Based on the author's dissertation. / Includes bibliographical references (p. 265-279) and index.

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This study examines the literary career of Oscar Wilde as the formation and expression of a sensibility exhibiting highly developed powers of both orality and literacy. In other words, Wilde's work and life reveal the mind of both a talented writer and a talker par excellence, and this inquiry explores the development and co-existence of the two modes, in particular as they manifest themselves in Wilde's writing and in his relations with the societies in which he found himself. Chapter One discusses the balance between Wilde's talk and his writing as it was experienced by W. B . Yeats, who emerges as a very persistent and perceptive biographer of this aspect of Wilde's genius. The theoretical framework and terminology developed by Walter J. Ong (1982) is also brought to bear on the discussion as a further illumination of Yeats's accounts. Chapter Two presents an outline of some aspects of the history and culture of Ireland which might explain the formation of a dual sensibility such as Wilde's. In Chapter Three this line of inquiry is extended further into the domestic circumstances in which Wilde grew up, focussing in particular on the influence of his tutor at Trinity, J. P. Mahaffy. A discussion of the links between Wilde and Mahaffy includes consideration of the parallels between their written works, culminating in an interpretation, at the end of the chapter, of the origins and dynamics o f Wilde's essay "The Decay of Lying." Chapter Four continues to explore the links between Mahaffy and Wilde, but shifts the focus to their mutual classicism, which also provides a lens through which to view the further development of Wilde's dual oral/chirographic sensibility at Oxford, symbolized in the person and the work of Walter Pater. I then offer a reading of "The Critic as Artist" as an expression of Wilde's Oxford literary idealism, expressed through his call to "return to the voice." From there this study moves to a discussion of Wilde's subsequent life and work in terms o f a combined orality and literacy. Chapter Five is devoted to an exploration o f the power of the voice and the spoken word in The Picture of Dorian Gray, and Chapter Six examines the spoken stories, Salome, and The Importance of Being Earnest through a similar perspective. The Conclusion extends the analysis to Wilde's trial and prison sentence, his last works including De Profundis, and his final years as a storyteller in Paris.

A presente Tese pretende discutir as questões pertinentes à relação entre a arquitetura de Oscar Niemeyer e o lugar. Devido a vasta obra do arquiteto, foram selecionados alguns edifícios (construídos e não construídos), tendo, como tônica, a de serem significativos ao tema dentro de uma diversidade do conjunto da obra no que condiz à estabelecer relações mais profundas com o lugar. Inicia-se com um breve discussão sobre o lugar, levando em consideração os conceitos abordados por Schulz (1980). Os estudos de caso iniciam em Brasília, onde o arquiteto elabora edifícios símbolo a partir do nada. O próximo capítulo versa sobre a marquise do Ibirapuera, como criadora de uma promenade, que estabelece interessantes relações com o parque e os edifícios. Uma análise dos edifícios em altura dá continuidade ao trabalho, onde um dos exemplos é o edifício Copan. Duas obras acontecem em capítulo exclusivo: O centro cultural em Le Havre, que aparece como a obra mais expressiva dos anos 1970, e o museu de Niterói, pela marcante relação criada com a paisagem natural. Contraponto é o título dado ao último capítulo, que versa sobre os edifícios que resolvem o programa em duas partes bem distintas: um edifício em barra horizontal e um volume adjacente em forma escultórica, finalizando com o museu Oscar Niemeyer em Curitiba, onde o arquiteto concebe um anexo para um edifício de sua própria autoria, cerca de 40 anos depois. / This thesis aims to discuss issues relevant to the relationship between the architecture of Oscar Niemeyer and place. Due to extensive work by the architect, we selected a few buildings (built and not built), and as tonic, to be meaningful to the theme of diversity within a range of work in that match to establish deeper relationships with the place. Begins with a brief discussion about the place, taking into consideration the concepts covered by Schulz (1980). The case studies begin in Brasilia, where the architect designs symbol buildings from scratch. The next chapter is about the Marquise do Ibirapuera, as creator of a promenade, which provides interesting relationship with the park and buildings. An analysis of high buildings gives continuity to the work, where one of the examples is the Copan building. Two works only happen in separated chapters: The cultural center in Le Havre, which appears as the most significant works of the 1970s, and the museum in Niteroi, wich states a remarkable relationship with the natural landscape. Counterpoint is the title given to the last chapter, which is about the buildings that address the program in two very different parts: a building in a horizontal bar and an adjacent volume in sculptural form. The chapter ends with the Oscar Niemeyer Museum in Curitiba, where the architect designs an annex to an existing building of its own making, some 40 years later.

