In its anti-binarism, monistic modernism offers a middle path between object-oriented and subject-centric or psychological accounts of the modernist movement. The first chapter of this project examines Djuna Barnes’s and Wallace Stevens’s recasting of life and death in terms of flows of affect, by which they articulate a mode of subjectivity that challenges the distinctions between performance and reality, activity and passivity. The second chapter argues that Thornton Wilder and William Carlos Williams advance a critique of progressive or teleological conceptions of time and history that depends on a vision of eternity as an emergent structure of interwoven temporalities, rather than a timeless transcendent state. The final chapter focuses on modern technology and speed, arguing that Hart Crane and Langston Hughes devise a Spinoza-like understanding of the body as a relation of speeds and slownesses in which the body and its surroundings blur together; this sense of corporeality allows them to examine the ways that speed becomes an ambivalent source of political power in modernity that demands—and makes possible—new strategies of political resistance.

Submitted by Luiz Fernando Garcia null (luizfernandg@yahoo.com) on 2018-02-08T17:05:47Z No. of bitstreams: 1 O IDÍLIO ENTRE A TRADIÇÃO E A MODERNIDADE.pdf: 5341547 bytes, checksum: 03c4e0506b85489568763230e0c0962e (MD5) / Approved for entry into archive by Maria Luiza Carpi Semeghini (luiza@assis.unesp.br) on 2018-02-08T17:38:35Z (GMT) No. of bitstreams: 1 garcia_lf_dr_assis.pdf: 5341547 bytes, checksum: 03c4e0506b85489568763230e0c0962e (MD5) / Made available in DSpace on 2018-02-08T17:38:35Z (GMT). No. of bitstreams: 1 garcia_lf_dr_assis.pdf: 5341547 bytes, checksum: 03c4e0506b85489568763230e0c0962e (MD5) Previous issue date: 2018-01-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Partindo de pressupostos teóricos do Comparatismo como forma de investigação que se situa "entre" os objetos que analisa, e dos conceitos de releitura tão característicos da Modernidade, este trabalho propõe o estabelecimento de relações entre o romance Amar, verbo intransitivo (1927) de Mário de Andrade (1893-1945), que tem como subtítulo a designação de "Idílio" e obras de Teócrito, Gessner e B. de Saint-Pierre, pertencentes ao mesmo gênero literário, tomando como ponto de partida a questão do gênero. Este procedimento tem como objetivos verificar não somente a procedência do ceticismo da crítica literária em relação a este subtítulo, como também as razões que levaram o autor a utilizá-lo e a mantê-lo até mesmo na versão final da obra. Neste percurso, o próprio gênero literário "Idílio" também se constitui como objeto de estudo deste trabalho, pois as obras acima citadas revelam não somente um gênero literário ativo e em evolução desde a Antiguidade greco-romana até o Sec. XX, mas também um gênero que se manifesta tanto na poesia quanto na prosa, mais especificamente , no gênero romance. / Based on postulates of comparative literature, that places itself between the objects analyzed, and new readings of traditional works, so dear to Modernity, this thesis aims at establishing relations between Mario de Andrade's (1893-1945) novel "Amar, verbo intransitivo" (1927), subtitle "Idílio", and works from Teocritus, Gessner and B. de Saint Pierre belonging to the same literary gender, at the same time that considers the questions involving this specific gender. This procedure aims at verifying not only why literary criticism has been so skeptical in relation to the subtitle "Idílio", but also the author's reasons in giving and mantaining it even in the final version of the work. In this way, also the literary gender "Idyll" becomes the object of study of the present thesis, as the works cited above reveal not only an active gender evolving from the Antiquity until the XXth century, but also a gender represented both in poetry and prose, in this case in the novel. / 1040/13

This thesis focuses primarily upon three areas: a comparative analysis of those prosodic theories which form the historical context of the years 1908 - 1915; the ways in which Eliot and Pound came into contact with this discussion and the extent to which it contributes to their own criticism; and finally an analysis of how Pound and Eliot's poems from this period are conditioned by their authors' relationship to the then concurrent debates surrounding metrical form. Chapter One seeks to establish something of the origins of the core debate over metrical format, demonstrating the contrasting views upon the precise locus of 'form, ' as well as its continuance, and how these views affected poets writing in England to whom Pound and Eliot were later drawn. Chapter Two compares and contrasts the views of American authors on these subjects, suggesting how through an alternative relationship to "tradition, " American poets and pro sodists developed a more self-consciously radical approach. In Chapter Three, the focus is upon how Pound and Eliot came into contact with these attitudes and, based upon their own criticism, what their individual responses were. Chapter Four analyses the practical results these matters had for Eliot's early poetry, while Chapter Five offers a comparable analysis of Pound's early style(s).

