Whenever a new form or style of musical composition is introduced, of which our society has not been adequately conditioned, there arises an immediate desire to present some type of logical and artistic interpretation to this person's new form of expressing himself. Thereby, if a performer or teacher of music desires to understand composition and the interpretation given to a piece of music, he usually draws from his reservoir of information which has been built upon the style and tradition of the past. However, this cannot be achieved when studying the music of our contemporaries, or of such a man as Olivier Messiaen, for he goes much further than any other composer and brings to use an entirely new form or media of musical expression. Although the organ music of Messiaen is becoming more and more widely known in this day of organ and stereo enthusiasts, there exists only in very rare cases, a musical and a spiritual understanding of his music. From the performing point of view, the music in most cases is technically difficult, requiring a real virtuosity in the French tradition, such as explored by Marcel Dupre (playing and composing or Improvising simultaneously). Unfortunately nearly all of our concert organists today employ the big, showy pieces of Messiaen as spectacular technical showpieces, forgetting entirely their deeply spiritual nature, and in many cases, insecure-or inacurate rhythmic presentations of the works, produce a distortion of the composers intent.Therefore, it is now the problem of the student, the recitalist, and theorist to study Messiaen's philosophies, plus the many new techniques in his composition, so that a true, concise, and valuable interpretation might be rendered in performance. Because the need for study in this area was felt, the creative project was selected and to these ends was directed.

Syftet med denna uppsats är att undersöka vilka värden som skapas i modehus marknadsföring på sociala medier samt vilken betydelse de värden som skapas har för varumärket. För att besvara syftet undersöks i denna uppsats det franska modehuset Balmain som en fallstudie. Balmains egna- samt huvuddesignern Olivier Rousteings konton på de populära sociala medie-plattformarna Twitter och Instagram analyseras med semiotisk bildanalys baserat på forskningsfrågor om vilka bilder som förekommer, hur relationen mellan bild och text ser ut samt vilka värden som skapas genom inläggen. Som en av forskningsfrågorna lyder, “Hur ser förhållandet mellan bild och text ut enligt Barthes skrivna mode?” så baseras analysen till stor del på Roland Barthes teorier om det skrivna modet i boken The Fashion System (1967/1990). Det skrivna modet är relationen mellan modebild och dess tillhörande bildtext och är till stor nytta vid analysen av det franska modehusets sociala medie-kanaler som till övervägande del består av just modebilder med text till. Resultaten som framkommit är att de fyra flödenas innehåll följer sex övergripande teman: celebritetsstöd, den självständiga kvinnan, relationer, estetik, Olivier Rousteing som maktfull samt gemenskap/inkludering. Genom att anspela på dessa teman i sina inlägg på Instagram och Twitter skapar Balmain sociala-, kulturella-, estetiska och ekonomiska värden. Dessa värden utgör grunden för hur Balmain framställer sig självt som varumärke; ett nytänkande och inbjudande varumärke som fokuserar på att skapa sociala och kulturella värden vilket genererar ekonomiska värden.

Cette thèse de doctorat pose les linéaments d'une histoire de la littérature française contemporaine. Prenant pour objet d'étude une sphère très précise du champ poétique en étudiant les oeuvres d'Olivier Cadiot et de Nathalie Quintane, cette réflexion a pour point de départ le constat de la fin de la domination du modèle avant-gardiste dans le champ culturel à la charnière des années 1970 et 1980. Il s'agit de questionner la possibilité puis les modalités d'un renouvellement des formes après l'avant-garde. Cette problématique s'accompagne de deux autres interrogations sur la résistance au pouvoir et la traduction de l'expérience. S'articule ainsi une réflexion sur le devenir du travail de l'écrivain dans un contexte où les forces d'ordonnancement des corps, de la mémoire et du langage imposent des consensus qui réduisent la probabilité d'un surgissement de nouveauté, entendue ici comme puissance subversive capable de malmener nos représentations du monde. Cette réflexion débute en revisitant, dans une première partie intitulée « Des positions fugitives », plusieurs notions théoriques avec pour objectif avoué de voir en quoi elles peuvent être opératoires dans le contexte contemporain. En analysant les acceptions d'avant-garde (Poggioli, Bürger), de poésie (Gleize, Pinson), de champ (Bourdieu, Lahire) et de politique (Rancière), il s'agit de constituer le cadre intellectuel duquel émerge le corpus étudié. Cette première partie ne fait pas que l'état de la question critique et théorique, elle propose aussi l'étude de quelques textes