A leitura comparativa das arquiteturas de Oscar Niemeyer e Le Corbusier aponta para a existência de um diálogo. Os três encontros ocorridos entre os arquitetos em 1936 no Rio de Janeiro, em 1947 em Nova York e 1955 em Paris prestam-se como cenário para uma troca de experiências estéticas caracterizada por uma relação de influência e contra-influência. Nos projetos que sucedem seu primeiro encontro com Le Corbusier na cidade do Rio de Janeiro em 1936, Niemeyer estrutura sua própria linguagem no instante em que, expande à escala do edifício, os elementos de caráter compositivo que Le Corbusier preserva internos a um esquema plástico-gráfico de matriz pictórica. A crescente emancipação da forma de traçado curvilíneo com relação aos pressupostos puristas apregoados por Le Corbusier em seus projetos realizados durante a década de 1920, além de representar a autonomia formal da arquitetura de Oscar Niemeyer, sinaliza uma perspectiva plástica para a própria obra de Le Corbusier, justamente no momento em que o arquiteto franco-suíço, em 1947, na cidade de Nova York, é apresentado, pelas mãos do arquiteto brasileiro, às fotografias dos edifícios da Pampulha. No início de 1955, ano em que inicia uma severa auto-crítica com relação aos seus procedimentos projetuais, Niemeyer realiza sua primeira viagem à Europa e reencontra Le Corbusier, dessa vez, no atelier do mestre em Paris. Ao ser apresentado aos estudos de Le Corbusier para os palácios de Chandigarh, Niemeyer encontra o nexo entre síntese plástica e monumentalidade que será incorporado em seus projetos para os palácios de Brasília. Oscar Niemeyer arma seu universo estético a partir de um raciocínio dialético que oscila entre o respeito e a ruptura com relação aos postulados corbusianos. Ao extravasar a dimensão expressiva da plástica arquitetônica para além dos parâmetros reguladores dos modelos de Le Corbusier, Niemeyer revigora os sentidos da superfície, da forma e do espaço na arquitetura moderna, assimilando o projeto como um desenho da própria paisagem. / The comparison between Oscar Niemeyers and Le Corbusiers architectures points out to the existence of a dialog. The three meetings that took place in Rio de Janeiro in 1936, New York in 1947 and Paris in 1955, provides a scenario for an aesthetic interchange of experiences, characterized by a relation of influence and counter-influence. In the works that come after Niemeyers first meeting with Le Corbusier in the city of Rio de Janeiro in 1936, he structures his own language at the same time that he expands and reaches the building scale, the compounded elements Le Corbusier preserved inside a plastic/graphic scheme of pictorial source. The growing curved line trace freedom with regard to the purist presupposes divulged by Le Corbusier in his projects realized during the 1920s, besides representing the formal autonomy of Niemeyers architecture, points to a plastic perspective in Le Corbusiers own works, just in the moment when the French-Swiss architect in 1947, in New York city, is introduced, through the Brazilian architect, to Pampulha building photographs. Early of 1955, the year he initiates a strong self-criticism of his design procedures, Niemeyer travels to Europe for the first time and meets Le Corbusier again, at the masters atelier in Paris. Introduced to Le Corbusiers plan for Chandigarh Palaces, Niemeyer finds the connection between plastic syntheses and monumentality, which would be incorporated in his works for Brasilia Palaces. Oscar Niemeyer builds his aesthetic universe from a dialectical thought that oscillates between respect and rupture with regard to the Corbusian postulates. Extroverting the expressive dimension of architecture plastics to beyond the regulator parameters of Le Corbusiers models, Niemeyer revives the surface, form and space senses in modern architecture, incorporating the design project as a drawing from landscape itself.

