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Werner Herzog em busca da compreensão humanaLeão, Rita de Cássia da Silva 18 May 2015 (has links)
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Previous issue date: 2015-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / All movie-making has an anthropological character, as it is as open-ended as humankind itself. The works of Werner Herzog run parallel with fundamental anthropology, which seeks to understand the process of penetration of man into the world and the inseparable process of penetration of the world into man. The first movie that is analyzed, Wodaabe: Herdsman of the Sun, deals with love of beauty among beings who feel despised by neighboring peoples. The second, Grizzly Man, is about a man who wanted to be a bear, as he could not stand living among humans. The third, The Cave of Forgotten Dreams, tells us how humankind dreamed 32 thousand years ago; how it projected its double on cave walls and small statues. Paintings and statues feature at the same time a penchant for both the fantastic and the reality of shapes and forms. It is not Herzog´s movie settings or themes which are anthropological; it is his view of the world and his way of making movies, which transmutes real into imaginary, and imaginary into real / Todo cinema contém um caráter antropológico, por ser aberto como a própria humanidade. A obra de Werner Herzog é contigua à antropologia fundamental, que busca compreender o processo de penetração do homem no mundo e o processo inseparável de penetração do mundo no homem. O primeiro filme analisado, Wodaabe: Os pastores do sol, trata do amor à beleza entre seres que se sentem desprezados pelos povos vizinhos. O segundo, O homem urso, de um humano que queria ser urso e não suportava o mundo dos humanos. O terceiro, A caverna dos sonhos esquecidos, conta como sonhava a humanidade há 32 mil anos, como projetava seu duplo nas paredes das cavernas e nas pequenas estátuas. Nas pinturas e estátuas estão presentes, ao mesmo tempo, uma tendência para o fantástico e para a realidade das formas. Não são os locais de filmagem e tampouco os temas de Herzog que são antropológicos, mas sim a sua visão de mundo e o modo de fazer cinema, que transmuta o real em imaginário e o imaginário em real
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Signs of mid-life: images from the contemporary Australian mid-life male psycheSorenson, Peter David, peter.sorenson@rmit.edu.au January 2005 (has links)
This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.
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Towards Christianity without authority : pluralism, skepticism, and ecclesiastical power in selected examples of humorous Newfoundland writingFralic, Michael Lloyd 02 February 2007
In recent decades in Newfoundland, a sustained interest in Christian symbols, stories, and values has been paired with increasing criticism of Christian religious institutions and agents. Newfoundlands burgeoning tradition of professional humour has reflected this changing set of relationships to Christianity. This robust young humour tradition richly reflects the ongoing pluralization and secularization of Newfoundland culture, and abundantly exemplifies humours distinctive potential as a means of addressing potentially contentious or vexing issues. Yet, surprisingly, literary criticism has almost entirely avoided the prominent stream of Newfoundland humour that addresses the islands religious legacy.<p>This project aims to begin to correct this substantial critical omission, examining points of continuity among a number of works produced over the past four decades. It focuses on the works embrace of political and/or epistemological pluralism, typically married to religious skepticism and to misgivings about conventional arrangements of religious power.