d'Olivier Cadiot, de Nathalie Quintane et de Christophe Tarkos pour appuyer les démonstrations. « Jouer Gambit », deuxième partie, se consacre exclusivement à l'oeuvre d'Olivier Cadiot. Structurées autour de trois thématiques (la poésie, le pouvoir et la gravité), ces analyses montrent la complexité du travail de l'écrivain, notamment en expliquant, dans « Romaniser la poésie », que la migration que Cadiot opère vers le roman, loin d'être un acte de « haine de la poésie », est une manière pour lui de lui donner une nouvelle intensité. La mise en contexte de la création de L'art poétic' est suivie d'une présentation de la Revue de littérature générale. L'examen des « mises en abyme » de la poésie dans les romans de Cadiot dans Futur, ancien, fugitif; Retour définitif et durable de l'être aimé et Fairy queen explique les tenants et les aboutissants de ce déplacement générique. Dans « Singer le pouvoir », ce sont les nombreuses figures de la domination qui font l'objet d'un développement. L'usage de la métaphore militaire est aussi étudié, Cadiot parvenant par ce biais à déployer la question du politique en littérature. « L'archipel du goujat » se penche sur la question de l'expérience de la gravité, et explique que les différents Robinson de Cadiot opposent deux régimes d'atteinte: l'idiotie et la folie, deux rapports à la désorganisation qui sont aussi deux rapports aux formes et, plus largement, au politique. La deuxième partie se clôt sur une analyse de l'entreprise intertextuelle de Cadiot, qui compare son Robinson à ceux de Daniel Defoe et de Michel Tournier. La troisième partie, « Damer le pion », se consacre à l'oeuvre de Nathalie Quintane. Deux thématiques structurent nos analyses: le rapport à la poésie et le rapport à l'histoire. Le huitième chapitre, « Le mauvais genre », s'attaque à la question générique. Dans l'analyse de Remarques et de Chaussure, l'imperceptibilité de l'oeuvre, identifiée aussi bien, à ses débuts, à la sacralité du quotidien qu'à la littéralité, est mise de l'avant. La posture de l'écrivaine au sujet de la poésie est explicitée: elle résiste à l'idée de la densité comme étalon de valeur de la poéticité en lui opposant la surface, perçue notamment dans la distanciation des remarques qui mettent tout de même de l'avant un « je » qui expérimente avec le corps et la pensée, dans le but avoué d'en finir avec la grandiloquence. Quintane témoigne d'un nouveau parti pris des choses qui confirme l'énorme distance qui la sépare de toutes les pratiques « du soi » tout comme des lieux communs entourant la littérature de « femmes ». La posture faussement ingénue de Quintane se loge dans une pensée esthétique concernée par un travail sur le douteux, l'évènementiel, la surprise. Travaillant avec ce qui importune, ce qui est incongru, l'écrivaine réfléchit aux questions du sérieux, de l'idiotie, de l'absurde, de la fantaisie. « Repasser l'Histoire », neuvième chapitre, montre comment Quintane déplace la matière historique, la repasse, c'est-à-dire opère une mise à plat tout en la revisitant pour la faire voir autrement. L'écrivaine rencontre d'abord Jeanne d'Arc puis la station balnéaire de Saint-Tropez. Dans Cavale et Grand ensemble, elle affronte des sujets délicats -la Commune, la collaboration ou la guerre d'Algérie -à travers la reconstitution de « souvenirs live » qui érige un travail de rétrospection qui engage Quintane du côté de la confusion, perçue comme le moindre mal d'une époque où l'ordre déforme la mémoire. L'écrivaine invite à damer le pion des discours de légitimation tout en dressant une continuité entre un passé douteux et un présent qui de jour en jour nous prouve l'être tout autant. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Avant-Garde, Littérature contemporaine, Expérimentation, Poésie, Société, Politique, Sociocritique, Olivier Cadiot, Nathalie Quintane.

This dissertation investigates a "universal" question--what the exact nature of the relationship between music and theology is--by examining two particulars: (1) the music and thought of the French Roman Catholic composer Olivier Messiaen, and (2) the theology of music of Protestant theologian/musicologist Oskar Sohngen. / It should be emphasized, however, that the main focus of the paper is upon the "particulars," since the primary objective of this study is to demonstrate the remarkable similarity of thought which exists between the theory of Sohngen and the musical practice of Messiaen. After an exposition of Sohngen's three categories of relationship between music and theology (music as science, as worship, and as creatura) there is an extensive examination of Messiaen's compositional techniques which reveals the latter's implicit use of these same three categories. / In the final chapter of this work, after a discussion of several problems which are inherent in each of the particular approaches to music and theology, there is a return to the universal question, in response to which a precise, working definition is finally established.

