Thesis (M.S.)--University of Wisconsin--Madison, 1975. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1976. / Typescript. Also available in print.

Diss. / Bibliogr. p. 349-411.

Texte remanié de: Proefschrift--Letteren en wijsbegeerte--Universitaire instelling Antwerpen, 1986. / Bibliogr. p. 486-523. Index. Résumés en français et en anglais.

The preface to The Picture of Dorian Gray is often dismissed as merely an addendum to the novel intended to detract hostile readers and absolve the text itself of any accusations of immorality. When coupled with the narrative itself, however, the novel shows both the impossibility of producing the new through traditional notions of revolution, as well as the way in which the Deleuzian conception of judgment inhibits Dorian from ever viewing the portrait as insignificantly amoral, as not symbolic of his sins. Yet the preface, coupled with the various aesthetic objects in the text, is productive of a new form of judgment, one that does not reproduce the same moral order. This takes the form of a "useless" judgment. When Lord Henry claims he wishes to change nothing in England but the "weather," this is the same as the portrait, returned to its original form, hanging over Dorian's body at the novel's end: neither is a judgment with a use, but rather a judgment of a work of art that produces nothing in the work of art. Lord Henry cannot change the weather, and the portrait's changes do not help or affect Dorian in any way. Thus we see the answer to Deleuze's question of what the "refusal of work" would look like. Art is "quite useless" in that it is both extremely removed from any and all spheres concerned with moral order, and also fairly indifferent to this fact and Dorian's concern with maintaining a world organized by useful symbols.

Tese (doutorado)—Universidade de Brasília, Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-04-24T14:16:01Z No. of bitstreams: 1 2013_AnaClaudiaBoerBreier.pdf: 406471329 bytes, checksum: 504317b55a6e3b60e39291f20123db4d (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-04-24T14:48:41Z (GMT) No. of bitstreams: 1 2013_AnaClaudiaBoerBreier.pdf: 406471329 bytes, checksum: 504317b55a6e3b60e39291f20123db4d (MD5) / Made available in DSpace on 2014-04-24T14:48:41Z (GMT). No. of bitstreams: 1 2013_AnaClaudiaBoerBreier.pdf: 406471329 bytes, checksum: 504317b55a6e3b60e39291f20123db4d (MD5) / Este trabalho visa aprofundar os estudos e a documentação pertinentes aos espaços de exposição projetados pelo arquiteto Oscar Niemeyer para Brasília. Nesta temática, compreendem-se museus, memoriais, monumentos e pavilhões realizados no período de aproximadamente cinquenta anos que vai de 1957 a 2008. Como subsídios para esta pesquisa, a primeira parte da tese refere-se às dimensões do objeto, compreendendo sua história, sua arquitetura e seus principais conceitos. De posse dessas informações, na segunda parte, analisam-se as obras relacionadas com exposições desenvolvidas pelo arquiteto ao longo da sua carreira na capital da república, buscando o entendimento do seu processo projetual. Para isso, recorreu-se a fontes primárias e à bibliografia referente a Oscar Niemeyer. _______________________________________________________________________________________ ABSTRACT / This work aims at delving deeper on studies and the documentation pertinent to the exhibition spaces designed by the architect Oscar Niemeyer for Brasilia. Museums, memorials, monuments and pavilions designed within a time span of nearly fifty years, from 1957 to 2008. As subsidy for this research, the first part of the thesis refers to the dimensions of the object, containing its history, architecture and main concepts. In possession of such information, in the second part, we analyzed works related to exhibitions developed by the architect throughout his career, in the capital of the Republic, seeking an understanding of his designing process. To accomplish these goals, primary sources and bibliography on Oscar Niemeyer were consulted.

Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-09-11T22:52:18Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Fernando Aureliano de Araújo.pdf: 8137010 bytes, checksum: d3399a637a2b2f75e278494916179e7f (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-09-17T18:45:45Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Fernando Aureliano de Araújo.pdf: 8137010 bytes, checksum: d3399a637a2b2f75e278494916179e7f (MD5) / Made available in DSpace on 2018-09-17T18:45:45Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Fernando Aureliano de Araújo.pdf: 8137010 bytes, checksum: d3399a637a2b2f75e278494916179e7f (MD5) Previous issue date: 2016-09-15 / A presente dissertação tem como objetivo discutir o processo de implementação do Parque Dona Lindu no Recife – um projeto do arquiteto Oscar Niemeyer – a partir dos discursos de alguns representantes do poder público e da sociedade civil, no período de 2003 a 2011. Frente ao pleito da comunidade do bairro de Boa Viagem de desapropriar uma área para a construção de um parque público, a Prefeitura do Recife decide convidar o arquiteto Oscar Niemeyer para fazer o projeto do espaço público, então denominado Parque Dona Lindu. Parecia estar caracterizado um apelo do órgão municipal em atrelar a iniciativa governamental ao autor como atributo cultural sob a perspectiva patrimonial. A assinatura do parque daria status como uma grife desejada e um bem a ser consumido. A polêmica se estabelece porque o arquiteto propôs uma grande edificação de função cultural como elemento central de abrangência metropolitana que se contrapôs ao anseio de uma parcela dos moradores do bairro por um ‘parque verde’, contemplativo, aos moldes do Parque da Jaqueira, referência de espaço público recreativo para os recifenses. O processo de implementação para a construção do parque se pratica a partir de contradições e discórdias. Assim, a sociedade constrói novos modos de produção, novas formas de apropriação em um espaço social que incorpora ações oriundas de sujeitos coletivos ou individuais formados em negociações cotidianas. O debate instaurado neste estudo apoia-se na noção de produção do espaço social, defendida por Henri Lefebvre (2013), e de espaço cotidiano, tratado por Michel de Certeau (1998). O método utilizado para a pesquisa lançou mão de procedimentos da Nova História Cultural. Depoimentos prestados em entrevistas foram cruzados com a pesquisa documental, realizada principalmente em jornais locais, com o fim de captar emoções, ideias, sentimentos, desejos, rejeições e temores, que refletem aspectos dos seres humanos de uma determinada época, e identificar os grupos focais relevantes nesse processo, interpretando a história oral de cada grupo social. Dessa forma, foi possível perceber no processo de implementação desse parque uma teia de relações que envolvem diversos atores (poder público, sociedade civil, dentre outros) que se questionam a cada momento em busca do seu bem comum, que nem sempre é comum a todos e que muitas vezes surpreende, pois só com o uso se pode confirmar. / This thesis aims to investigate the implementation process of the Dona Lindu Park in Recife, between the years (2003-2011), trying to understand the contradictions between the various speeches of representing the government and civil society. It is based on the notion of production of social space defended by Henri Lefebvre (2013) and Michel de Certeau (1998), according to which the space would be an intense network of relationships that are produced and reproduced continuously. As this thought society builds new production methods, new forms of appropriation which arranges for its purposes, the existing spaces, modeling them. This social space incorporates social acts arising from collective or individual subject formed in everyday negotiations. The city of Recife to disclose that the design of public park Dona Lindu would be in charge of the architect Oscar Niemeyer’s office wanted to enhance the project with the signing of a renowned architect. This signature win status, it is assigned qualities that give the material object the nature of economic good, desired brand as an asset to be consumed. The demand was the architect for a metropolitan center of culture and leisure, something like a cultural park. The neighborhood residents wanted a green, contemplative park, the molds Jaqueira Park (Recife-PE), unlike the Cultural and Commercial proposed by the City Center. It began this way to germinate the surrounding contradictions of the implementation of the Dona Lindu Park, wrapped in controversy and discord. The method used to research made use of procedures of the New Cultural History. From the answers of the interviews (interviews) correlated with bibliographic and documentary research, carried out in newspaper, it was intended to capture emotions, ideas, feelings, desires, rejections and fears that reflect aspects of men of a certain age... but also determines the keywords and relevant focus groups in the process seeking to interpret the oral history of each social group. Thus I realize the implementation of the park a web of relationships involving various stakeholders (government, civil society, etc.) that question every time looking for their common good which is not always common to all, thus causing divergences, which are detailed in the following chapters.

M.A. / The life and work of Oscar Wilde are characterised by ambivalence and paradox. In certain of his works he identifies with the moral codes pertaining to the Victorian era and in others he satirizes, and even rejects, the existing morality. The translator of Wilde’s literary works is confronted with numerous contextual and textual challenges, for example how to translate the moral codes of the Victorian era in a manner that will be relevant to an Afrikaans readership and how to do justice to his specific style of writing. This study aims to identify procedures and strategies to meet these challenges successfully. In the first instance, a translator needs to familiarize herself with the historical and cultural context in which Wilde’s literary works found their origin. This would necessitate a closer look at the Victorian era in order to understand the dynamics and the moral and ethical codes and dominant influences that shaped Wilde’s writings. Finally, the target culture’s attitudes and feelings concerning the moral issues at stake are analysed to determine the impact and relevance of Wilde’s works in a contemporary Afrikaans society. Certain translation strategies, that also prove the timeless appeal of certain of his works, are suggested and demonstrated. The translation of Wilde’s work appears to be justified as it may also enhance and benefit Afrikaans in its struggle for renewed recognition and identity and in so doing will further the cause of the other nine official languages. The ultimate challenge for the translator, however, is to strive to capture the unique essence of Wilde’s works. The timeless appeal of his work can be attributed to the ‘multi-voicedness’ with which he challenged the Victorians. A successful translation in Afrikaans would therefore need to ‘translate’ this ‘multi-voicedness’ so that an Afrikaans reader is challenged in much the same way as his Victorian counterpart.

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