Chapter One provides an historical and critical context for the project, introduces subsequent chapters, and speculates on ramifications of the pluralistic current that runs through the works in the study. Chapter Two examines religious jokes in Newfoundland joke books. It emphasizes the jokes overall tendency toward (an often ambiguous) religious conservatism, as well as the books latent pluralism regarding interdenominational relations. Chapter Three focuses on journalist and playwright Ray Guys often fierce satire of Christian religious agents and institutions. It argues that Guys satire utterly rejects the legitimacy of religious authority in the civic realm, largely on the grounds that transcendent truthfulness is often invoked as a means of justifying otherwise objectionable power. Chapter Four explores the ecumenical religious humour of columnist and memoirist Ed Smith. It focuses on Smiths playful efforts to harmonize Christian faith and practice with a measure of religious uncertainty presented as a necessary foundation for humane coexistence. Chapter Five examines Ed Kavanaghs novel The Confessions of Nipper Mooney. Primarily, it explicates and examines the novels liberal favouring of the individual moral conscience, and the symbolic association of its religiously dissident and/or marginalized protagonists with elements of the Catholic tradition. Chapter Six discusses Berni Stapletons comic play The Pope and Princess Di. The chapter emphasizes the plays presentation of symbols constant subjection to alteration and hybridization, and its cautious regard for valuable symbols (religious or otherwise) that nonetheless become destructive when viewed as sacrosanct.<p>Chapter Seven concludes the study by considering the works participation in political, philosophical, and literary/dramatic movements that problematize long-established religious modes and support a secular-pluralist outlook. It reflects on the role of humour in movements for change and on didacticism and popular humour as features of publicly engaged literature; it discusses other works of Newfoundland humour that approach religious matters from similarly secular, though less overtly political, angles; and it speculates on some social implications of the ascendancy of liberal, pluralistic values, considering these Newfoundland works in a more general Canadian cultural context.
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Self-reflexivity In Postmodernist Texts: A Comparative Study Of The Works Of John Fowles And Orhan PamukSaracoglu, Semra 01 September 2003 (has links) (PDF)
This dissertation makes a comparative analysis of the self-reflexivity
in the novels of one British and one Turkish writer - John Fowles and Orhan
Pamuk. The study restricts itself to three novels by each writer. In making
this analysis under the light of Robert Scholes& / #8217 / s theory of reality, and
making use of Linda Hutcheon& / #8217 / s classification of self-reflexivity, and
Jacque Lacan& / #8217 / s The Mirror Stage, it is argued that both Fowles and Pamuk
create worlds within worlds which are similar to but different from each
other, namely the fictional world, the world of the implied author, and the
outer world, i.e. the world of the writer. Although these worlds reflect each
other, it is not a one-to-one reflection of outer reality, since art/fiction is
illusion. This dissertation argues that in accordance with their aims in both
life and literature, and their views on reality, Fowles and Pamuk make use
iv
of different self-reflexive devices. While Fowles prefers overt self-reflexive
devices, Pamuk chooses to employ both overt and covert ones / this may be
because Fowles aims to be didactic whereas Pamuk does not. While Fowles
believes in the existence of the external world, Pamuk rejects it. Whatever
techniques they use, it is shown that they both write self-reflexive texts
focusing on fictionality as their theme. The analysis of the six novels by
Fowles and Pamuk as the representatives of two different literatures
demonstrates that self-reflexivity is an indispensable characteristic of
postmodern fiction and that Pamuk is more postmodernist compared to
Fowles.
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Towards Christianity without authority : pluralism, skepticism, and ecclesiastical power in selected examples of humorous Newfoundland writingFralic, Michael Lloyd 02 February 2007 (has links)
In recent decades in Newfoundland, a sustained interest in Christian symbols, stories, and values has been paired with increasing criticism of Christian religious institutions and agents. Newfoundlands burgeoning tradition of professional humour has reflected this changing set of relationships to Christianity. This robust young humour tradition richly reflects the ongoing pluralization and secularization of Newfoundland culture, and abundantly exemplifies humours distinctive potential as a means of addressing potentially contentious or vexing issues. Yet, surprisingly, literary criticism has almost entirely avoided the prominent stream of Newfoundland humour that addresses the islands religious legacy.<p>This project aims to begin to correct this substantial critical omission, examining points of continuity among a number of works produced over the past four decades. It focuses on the works embrace of political and/or epistemological pluralism, typically married to religious skepticism and to misgivings about conventional arrangements of religious power.