This thesis traces the construction and evolution of the star text of Laurence Olivier as it relates to cinematic Shakespeare production and formulations of nationhood in 1940s and 1950s Britain. Organised around an examination of Olivier’s four Shakespearean film adaptations (including the unmade Macbeth), the project focuses on the ways in which the concept of 'Shakespeare' – signalled throughout by its italicisation – is appropriated through Olivier’s image in relation to the industrial and cultural contexts of the wartime and post-war British film industry. It also examines articulations of Shakespearean selfhood and related reappropriations of the filmic image in Olivier’s life writing, exploring how Olivier engages with his own star persona. In examining the relationship that exists between broader industrial-cultural appropriations of 'Shakespeare' and a sense of a star’s personal connection with the national poet, the thesis explores (in addition to the film texts) extratextual materials such as fan letters, publicity documents, theatre and film ephemera, magazine interviews, newspaper criticism, industrial reports and personal and professional correspondence in order to interrogate the national-cultural function of a star text whose image is aligned to 'Shakespeare'. This thesis seeks to make an original contribution to Shakespeare on screen studies by constituting the fullest study of Laurence Olivier’s cinematic Shakespearean career to date. In introducing and analysing previously unseen archival material (including screenplays and shooting scripts relating to the unmade Macbeth), the thesis informs our understanding of the evolving history of British Shakespeare production and, therefore, of the history of Shakespeare on screen. Rethinking Olivier’s cultural currency as a Shakespearean star in 2012 and in the space of the archive, the thesis also contributes to the theoretical thinking underpinning Shakespearean performance studies and archival studies. Finally, the thesis opens the way for further considerations as to how (and to what effect) the Shakespearean star operates as a national and transnational phenomenon.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 70 p. : col. ill. Includes bibliographical references.

La lutte biologique par utilisation de micro-organismes a indéniablement un potentiel de développement considérable. Dans un contexte multidisciplinaire et fondamental de physio-phytopathologie moléculaire et répondant à d’éminents enjeux appliqués et attendus par les acteurs de la profession oléicole et les consommateurs, nous nous sommes projetés dans l’étude des propriétés intrinsèques d’un agent de biocontrôle fongique, Trichoderma harzianum (souche Ths97) contre l’agent de la fusariose Fusarium solani (souche Fso14), qui sévit sévèrement sur une culture pérenne majeure pour la Tunisie, l’oléiculture. Deux axes de recherche ont été menés. Dans le premier axe, nous avons démontré que Ths97 est un agent de biocontrôle efficace contre la virulence de F. solani Fso14. Cette capacité s’accompagne d’une accumulation des défenses chez le partenaire végétal, des accumulations qui sont d’autant plus fortes quand l’agent bénéfique est en présence du pathogène (événements de priming). De même, des tests in vitro montrent que Ths97développe des activités mycoparasites envers F. solani Fso14, en émettant des structures d’infection classiques tels des enroulements et accolements d’hyphes, des appressoria et des papilles. Quant au second axe d’étude, nous avons étudié la superfamille des perméases Major Intrinsic Proteins (MIP) dans le genre Trichoderma. Cette famille multigénique n’a jamais été étudiée chez un agent fongique hyperparasite. Sept membres MIP sont présents chez T. harzianum, et se classent en 3 sous-groupes, les AQP, les AQGP et les XIP. La modélisation des structures tridimensionnelles et les fonctions putatives de transport pour l’eau et quelques polyols ont été étudiées. Enfin, leurs patrons transcriptionnels ont été suivis chez Ths97 in planta en situation d’antagonisme et in vitro en situation de parasitisme vis-à-vis de Fso14, et montrent que 4 MIP sont exprimées et régulées différentiellement selon que Ths97 est au contact de Fso14 ou pas. Nos travaux ont donc mis en lumière que Ths97 doit être considéré comme un agent biofongicide et biostimulateur de défenses végétales, puis que les MIP seraient impliqués dans les relations trophiques que met en place T. harzianum avec son environnement. Ces données