Pode-se recuar a teorização do restauro de Arquitetura até Winckelmann: sua \"História da Arte\", publicada em Dresde em 1764, apresenta um nível de detalhamento nas descrições e até de processos construtivos gregos e romanos, que transcende as preocupações explícitas com a História da Arte. Seu pensamento é que os remanescentes são os documentos imprescindíveis para se contar a evolução da Arquitetura - nas entrelinhas, ficando a necessidade de sua preservação. No entanto, aceita-se academicamente Ruskin como iniciador da reflexão e teorização. Praticava-se, em seus dias, uma preservação sem critérios seguros que, no seu entendimento, comprometia o valor documental e histórico dos monumentos: as ruínas eram preferíveis a essas obras, entrando aí, como é óbvio, um forte componente do romantismo vigente. Nesse sentido, opunha-se a Violet-le-Duc que defendia como proposta teórica o restauro estilístico. Camillo Boito é quem, na verdade, dá a partida para a teorização que, evoluindo, é a que se aceita até hoje: formula critérios e diretrizes para se pensar o processo de restauro. Suas ideias são desenvolvidas por G.Giovanoni, preparando caminho para as cartas de Atenas e, finalmente, a de Veneza, ainda a \"cartilha\" dos restauradores. Ideias essas que têm sua formulação teórica mais precisa e desenvolvida em Cesare Brandi, em sua \"Teoria da Restauração\". A acelerada evolução tecnológica do século XX - bem como o ingresso, no rol dos bens patrimoniais, das obras do Modernismo - tornou necessário estender a aplicação dos conceitos teóricos às novas tecnologias: - que princípios devem nortear as intervenções restaurativas na Arquitetura Moderna, quando esta estiver focada como patrimônio cultural? - quais as posturas teóricas, quais as reflexões que devem estruturar os pensamentos, antes dos procedimentos técnicos, por parte do arquiteto, diante dos novos problemas propostos pela expansão do universo de bens patrimoniais, englobando a arquitetura modernista? Neste trabalho, procuramos contribuir para essas reflexões e teorizações, conduzindo a um método que entendemos necessário antes da abordagem da obra de restauro. Embora convindo que as obras - como as de qualquer período ou tecnologia - tenham uma individualidade prioritária, há sempre uma base comum que deve ser considerada e a partir da qual evoluem os procedimentos do arquiteto. É para a formação/formatação dessa base comum que pretendemos contribuir com nossa experiência em duas obras importantes do acervo patrimonial do modernismo brasileiro. / You can trace back the theory of architecture restoration to Winckelmann: his \"Art History\", published in Dresden in 1764, presents a level of detail in the descriptions and even about the Greek and Roman construction processes, transcending the explicit concern with Art History. His thinking is that the remainings are the documents necessary to tell the evolution of architecture - in between the lines, stays the need for its preservation. However, Ruskin is accepted as the starter of the reflection and theorization. He practiced during his days a preservation without insurance criteria that in his understanding compromised the documentary and historical value of monuments: the ruins were preferable to those works, bringing an obvious and strong component of the current romanticism. In this sense, his thoughts were opposed to Violet-le-Duc who advocated for the theoretical proposal of the the stylistic restoration. Camillo Boito is who actually started the theory that, evolving, is the one accepted today: it formulates criteria and guidelines to think about the restoration process. His ideas are developed by G.Giovanoni, preparing the way for the letters of Athens and finally to Venice, even the restores \"spelling book\". These ideas that have their theoretical formulation more precise and developed in Cesare Brandi, in his \"Theory of Restoration.\" The rapid technological developments of the 20th century - as well as the entry of the Modernism works in the list of assets - made it necessary to extend the application of theoretical concepts to new technologies: - Which principles should guide the restorative interventions in Modern Architecture, when it is focused as cultural heritage? - What are the theoretical positions, which reflections must structure the thoughts before the technical procedures by the architect before the new problems posed by the expansion of the assets universe, encompassing the modernist architecture? In this paper, we try to contribute to these reflections and theories, leading to a method we have deemed necessary before the restoration work approach. While befitting that the works from any period or technology have a priority individuality, there is always a common basis that should be considered and from which the architect procedures evolve. It is for training / formatting of that common ground we want to contribute our experience in two important works of the net assets of Brazilian modernism.