Chapter One provides an historical and critical context for the project, introduces subsequent chapters, and speculates on ramifications of the pluralistic current that runs through the works in the study. Chapter Two examines religious jokes in Newfoundland joke books. It emphasizes the jokes overall tendency toward (an often ambiguous) religious conservatism, as well as the books latent pluralism regarding interdenominational relations. Chapter Three focuses on journalist and playwright Ray Guys often fierce satire of Christian religious agents and institutions. It argues that Guys satire utterly rejects the legitimacy of religious authority in the civic realm, largely on the grounds that transcendent truthfulness is often invoked as a means of justifying otherwise objectionable power. Chapter Four explores the ecumenical religious humour of columnist and memoirist Ed Smith. It focuses on Smiths playful efforts to harmonize Christian faith and practice with a measure of religious uncertainty presented as a necessary foundation for humane coexistence. Chapter Five examines Ed Kavanaghs novel The Confessions of Nipper Mooney. Primarily, it explicates and examines the novels liberal favouring of the individual moral conscience, and the symbolic association of its religiously dissident and/or marginalized protagonists with elements of the Catholic tradition. Chapter Six discusses Berni Stapletons comic play The Pope and Princess Di. The chapter emphasizes the plays presentation of symbols constant subjection to alteration and hybridization, and its cautious regard for valuable symbols (religious or otherwise) that nonetheless become destructive when viewed as sacrosanct.<p>Chapter Seven concludes the study by considering the works participation in political, philosophical, and literary/dramatic movements that problematize long-established religious modes and support a secular-pluralist outlook. It reflects on the role of humour in movements for change and on didacticism and popular humour as features of publicly engaged literature; it discusses other works of Newfoundland humour that approach religious matters from similarly secular, though less overtly political, angles; and it speculates on some social implications of the ascendancy of liberal, pluralistic values, considering these Newfoundland works in a more general Canadian cultural context.
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Les rêves dysphoriques chez les enfants : épidémiologie, facteurs de risque et traitementSimard, Valérie January 2008 (has links)
Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal
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African materialist aesthetics in African literature with special reference to isiZulu textsNcongwane, Sipho 02 1900 (has links)
Text in English with abstracts in English, Afrikaans and isiZulu / This six-chapter study is a qualitative research work conducted within the Afrocentricity framework covering the application and testing of three newly found Afrocentric theories in African literature with special emphasis on isiZulu texts.
The aim of this study is to test the application of Afrikan Humanism, Intsomi dream theory, and Africentricity theory. These theories were developed as a result of the debate between Eurocentric and Afrocentric scholars in literature and literary criticism.
In this study the research comprised of examination of existing literature on literary criticism with particular focus on Afrocentricity perspectives on the literary criticism debate.
The researcher employed the purposive sample on the theories as well as on the 5 short stories, and 2 novels on which Afrikana Humanisim, Intsomi dream theory, and Africentricity theory were applied.
Amongst the findings, it is evident that South African scholars are still yearning to contribute on the debate and this has led to modifications of theories and development of new ones such as the Afrikan Humanism, Intsomi dream theory, Africentricity theory, African materialist aesthetics, multi-approach reading, systems, inter-cultural.
Future research includes continued studies in decoloniality of African literature, orality research and empirical data should be generated to expand the field of African literary criticism with fresh approaches being tested and applied. New theories, literary frameworks need to be further investigated with a view of entrenching the application of Afrocentricity whilst decolonizing literature in Africa.
, Materialist, Aesthetics, Literature, Orality, Orature, Decolonisation, Feminism, Theory, isiZulu, culture, tradition. / Feministiese geleerdes voer al geruime tyd 'n warm debat oor die kwessie of die
normalisering van kosmetiese chirurgie vroue positief beïnvloed, vroue bemagtig deurdat dit
volmag en keuse vir hulle in die hand werk (Gimlin 2002; Kuczynski 2006), of vroue onderdruk
deurdat dit patriargale ideologieë voorstaan wat die vroueliggaam inperk en gevolglik die
vrou inhibeer om haar stem te laat hoor (Blood 2005; Blum 2005; Clarke en Griffin 2007;
Heinricy 2006; Tait 2007). In plaas daarvan om by hierdie debat betrokke te raak, gaan ek van
die veronderstelling uit dat die normalisering van kosmetiese chirurgie 'n vorm van implisiete
en eksklusiewe geweld is.
