Thesis (Ph. D.)--Tufts University, 1999. / Adviser: Sheila Emerson. Submitted to the Dept. of English. Includes bibliographical references (leaves 177-184). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Barry Faulk, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Jan. 18, 2005). Includes bibliographical references.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Andrew Willis; submitted to the School of Music. Title from PDF t.p. (viewed Aug. 11, 2009). Includes bibliographical references (p. 108-113).

Thesis (M.A.)--University of Montana, 2007. / Title from title screen. Description based on contents viewed Aug. 1, 2007. Includes bibliographical references (p. 102-106).

Diss.--Freie Universität Berlin, 1996. / Contient un choix de documents, certains en français. Bibliogr. p. 354-360. Index.

What can the study of Victorian literature gain from approaching primary texts explicitly as processing, storing, and transmitting data? I suggest that, by applying tools and methodologies from German media history that are usually reserved for technical and digital media, we can illuminate how individual texts operate and better understand Victorian texts as media, which remains an underdeveloped aspect of materialist literary study. In analysing how Victorian texts depict encounters with traditional plastic art-objects, I develop new applications of Friedrich Kittler’s ideas of recursion and transposition, Hans Ulrich Gumbrecht’s method of reading for Stimmung, and the theory of cultural techniques (Kulturtechniken). I also propose new concepts to further our understanding of how encounters with art-objects function, such as the observer effect: the simultaneous perception of past and future meanings of an art-object. Close readings of Michael Field’s Sight and Song and Dante Gabriel Rossetti’s Ballads and Sonnets suggest that both volumes acknowledge encounter as a cultural technique, rather than a spontaneous, independent action by the subject. Yet they propose different roles for themselves within that technique. Michael Field’s poems purport to halt the process of recursion, but Rossetti’s demand that readers experience their own observer effects. Meanwhile, Vernon Lee’s Hauntings: Fantastic Stories and Oscar Wilde’s The Picture of Dorian Gray demonstrate the agency of art-objects vis-à-vis the cultural technique of encounter. Lee’s stories reveal the threat to an individual subject’s production of future meanings that art-objects pose, in particular through their effects of presence. In Dorian Gray, the art-object’s own data processing circumscribes the subject’s observer effect. Each text thus evidences its operations as a medium and its complicated relationships with other media in the form of art-objects. Each processes data; recurs to art-objects, tropes, or themes and transmits future meanings thereof; and participates in the cultural technique of encounter. In so doing, these texts resisted the threats of marginalisation that faced ‘old media’ from the rise of photography and the incipient development of film at the fin de siècle.

A presente dissertação se propõe a estudar a criação do espaço Centro Cívico de Curitiba, partindo de três momentos. O primeiro refere-se ao Plano Agache de Curitiba, elaborado na década de 1940 pelo arquiteto que deu nome ao plano. O segundo refere-se ao Projeto do Centro Cívico propriamente dito, de 1951, que é elaborado atendendo a uma demanda do governo do estado do Paraná para a comemoração de seu centenário. O terceiro momento refere-se ao desdobramento de releituras feitas do projeto original, que culminarão com a criação do Museu Oscar Niemeyer, projeto do arquiteto que dá nome ao Museu. O nexo condutor do trabalho é a simbologia desses projetos para a criação de uma identidade coletiva. / The proposition of this dissertation is the study of the space known as Centro Cívico de Curitiba, in three different moments. The first refers to the Plano Agache, elaborated by the architect that named the plan in 1940. The second refers to the original Project of the Centro Cívico, from 1951, responding to a demand of the government of the state of Paraná, as part of the celebrations of its first centenary. The third moment refers to new lectures of the original project that led to the construction of the Museu Oscar Niemeyer, project of the architect that named the museum. The central idea that is developed in this dissertation is the simbology of these projects in the articulation of a collective identity.

A presente dissertação se propõe a estudar a criação do espaço Centro Cívico de Curitiba, partindo de três momentos. O primeiro refere-se ao Plano Agache de Curitiba, elaborado na década de 1940 pelo arquiteto que deu nome ao plano. O segundo refere-se ao Projeto do Centro Cívico propriamente dito, de 1951, que é elaborado atendendo a uma demanda do governo do estado do Paraná para a comemoração de seu centenário. O terceiro momento refere-se ao desdobramento de releituras feitas do projeto original, que culminarão com a criação do Museu Oscar Niemeyer, projeto do arquiteto que dá nome ao Museu. O nexo condutor do trabalho é a simbologia desses projetos para a criação de uma identidade coletiva. / The proposition of this dissertation is the study of the space known as Centro Cívico de Curitiba, in three different moments. The first refers to the Plano Agache, elaborated by the architect that named the plan in 1940. The second refers to the original Project of the Centro Cívico, from 1951, responding to a demand of the government of the state of Paraná, as part of the celebrations of its first centenary. The third moment refers to new lectures of the original project that led to the construction of the Museu Oscar Niemeyer, project of the architect that named the museum. The central idea that is developed in this dissertation is the simbology of these projects in the articulation of a collective identity.