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009. / Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-10-08T14:13:56Z No. of bitstreams: 1 leonardoalves.pdf: 642276 bytes, checksum: c4c91818e3b356fe583a36edba05ce06 (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2012-12-02T12:09:19Z (GMT) No. of bitstreams: 1 leonardoalves.pdf: 642276 bytes, checksum: c4c91818e3b356fe583a36edba05ce06 (MD5) / Made available in DSpace on 2012-12-02T12:09:19Z (GMT). No. of bitstreams: 1 leonardoalves.pdf: 642276 bytes, checksum: c4c91818e3b356fe583a36edba05ce06 (MD5) Previous issue date: 2009 / Nesta dissertação, realizo uma análise da obra poética do autor piauiense Mário Faustino, à luz de textos teóricos que tratam de questões relacionadas à lírica. Dessa forma, busco destacar as temáticas e os procedimentos mais significativos adotados em sua consecução artística. Além do exame do conjunto de sua produção, constituída de O homem e sua hora e Outros Poemas, traço um levantamento de sua fortuna crítica e o recorte temático da metalinguagem, uma configuração recorrente na sua produção. / Analysis of the work of brazilian poet Mário Faustino from Piauí, in the light of theoretical texts that deal with the issue of aiming to highlight the lyrical and thematic procedures adopted in its artistic achievement. In addition to considering all of its production consisting of O Homem e sua Hora e Outros Poemas, We also consider his critical fortune and thematic focus of the metalanguage, recurring process in his production.

Orientador: Heloisa Andre Pontes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T03:16:44Z (GMT). No. of bitstreams: 1 Ribeiro_MonicaCristina_M.pdf: 523982 bytes, checksum: d2a63ee72a4190df69ef07d798d646f7 (MD5) Previous issue date: 2005 / Resumo: Este trabalho pretende desvendar a importância das viagens na vida e na obra de Mário e Oswald de Andrade na década de 1920. Mais ainda, como as viagens mostraram-se uma importante força formadora e transformadora do modernismo desses dois autores ¿ e na verdade do modernismo paulistano e brasileiro ¿ no mesmo período e como foram determinantes para os rumos de Mário e Oswald na década seguinte. Estas questões são alinhavadas a partir do delicado acontecimento do contato com o outro ¿ entendido aqui, fundamentalmente, como possibilidade de reavaliação e de contato consigo mesmo. A análise é feita a partir das cartas trocadas entre Mário de Andrade e Carlos Drummond de Andrade, Manuel Bandeira e Câmara Cascudo, e também a partir de artigos e entrevistas de Oswald de Andrade. Os depoimentos dos dois modernistas são cruzados com as obras de sua autoria concebidas na década de 1920, tudo isso analisado à luz das viagens e das tentativas de reabilitação do primitivo empreendidas pelo modernismo / Abstract: This work intends to unmask the importance of the trips in the life and the workmanship of Mario and Oswald de Andrade in the decade of 1920. Even more, as the trips had revealed to an importante formation and transforming force of the modernism of these two authors ¿ and in fact the paulistano and Brazilian modernism ¿ in the same period and how they had been determinative for the ways of Mario and Oswald in the following decade. These questions are tacked from the delicate event of the contact with the other ¿ understood here, basically, as reevaluation possibility and contact with oneself. The analysis is made from letters changed between Mario de Andrade and Carlos Drummond de Andrade, Manuel Bandeira e Camara Cascudo, and also from articles and interviews of Oswald de Andrade. The depositions of the two modernists are crossed with the workmanship of its authorship conceived in the decada of 1920, everything analyzed to the light of the trips and the attempts of whitewashing of primitive elements undestaken by the modernism / Mestrado / Mestre em Antropologia Social

>Doctor Literarum - DLit / Roy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.