devraient intégrer le développement de procédés plus efficaces et/ou plus durables pour la protection des cultures d’oliviers en Tunisie ainsi qu’à travers le monde. / Biological disease control through the use of microorganisms has a great potential for future use in integrated pest management. In a multidisciplinary and fundamental context of molecular physio-phytopathology and to provide solutions for the actors in the olive profession and the consumers, we have been studying the activity of a fungal biocontrol agent, Trichoderma harzianum (strain Ths97) against the olive tree pathogen Fusarium solani (strain Fso14), which causes major problems for olive production in Tunisia and elsewhere. The project consists of two parts. In the first part, we have demonstrated that Ths97 is a biocontrol agent effective against the F. solani Fso14 pathogen. Induction of plant defence responses by Ths97 was shown to be partly responsible for the biocontrol effect. In vitro tests further showed that Ths97 develops mycoparasitic activities towards F. solani Fso14, by forming infection structures such as hyphae windings and wedges, appressoria and papillae. In the second part of the study, we investigated the Major Intrinsic Proteins (MIP) superfamily in the Trichoderma genus. This multigenic family has never been investigated in a hyperparasitic fungal species. Seven MIP members are present in T. harzianum, and are classified into 3 subgroups: AQP, AQGP and XIP. Their three-dimensional structures and their putative involvement in transport of water and certain polyols have been examined. Finally, their transcription profiles were monitored in Ths97 in planta in antagonistic situations and in vitro in a parasitic situation with Fso14 and show that 4 MIP are expressed and regulated differentially during the interaction. Our work has shown that Ths97 must be considered as a biological control agent and biostimulator of plant defences, and that MIPs are involved in the trophic relationships between T. harzianum and the environment. These data contributes to the further development of T. harzianum as an efficient biocontrol agent for sustainable protection of olive trees in Tunisia and around the world.

Made available in DSpace on 2016-12-08T16:51:59Z (GMT). No. of bitstreams: 1 113756.pdf: 38138045 bytes, checksum: d9aec6e3e795b4971f260ca0c70a1063 (MD5) Previous issue date: 2013-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This text seeks to create a procedural thinking unbound from systematic reflections commonly developed in the academy. To achieve this, I chose to study the artist Olivier De Sagazan, who was not very known until the beginning of this research in Brazil. I establish reflections on his works, with an approach focus on Transfiguração [Transfiguration] and the disentangled overflow of languages from his study, permeating aspects between performance, drawing, sculpture, theater and photography. The disfigurement is the central thread that provides dialogues between De Sagazan, Francis Bacon, Samuel Beckett and Antonin Artaud, as it is understood as a strategy of destabilization of the subject and his form, a characteristic that binds the interlocutors chosen in the discussion. The violent destabilization of the meaning, of language and form are problematized as violence necessary to the creation of art, as well as a source of political and religious discussion of current society, permeating anachronistically relationships with ancestry. / Este texto procura criar um pensamento processual desvinculado das reflexões sistemáticas comumente desenvolvidas na academia. Para isso, escolhi estudar o artista Olivier De Sagazan, pouco conhecido até o início dessa pesquisa no Brasil. Estabeleço reflexões sobre suas obras, tendo como foco de abordagem a Transfiguração e os transbordamentos de linguagens desenlaçados a partir do seu estudo, permeando aspectos entre a performance, o desenho, a escultura, o teatro e a fotografia. A desfiguração é o fio condutor que proporciona diálogos entre De Sagazan, Francis Bacon, Samuel Beckett e Antonin Artaud, uma vez que é entendida como estratégia de desestabilização do sujeito e sua figura, característica que une os interlocutores escolhidos na discussão. A desestabilização violenta do sentido, da língua e da forma são problematizadas como uma violência necessária à criação em arte, assim como fonte de discussão política e religiosa da sociedade atual, permeando anacronicamente relações com a ancestralidade.