Aan die hand van post-strukturalistiese, feministiese en psigoanalitiese teorieë
ontleed ek die manier waarop hierdie vorm van geweld vroue se liggaam onderwerp en hul
psige vorm. Ek dekonstrueer die vorming van die genormaliseerde self, die bewussyn en die
daad van belydenis, soos dit in die konteks oorgebring word, aan die hand van Jacques Lacan,
Judith Butler en Michel Foucault se beskouings van herderlike oftewel pastorale mag.
Hierbenewens onderstreep ek die rol wat liberale feminisme in hierdie vorm van
onderwerping speel. Sodoende demonstreer ek teoreties hoe die voortdurende en
effektiewe funksionering van pastorale mag in die konteks van ’n individualiseringstegniek
vroue in die tweede dekade van die een-en-twintigste eeu onderdruk. Ek maak die aanname
dat die normalisering van kosmetiese chirurgie daartoe bydra dat vroue die swye opgelê
word, die individu se psige uitgebuit en onderdruk word en die lewende liggaam ontkragtig
word deur middel van ’n inkerkering wat minder sigbaar en minder eksplisiet is en agter ’n estetiese en morele sluier verdoesel word.
In hierdie konteks bied ek ’n teendiskoers aan vir die onderwerping wat onderliggend
is aan die normaliseringsdiskoerse wat die kosmetiesechirurgiebedryf ondersteun, en ek
bepleit dat die patriargale norme wat in diskoerse oor kosmetiese chirurgie vassit,
gedestabiliseer word. Ek demonstreer verder ’n teoretiese rekonstruksie wat ’n inskripsie
insluit van wat ek ’n geloofwaardige feministiese stem in die eietydse verbruikerskultuur
noem – ’n modus van intieme, onbewuste opstandigheid.
Ek bepleit 'n terugkeer na Julia Kristeva se teorie en die intieme oproer wat deur haar
etiese benadering voorgestaan word. Afgesien hiervan stel ek ’n stem voor wat ’n intieme
opstand demonstreer – ’n stem wat patriargale norme uitdaag en nie uitsluitlik onderdruk
word deur die normaliseringsmeganismes wat vorm gee aan die vrou van die een-entwintigste
eeu nie, waar die klem op die kosmetiesechirurgiebedryf en die boliggende
diskoerse daarvan val – Antjie Krog, Suid-Afrikaanse digter. Dit is juis Krog se kunstig
gestruktureerde digterlike tekste wat my teoretiese rekonstruksie fasiliteer.
Aan die hand van Kristeva se teorie oor semanalise toon ek teoreties dat Krog se werk
’n ruimte daarstel wat "uitstyg" bo die grense wat die wet van die Vader en die
normaliseringsmeganismes stel. Hierbenewens stel ek ’n "originêre gehegtheid" as
aanpassing van Kristeva se beskouing van die chora voor, en my voorstel van ’n "originêre
ideaal" daag Kristeva se opvating oor paragramme uit in die konteks van dit wat ten grondslag
lê aan die gebied van die paternalistiese metafoor.
Op grond van Louise Viljoen se ontleding van Krog se werk en Bridget Garnham se
navorsing oor opkomende diskoerse oor ontwerpers- kosmetiese chirurgie bied ek Krog se
digterlike tekste aan as ’n teendiskoers vir die "morele" diskoerse oor kosmetiese chirurgie
wat die verouderende individu in die tweede dekade van die een-en-twintigste eeu uitbuit.