Este trabalho consiste em uma investigação aprofundada da arquitetura dos museus projetados por Oscar Niemeyer de 1951 a 2006. O período estudado abrange praticamente todas as fases da carreira do arquiteto. Os limites temporais são definidos pelo Palácio das Artes, o primeiro museu criado, e pelo Museu Nacional de Brasília, o último museu construído. Nosso objetivo foi compreender o papel do programa como coadjuvante dentro da metodologia projetual de Niemeyer, a partir da hipótese de que, nos projetos de museus, sua preferência pela definição formal e o desejo de evidenciar os desafios da técnica levaram-no a elaborar parte do programa que criou, justificando assim a volumetria projetada e construída. A investigação possibilitou afirmar que Niemeyer utilizou, durante décadas, nos museus que projetou, um programa arquitetônico simples, e que nos museus de maior escala, que efetivamente construiu Museu de Arte Contemporânea de Niterói (1991-1996), Museu Oscar Niemeyer (2000-2002) e Museu Nacional de Brasília (1999 2006) acrescentou a esse programa simples atividades que nasceram, fundamentalmente, em razão de questões formais e estruturais. / This work consists of an in-depth investigation of the architecture of museums designed by Oscar Niemeyer from 1951 to 2006. The period studied covers essentially all phases in the architects career. The time limits are defined by the Palácio das Artes, the first museum designed by the architect, and by the Museu Nacional de Brasília, the last museum built until this date. Our goal is to understand the role of architectural program as a supporting one inside Niemeyers project methodology, from the hypothesis that, in the museums projects, his preference towards formal definition and the desire to highlight technical challenges led him to develop part of the program created, thus justifying the volumetry designed and built. The investigation made possible for us to state that Niemeyer used, for decades, in the museums he designed, a simple architectural program, and that in the museums of larger scales which he actually built the Museu de Arte Contemporânea de Niterói (1991-1996), the Museu Oscar Niemeyer (2000-2002) and the Museu Nacional de Brasília (1999-2006) he added, to that same simple program, activities that were born, fundamentally, out of formal and structural issues.

O presente trabalho tem por objetivo propor aproximações entre os autores Câmara Cascudo e Oscar Ribas. O primeiro pertencente ao sistema literário brasileiro e o segundo ao angolano. Buscamos a comparação entre ambos, considerando as semelhanças entre seus percursos. Ao longo de suas carreiras, os autores dividiram-se entre a produção literária e a pesquisa folclórica. A proposta que executamos apropria-se do conceito de macrossistema literário defendido por Benjamin Abdala Júnior. Em sua perspectiva, macrossistema é definido pelos contatos que podem ser estabelecidos entre os sistemas literários nacionais no contexto das literaturas de língua portuguesa. Nosso estudo centra-se sobre dois romances: Canto de muro (1959) de Câmara Cascudo e Uanga (feitiço) (1951) de Oscar Ribas. A análise destas obras nos permite apreciar textos fracionados entre o fazer literário e o compromisso com a divulgação de dados de pesquisa. A dualidade nas carreiras dos intelectuais é espelhada na composição de seus romances. Realizamos também uma leitura do livro de ensaios Made in África (1965) de Câmara Cascudo, no qual nos deparamos com um Cascudo leitor de Oscar Ribas e preocupado com os matizes africanos da cultura brasileira. / The present work aims to propose some relations between the writers Câmara Cascudo and Oscar Ribas considering the similarity in their literary journey, the former belonging to the Brazilian literary system and the latter to the Angolan literary system. During their careers, those writers dedicated themselves to the literary production as well as the research on folklore. The study approach is the concept of literary macrosystem defended by Benjamin Abdala Júnior, which is defined by the contacts that can be established among the national literary systems in the context of Portuguese-language literatures. It focuses on two novels, Câmara Cascudo\'s Canto de muro (1959) and Oscar Ribas\'s Uanga (feitiço) (1951). The analysis of both works allows us to appreciate texts parceled into the literary making and the commitment to publishing their researches. That dualism in both intellectual careers is reflected in the composition of their novels. The reading of Câmara Cascudo\'s essay book, Made in África (1965), has allowed us to see Câmara Cascudo as a reader of Oscar Ribas\'s works and a writer concerned about the African hue of Brazilian culture.