Tese (doutorado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2015-12-21T11:42:32Z No. of bitstreams: 1 2015_NeusaCavalcante.pdf: 57210954 bytes, checksum: ac37fa4afa0b5c2762cae292a7daf607 (MD5) / Approved for entry into archive by Suporte BCE(dspace@bce.unb.br) on 2016-04-19T20:22:36Z (GMT) No. of bitstreams: 1 2015_NeusaCavalcante.pdf: 57210954 bytes, checksum: ac37fa4afa0b5c2762cae292a7daf607 (MD5) / Made available in DSpace on 2016-04-19T20:22:36Z (GMT). No. of bitstreams: 1 2015_NeusaCavalcante.pdf: 57210954 bytes, checksum: ac37fa4afa0b5c2762cae292a7daf607 (MD5) / O tema desta tese é a história do Centro de Planejamento Oscar Niemeyer (Ceplan), órgão de assessoria técnica da Universidade de Brasília, criado, em 1962, com a tripla missão institucional de planejar o campus e projetar seus edifícios; servir de suporte para a prática profissional de professores e alunos da Faculdade de Arquitetura e Urbanismo e, comprometendo-se com o projeto de desenvolvimento do país à época, contribuir com a produção de tecnologia no campo da arquitetura e da construção. Após atravessar distintos períodos, o Ceplan construiu uma trajetória que permanece restrita àqueles que a protagonizaram ou que dela são testemunhas. Afinada com a história cultural, a metodologia adotada contemplou tanto a pesquisa bibliográfica e documental como a história oral, a partir de depoimentos de arquitetos responsáveis pela produção do Ceplan ao longo de seus cinquenta anos de existência. Reconhecendo com as pesquisas teóricas a importância da memória para a historiografia contemporânea, as informações colhidas nos diversos depoimentos e a análise da produção arquitetônica de cada período vivenciado na atuação do Ceplan, pretendeu-se demonstrá-lo como um lugar de memória, e, mais que isso, como um patrimônio histórico e cultural da Universidade de Brasília, quiçá do Brasil, a ser preservado, vivo e atuante, para as futuras gerações. ______________________________________________________________________________________________ ABSTRACT / This thesis examines the history of the Centro de Planejamento Oscar Niemeyer (Ceplan), a technical advisory body of the Universidade de Brasília set up in 1962 with the threefold institutional mission of planning the university campus and designing its buildings, providing support to the professional practice of teachers and students of the School of Architecture and Urbanism, and committing to Brazil’s development project of the time by producing technology in the fields of architecture and construction. After undergoing different periods, Ceplan constructed a trajectory which remains restricted to those who played a leading part in it or simply witnessed it. In tune with cultural history, the methodology employed in this study comprises bibliographic and documentary research as well as oral history, the latter based on the accounts of architects responsible for Ceplan’s production over the past fifty years. By acknowledging the importance of memory in contemporary historiography, information extracted from the various testimonies, and the analysis of Ceplan’s architectural production throughout its history, this thesis aimed to shed light on Ceplan as a place of memory and, above all, as a historical and cultural heritage of Universidade de Brasília and maybe of Brazil itself, which must be preserved, in its living and active form, for future generations.

Made available in DSpace on 2013-11-07T10:45:34Z (GMT). No. of bitstreams: 1 000451924-Texto+Completo-0.pdf: 1612587 bytes, checksum: 28691069f531c516d81b4c3372c19409 (MD5) Previous issue date: 2013 / Pasture to our original hunger of beauty and consciousness, poetry might be one of the human productions which best witness the way in which the affections drive our movements in the world and the production of knowledge. The theories of imaginary defended by Gaston Bachelard e Gilbert Durand provide a philosophical horizon that promotes understanding of some of the singularities of the lyric art. The study of the poetic reverie reveals the formation of a complex thought that bears witness of a worldview and a way to understand poetry. The phenomenology and the myth-criticism serve as tools of understanding of the two poetic universes chosen for the proposed discussion. The poetic works of Augusto Meyer and of Oscar Bertholdo reveal the development of a recovery project of the collective and of the spiritual, whose orientation is in reverie, the primary basis for establishing the dialogue between the individual and the social, the mythical and the historical, the sacred and the secular. / Pascigo para nossa fome original de beleza e de consciência, a poesia talvez seja uma das produções humanas que melhor testemunhe o modo pelo qual os afetos impulsionam nossos movimentos no mundo e a produção de saberes. As teorias do imaginário defendidas por Gaston Bachelard e Gilbert Durand fornecem um horizonte filosófico que favorece a compreensão de algumas das singularidades da arte lírica. O estudo do devaneio poético revela a formação de um pensamento complexo que dá testemunho de uma visão de mundo e de um modo de compreender a poesia. A fenomenologia e a mitocrítica servem como ferramentas de compreensão dos dois universos poéticos escolhidos para a discussão proposta. As obras poéticas de Augusto Meyer e de Oscar Bertholdo revelam o desenvolvimento de um projeto de valorização do coletivo e do espiritual, cuja orientação encontra no devaneio o fundamento primordial para instituir o diálogo entre o individuado e o social, o mítico e o histórico, o sagrado e o secular.