Daarby, deur Kristeva se teorie oor paragramme op Krog se digterlike teks(te) toe te pas,
demonstreer ek 'n destabilisering van die patriargale norme wat implisiet in diskoerse oor
kosmetiese chirurgie teenwoordig is. Hierbenewens brei ek Kristeva se teorie oor die
negatiwiteitsbeginsel uit deur middel van ’n heroorsetting van die belydenisdaad in Krog se
digwerk(e), ’n uitbreiding van Foucault se pastorale mag en Butler se opvatting oor die
eksklusiwiteit van normalisering, en ’n opeising van Krog se verouderende liggaam in
Verweerskrif/Body Bereft (Krog 2006). / Sekubekhona izingxoxo-mpikiswano eziningi kwizifundiswa zama-feminist ukuthi
ngabe ukwenza isurgery yohlinzo olungajulile ukuzishintsha ukubukeka ngokwemvelo
(cosmetic plastic surgery) kunomphumela omuhle yini kwabesimame, ngabe kuhlinzeka
ngamandla kwabesimame ngokuphakamisela phezulu ukuthi umuntu azenzele akufunayo
kanye nokuzikhethela (Grimlin 2002, Kuczynski 2006) noma kuyinto ecindezela abesimame
ngokuqhubela phambili indlela nama-idiyoloji abekwa ngabesilisa ukuthi imizimba
yabesimame kumele ibukeke kanjani, kanti lokhu kucindezela izwi labesimame (Blum 2003,
Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Kunokuthi iphuzu nami
ngingenele kule ngxoxo-mpikiswano, elami iphuzu lona liqhubeka ukusukela kwisimo
sokuthi ukwamukela uhlujzo olungajulile lokuzitshintsha ukubukeka kwabesimame
(cosmetic surgery) kuyindlela yodlame olungaqondile ngqo kanye nolukhipha inyumbazane
abesimame. Ngokusebenzisa amathiyori epost-structuralist, awe-feminist kanye nawepsychoanalytical,
ngihlaziya indlela le nhlobo yalolu dlame ecindezela ngayo imizimba
yabesimame kanye nokuhlela indlela okumele bacabange nokuzibona ngayo.
Ngokusebenzisa iphuzu likaJacques Lacan, Judith Buttle kanye noMichel Foucault lamandla
okukhokhela ngokomoya, ngiqhaqha indlela okubumbeka ngayo isithombe sokuzibona,
unembeza kanye nomoya wokuhlambulula ngokuzidalula (confession) lapho kubhekwa
izinto ngaphansi kwesimo somzimba wokuhlinzwa okungajulile ukuzishintsha ukubukeka
ngokwakho. Nangaphezu kwalokho, ngigqamisa indima ye-liberal feminism ngokwayo kule
nhlobo yencindezelo. Ngokwenza lokho, ngikhombisa ngokwethiyori ukuqhubeka
nokusebenza kwamandla esikhokhelo ngokomoya ngaphansi kwethekniki yokuzazi komuntu
eyedwa okucindezela abesimame kwiminyaka elishumi yesibili, yesenshuri yamashumi
amabili nanye . Ngiqhubela phambili iphuzu lokuthi ukwenziwa kohlinzo olungajulile
lokuzishintsha ukubukeka kuqala umoya wokucindezela izwi labesimame, ukuxhashazwa
kwabo, kanye nendlela umuntu azibona ngayo ngokwengqondo, kanye nokucindezela
umzimba ophilayo ngezindlela ezingazibonakalisi obala, ezifihlekile, indlela yokubopha
efihlwa yindlela yokubukeka kanye nokwembozwa umoya.
Kungaphansi kwalesi simo lapho ngethula khona i-discourse yencindezelo eyenza
ukuthi imboni yohlinzo olungajulile ukuzishintsha ukubukeka kwabesimame kube yinto
ephakanyiswayo nokubonwa iyinhle, ukuphazamiseka kwama-norm endlela yengcindezi yabesilisa, ngaphansi kwama-discourse okuhlinzwa okungajulile ukushintsha ukubukeka,
kanye nokwakha ithiyori ebandakanya ukubona izinto ngendlela ethize, engikuchaza
njengezwi okuyilo elifanele le-feminism, kwisimo sosiko esiphila ngaphansi kwaso samanje -
okuyindlela abantu abazibuka ngayo ezingqondweni ngendlela engekho obala.