This study examines the literary career of Oscar Wilde as the formation and expression of a sensibility exhibiting highly developed powers of both orality and literacy. In other words, Wilde's work and life reveal the mind of both a talented writer and a talker par excellence, and this inquiry explores the development and co-existence of the two modes, in particular as they manifest themselves in Wilde's writing and in his relations with the societies in which he found himself. Chapter One discusses the balance between Wilde's talk and his writing as it was experienced by W. B . Yeats, who emerges as a very persistent and perceptive biographer of this aspect of Wilde's genius. The theoretical framework and terminology developed by Walter J. Ong (1982) is also brought to bear on the discussion as a further illumination of Yeats's accounts. Chapter Two presents an outline of some aspects of the history and culture of Ireland which might explain the formation of a dual sensibility such as Wilde's. In Chapter Three this line of inquiry is extended further into the domestic circumstances in which Wilde grew up, focussing in particular on the influence of his tutor at Trinity, J. P. Mahaffy. A discussion of the links between Wilde and Mahaffy includes consideration of the parallels between their written works, culminating in an interpretation, at the end of the chapter, of the origins and dynamics o f Wilde's essay "The Decay of Lying." Chapter Four continues to explore the links between Mahaffy and Wilde, but shifts the focus to their mutual classicism, which also provides a lens through which to view the further development of Wilde's dual oral/chirographic sensibility at Oxford, symbolized in the person and the work of Walter Pater. I then offer a reading of "The Critic as Artist" as an expression of Wilde's Oxford literary idealism, expressed through his call to "return to the voice." From there this study moves to a discussion of Wilde's subsequent life and work in terms o f a combined orality and literacy. Chapter Five is devoted to an exploration o f the power of the voice and the spoken word in The Picture of Dorian Gray, and Chapter Six examines the spoken stories, Salome, and The Importance of Being Earnest through a similar perspective. The Conclusion extends the analysis to Wilde's trial and prison sentence, his last works including De Profundis, and his final years as a storyteller in Paris. / Arts, Faculty of / English, Department of / Graduate

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de si??cle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ G??rard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Si??cle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

Modekonsumtion handlar idag mycket om självförverkligande och identitet och konsumenter köper ofta produkter baserat på varumärke. Därför lägger många företag stora resurser på att bygga upp starka varumärken och för att bli framgångsrika är det viktigt att de hittar en attraktiv position för det på marknaden. Om varumärket inte lyckas differentiera sig tillräckligt från sina konkurrenter eller av andra anledningar inte är starka eller tydliga nog kan de ompositionera sig. Detta innebär att de byter riktning mot en ny position som förhoppningsvis är mer lönsamt, men detta är inte helt riskfritt. Varumärken som är konsekventa i vad de förmedlar anses vara mer trovärdiga än de som hela tiden förändras. Dock är samhället under ständig förändring och ofta krävs att varumärket utvecklas tillsammans med det för att inte bli omodernt. Denna uppsats har undersökt vilka nyckelfaktorer som kan ge receptet för en lyckad ompositionering. Ett praktiskt fall av ompositionering har ställts mot teorier inom området för att se vilka likheter och skillnader som finns. Vi valde varumärket Oscar Jacobson då det är väl etablerat på marknaden. Kvalitativa, semi-strukturerade intervjuer utfördes med marknadschefen och en av butikscheferna på företaget. Resultatet av intervjuerna jämfördes sedan med teorier från en litteraturstudie och flera intressanta slutsatser kunde dras. Det finns mycket litteratur inom ämnet men denna uppsats har i huvudsak fokuserat på publikationer från David A. Aaker, Henrik Uggla och Jean-Noel Kapferer. En slutsats är att det är viktigt att ompositioneringen sker i ett långsamt tempo för att kunderna inte ska blir förvirrade om vad varumärket står för. Sker det för abrupt riskerar de att förlora trogna kunder. Innan och under ompositioneringen bör företaget även utföra marknadsundersökningar för att kunna granska och följa upp förändringsarbetes utveckling och inverkan. I Oscar Jacobson fall var det även avgörande att företagets ledning byttes ut samt att sortiment anpassades efter deras nya breddade målgrupp. Ibland skiljer sig Oscar Jacobsons tillvägagångssätt från teorierna. Exempelvis är det enligt teorin viktigt att tydligt förmedla det nya varumärket både internt och externt. Enligt vår undersökning har den interna kommunikationen på Oscar Jacobson varit något bristfällig på detta plan. Trots detta kan tilläggas att Oscar Jacobson ompositionering kan ses som ett framgångsrikt exempel och många intressanta slutsatser har kunnat dras.