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T07:25:27Z (GMT). No. of bitstreams: 1 Taffarello_TadeuMoraes_D.pdf: 3915343 bytes, checksum: 488034b29ecea2a09bad23c63f2ac6b9 (MD5) Previous issue date: 2010 / Resumo: Uma intersecção é uma conexão irreproduzível de uma multiplicidade de linhas de força constituídas pelas mais variadas imanências do Mundo. Acreditando-se que ela se manifesta também no campo musical, o presente trabalho traz uma amostra concreta de uma intersecção em música ao centrar-se na relação entre Almeida Prado e Olivier Messiaen, tendo por objetivo principal revelar algumas das potências sonoras absorvidas na formação do compositor paulista no período em que ele foi aluno de Messiaen, entre 1969 e 1973, e postas a campo na escrita da sua peça para piano solo Cartas Celestes I, de 1974. Para tanto, foi feito um estudo analítico comparativo entre essa peça e as peças para piano solo VI Momentos, 2º caderno de 1969, também de Almeida Prado, e La Fauvette dês Jardins, 1971, de Olivier Messiaen. Dentre os resultados obtidos, percebeu-se que na escrita da peça de 1969, além de Almeida Prado apresentar uma exploração textural com a qual se pôde fazer um paralelo com o ciclo de peças para piano de Villa-Lobos Prole do Bebê nº 2, o compositor paulista demonstrava um conhecimento prévio de alguns conceitos da música do seu futuro professor francês, em especial com a técnica aplicada por Messiaen em Vingt Regards sur L'Énfant-Jésus, peça para piano solo de 1944. Em Cartas Celestes I, peça posterior ao período de estudos de Almeida Prado na França, encontraram-se diferenças com o 2º caderno de Momentos de 1969 e semelhanças com a peça de Messiaen analisada, La Fauvette des Jardins, comprovando a hipótese de que houve mudanças significativas na escrita musical do compositor paulista no período. Além disso, foi possível traçar intersecções na peça de Almeida Prado de 1974 com a produção de Ligeti, de Murail e de Gaussin. Como conclusão, percebeu-se que a intersecção Olivier Messiaen-Almeida Prado se apresenta de maneira rizomática, caracterizada pelas múltiplas conexões, pela decalcomania e pela irreprodutibilidade do rizoma presentes nas Cartas Celestes I que fazem com que esta peça se torne única, insubstituível e original em seu contexto histórico e dentro do processo de formação do compositor paulista / Abstract: An intersection is a nonreproducible connection of a multiplicity of lines consisting by the most varied immanences in the World. Giving credit that it also manifests in the musical field, the present study shows a concrete sample of the intersection in music by centering itself into the relationship between Almeida Prado and Olivier Messiaen, aiming to disclose some of the sonorous potencies absorbed by the Brazilian composer during the period in which he was Messiaen's pupil, from 1969 to 1973, and put into practice while composing his piano solo piece Cartas Celestes I, from 1974. Therefore, a comparative analytical study has been done between the above mentioned piece, the piano solo pieces VI Momentos, 2nd book - 1969, also by Almeida Prado and La Fauvette des Jardins, 1971, by Olivier Messiaen. Amongst the obtained results, it has been noticed that in the compositional writing of the 1969 piece, Almeida Prado presented a textural exploration with which a parallel with Villa-Lobos cycle of pieces for piano Prole do Bebê nº 2 can be done. Furthermore, the Brazilian composer demonstrated a previous knowledge of some concepts of his future French teacher's musical production, especially from the technique applied by Messiaen in Vingt Regards sur L'Enfant-Jesus, piano solo piece from 1944. In Cartas Celestes I, piece that is subsequent to Almeida Prado's studies in France, there were found differences from the 2nd book of Momentos from 1969 and resemblances with the analyzed Messiaen's piece, La Fauvette des Jardins, proving the hypothesis that there were significant changes in the musical writing of the Brazilian composer in the period. Moreover, it was possible to trace the intersections in the piece of Almeida Prado from 1974 with the production of Ligeti, of Gaussin and of Murail. Hence, it has been identified that the intersection Olivier Messiaen-Almeida Prado presents itself in a rhizomatic way, characterized by the multiple connections, by the decalcomania and by the rhizome's non reproductability, all presented in Cartas Celestes I making it unique, irreplaceable and original in its historical context and within the Brazilian composer's developing process / Doutorado / Fundamentos Teoricos / Doutor em Música

Currently, in the period of Poststructualism literature is widely approached as a cultural and social phenomenon and the aims of literary studies as the illuminating of social codes, ideology etc. embedded in literature. This study evaluates the contribution of specific critics working within the so-called "New paradigm". The concept "New paradigm" is used as an umbrella term covering a number of distinct developments, referring to literature as a system of literary "actions" rather than as a canon of books. In recent years several Afrikaans critics have embraced or adapted current theories in the domains of Deconstruction, Ideology Criticism, Literary, Sociology, Recepticm Aesthetics, Semiotics and Feminism. This study explores and evaluates the application of such theoretical paradigms to their work in the field of practical criticism. This study also explores the relationship between current theories of literature and their antecedents. The notion of current literary theory and practice not only as a broadening of scope and content of the notion of the "literary" but on the other hand as a liberation of theory and practice from an over-deterministic thrust (i.e. the approach of literature as no more than a set of social documents) is also evaluated in this study. A twofold aim of this study can thus be defined: a. to determine the extent to which the shift from the "old" to "new" theories was made necessary by the developing literary and social scene; b. to examine the links beween theory and practice in the work of specific, key figures in Afrikaans. Is it possible for theory and practice to be separated? Is there an important consistence in the relationship between the two in the work of the figures chosen?