Ngigcizelela ukubuyela kwithiyori kaKristeva, kanye nokuthi abantu babhoke
indlobana ngezindlela eziphansi, okuyinto ayiphakamisayo yenkambiso yokwazi okulungile
nokungalunganga (ethical approach). Naphezu kwalokho, ngiveza izwi elibonisa ukubhoka
indlobana kwabesimame ngendlela engekho sobala - izwi elifaka inselele kuma-norm
okubhozomelwa ngumqondo wokulawula kwabesilisa, kanti futhi leli zwi aligcinanga nje
kuphela umumo wabesimame ngendlela ejwayelekile njengowesimame wesenshuri
yamashumi amabili-nanye ngokugcizelela kwimboni yohlinzo olungajulile lokuzishintsha
ukubukeka, kanye nendlela lokhu okuyisihibe ngayo – ngokusho kukasonkondlo
waseNingizimu Afrika, u-Antjie Krog. Imibhalo yezinkondlo zikaKrog ezinobungcweti yiyo
eyenze ukwakha kwami kabusha ithiyori.
Ngokusebenzisa ithiyori kaKristeva ye-semanalysis, ngibonisa ngokwethiyori ukuthi
umsebenzi kaKrog uqambe okweqele ngaleya kwizihibe zomthetho kubaba kanye nezindlela
zokwenza izinto zibukeke ngendlela evamile noma zingavamile. Nangaphezu kwalokho,
ngifakela i-"originary attachment" njengokwenza ukuthi kube kwesinye isimo, iphuzu likaKristeva ku-chora kanti isiphakamiso sami se-"originary ideal" sifaka inselele kusigcizelelo
sikaKristeva ngamagremu efonethiki ngaphansi kwesimo esigcizelela umfanekiso
ngasohlangothini lobaba.
Ngokusebenzisa ukuhlaziya kukaLouise Viljoen kumsebenzi kaKrog kanye nocwaningo
lukaBridget Garnham ngokuvela kwama-discourse ohlinzo olungajulile ukuzishintsha
ukubukeka njengesisekelo, ngase ngethula imibhalo yezinkondlo zikaKrog njenge-discourse
yokuphikisa ama-discourse e-"moral" yama-discourse ohlinzo olungajulile lokuzishintsha
ukubukeka, elixhaphaza abantu abagugayo ngeminyaka eyishumi yesibili kwisenshuri
yamashumi amabili-nanye. Naphezu kwalokho, ngisebenzise ithiyori kaKristeva
kumapharagramu kwimibhalo yezinkondlo zikaKrog, ngaphazamisa imibono yokuphatha
kwabesilisa equkethwe kuma-discourse ohlinzo ulungajulile ukuzishintsha ukubukeka.
Ukuqhubekela phambili, nginwebe ithiyori kaKristeva ngesimiso se-negativity ukwethula
ukuhumusha kabusha umoya wokuzihlambulula ngokuzidalula otholakala kwizinkondlo zikaKrog, ukuwukunweba amandla umbono kaFaucault wamandla okuthi abantu bazibone
ngenye indlela kanye nephuzu likaButler wlkuthi into engavamile engaphandle ibonwe
njengento efanele, kanye nokwamukela umzimba ogugayo kwinkondlo ye-
Verweerskrif/Body Bereft (Krog 2006). / African Languages / D. Litt. et Phil.(African Languages)
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Dream and vision in Scotland, c.1375-1500Murray, Kylie Marie January 2012 (has links)
No description available.
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La fantaisie noire dans la fiction en prose de Boris Vian (Romans, nouvelles, pièce de théâtre) / The “fantaisie noire” in the fictional texts in prose of Boris Vian (Novels, short stories and plays)Pradère-Ascione, Clémentine 29 June 2015 (has links)
L’œuvre littéraire de Boris Vian interpelle par la diversité des émotions qu’elle suscite. Elle est pourtant restée longtemps méconnue, masquée par les talents protéiformes de son auteur. Boris Vian, dont la majorité des textes ont été publiés à titre posthume, fut perçu comme un touche-à-tout avant d’être véritablement reconnu comme écrivain, pour finalement entrer dans l’édition de la Pléiade en 2010, cinquante et un an après sa mort. Le premier réflexe est de faire appel à la notion de fantaisie pour analyser son œuvre. Le monde fictionnel qu’il crée est un univers fantaisiste où triomphent imaginaire et inventivité. Pourtant, des univers contradictoires s’entremêlent : féerie et cruauté, légèreté et inquiétude, désinvolture et gravité, imaginaire et réalité. En nous appuyant uniquement sur les textes de fiction en prose (romans, nouvelles et pièces de théâtre), nous nous sommes donc interrogés sur la légitimité de la notion de fantaisie. Son évidence apparente résiste-t-elle à un examen plus poussé ? Ce questionnement nous a conduits à élaborer la notion de « fantaisie noire ». Tantôt féerique, invraisemblable, langagière, comique ou parodique, la fantaisie se heurte à l’intériorité des personnages et à un sentiment d’inquiétude qui contamine les êtres et les choses. La fantaisie cède le pas à la noirceur d’un monde étouffant où le fantasme se révèle dans toute sa puissance. Le retour à la fantaisie n’est alors possible que par des effets de distanciation comiques et une inventivité langagière qui contribue à laisser l’œuvre ouverte. / Boris Vian's literary work calls to mind by the feelings it arouses. For a long time it nevertheless remained unknown concealed by its author's protean talents. Boris Vian, whose texts were mostly published posthumously, wasn't at the beginning seen as a writer to finally get in the Pléiade in 2010, 51 years after his death. To analyse his work it appears natural to consider the idea of fantasy. The fictional world he created remains a fantasist one where imagination and inventiveness prevail. Yet, opposing worlds get mixed up: fairy and cruelty, casualness and anxiety, indifference and seriousness, fantasy and reality. Considering only the fictional texts in prose (novels, short stories and plays) we questionned the legitimity of the fantasy notion. Does its obviousness withstand a further analysis? This questioning drove us to the idea of 'fantaisie noire'. Sometimes magical, incredible, linguistic, comical or parodic, the fantasy collides with the inwardness of the characters and with an anxiety that contaminates both beings and objects. The fantasy defers to an oppresive world where the dream reveals itself in all its power. The come back to fantasy is then only possible by comical detachments and a linguistic inventiveness that contributes to let the work opened.
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Die Entwicklung der Harmonik bei SkrjabinSabbagh, Peter 22 September 2023 (has links)
Der Beitrag verfolgt die Entwicklung der Skrjabin’schen Harmonik von dessen Früh- bis zu dessen Spätwerk. Ausgehend vom der Struktur des Einzelklangs (›Chopin-Akkord‹, ›Skrjabin-Akkord‹) werden die Tendenzen aufgezeigt, die folgerichtig ein neues Klangfortschreitungssystem nach sich ziehen. Der äquidistante Quintenzirkel wird durch andere, ebenfalls äquidistante Zirkel ersetzt. Es entstehen symmetrische Tonsysteme, an die später u.a. Olivier Messiaen anknüpft. Als entscheidend gilt dem Autor die Idee der ›Verdichtung‹ – ein Begriff, den Sigmund Freud in seiner Theorie der Traumdeutung ausgearbeitet hat. In dessen Sinne wird die Klangsprache Skrjabins als Verdichtungsarbeit interpretiert. / This article traces the development of Scriabin’s harmonic practice from his early work to his late work. Proceeding from the structure of individual chords (e.g., the “Chopin chord,” the “Scriabin chord”), tendencies will be shown that consequently lead to a new system of harmonic progression: the equidistant circle of fifths is replaced by other circles that are also equidistant. The result is symmetrical tone-systems that later influence Olivier Messiaen, among others. The author places special emphasis on the idea of “condensation” (Verdichtung), a term developed by Sigmund Freund in his theorizing of the interpretation of dreams. In this sense Scriabin’s harmonic language is thus interpreted as a process of condensation.
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