Methods to automatically extract and validate data from the chemical literature in legacy formats to machine-understandable forms are examined. The work focuses of three types of data: analytical data reported in articles, computational chemistry output files and crystallographic information files (CIFs). It is shown that machines are capable of reading and extracting analytical data from the current legacy formats with high recall and precision. Regular expressions cannot identify chemical names with high precision or recall but non-deterministic methods perform significantly better. The lack of machine-understandable connection tables in the literature has been identified as the major issue preventing molecule-based data-driven science being performed in the area. The extraction of data from computational chemistry output files using parser-like approaches is shown to be not generally possible although such methods work well for input files. A hierarchical regular expression based approach can parse > 99.9% of the output files correctly although significant human input is required to prepare the templates. CIFs may be parsed with extremely high recall and precision, contain connection tables and the data is of high quality. The comparison of bond lengths calculated by two computational chemistry programs show good agreement in general but structures containing specific moieties cause discrepancies. An initial protocol for the high-throughput geometry optimisation of molecules extracted from the CIFs is presented and the refinement of this protocol is discussed. Differences in bond length between calculated and experimentally determined values from the CIFs of less than 0.03 Angstrom are shown to be expected by random error. The final protocol is used to find high-quality structures from crystallography which can be reused for further science.

Androgyny evokes nowadays a plethora of images and associations. In order to discover the meaning of ‘androgyny' conveyed to authors of the so-called Decadent literature movement I found it necessary to give a brief history of the term. However, two androgynous images – ‘hermaphrodite' and ‘asexual' androgyny – have always co-existed and were especially in vogue in the literature of the Fin-de-Siècle period to denote an emerging homosexual identity and especially so in the works of Oscar Wilde. In order to illustrate this I take a psychological approach in an analysis of androgynous literary figures based on R.D. Laing's theories. Particularly in The Divided Self, Laing shows what kind of behaviour patterns stigmatised individuals display, prone as they were to suffering from a heightened consciousness of the ‘self'. In particular, characters not necessarily conforming to one or the other gender are determined by certain stages of ontological insecurity which can be traced in androgynous characters in Decadent literature. In this context ‘Camp' plays an important role, androgyny being one of its central images. Because signs of effeminacy in men were the first visible signs of homosexuality, I examine how ‘camping it up' was a method of dealing with their stigma. The first and most well-known male image associated with what we would now term ‘Camp' is that of the dandy. There are several types of the dandy and each of them undergoes an analysis as to whether they contain psychological signs of stigmatisation. The same procedure is applied to works of authors from the period of French Decadence of the nineteenth century and other literary works which influenced Oscar Wilde. It was there where an increasing psychologisation of protagonists, and especially also stigmatised characters first began to be recognised. I will demonstrate how much Oscar Wilde was greatly influenced by the literary French Decadent tradition of shifting the outer plot to an inner plot. In particular in The Picture of Dorian Gray, but also in his other works, this becomes clear by referring to R. D. Laing's categories of psychological character studies which display, as in Wilde's works, the effects of stigma caused by a gender nonconforming identity.

Este trabalho objetiva documentar e sistematizar a produção arquitetônica de Oscar Niemeyer dentro do tema “edifícios para exposições”. A seleção abrange os projetos para museus, memoriais e pavilhões de exposições produzidos entre 1938 e 2003. Os exemplares estudados são descritos em suas características essenciais, como estrutura, forma, soluções funcionais e relações com o entorno, sempre levando em consideração as vinculações com o tema. São apresentados, quando disponíveis, textos do arquiteto respectivos aos projetos, além de observações consideradas relevantes feitas por outros autores que se debruçaram sobre os casos. As análises e comparações desenvolvidas são exibidas em forma de notas e acrescidas à documentação.O material pesquisado é exposto em ordem cronológica, dividido em três capítulos que compreendem intervalos de aproximadamente 20 anos. A divisão está relacionada a fatos ou características marcantes da carreira do arquiteto. De cada período é composto um pequeno panorama históricosocial- arquitetônico e relatadas possíveis influências na obra de Niemeyer. O corte temático ao longo do tempo, que compreende praticamente toda a carreira do arquiteto, possibilita tecer relações de precedência e descendência entre as soluções adotadas nos exemplares estudados ou com possíveis influências externas, e também discernir princípios que embasaram as decisões projetuais. O material resultante pretende constituir consistente base de dados para pesquisas futuras. / This work intends to register and systemize the architectural production of Oscar Niemeyer concerning the subject “buildings for expositions”. The election encloses museums, memorials and exhibit pavilions designed between 1938 and 2003. The studied units are described in its essential characteristics as structure, form, functional solutions and relations with its surroundings always considering the entailings with the general subject. Texts of the architect relating to the projects are presented when available, beyond other authors comments considered relevant. The developed analyses and comparisons are added in note form to the documentation. The searched results are displayed in chronological sequence, divided in three chapters that include intervals of 20 years approximately. This division is related to facts or important characteristics of the architect’s career. A small “historicalsocial- architectural” panorama of each period and possible influences in the workmanship of Niemeyer are told.The thematic clipping throughout the time (that covers most of the architect’s career) allows to weave anteriority and descent relations between the adopted solutions in the studied units or with possible external influences, and also to discern principles that had based project decisions. The resultant material intends to constitute consistent database for future research.

Throughout British decadent literature, authors creatively experiment with religion. While part of this experimentation is a matter of how authors represent religious subjects or syncretized religious traditions, a much more foundational level of this experimentation seeks to redefine “the religious” altogether. Collectively, the authors in this study seek to redefine “religion” as focused around community, ritual, and aestheticism over creed or dogma. This new definition resonates with the way many twentieth-century sociologist, theologians, and psychoanalytic theorists have discussed the nature and role of religion in Western society, and I rely on these thinkers throughout my methodology. Also central to my methodology is my suggestion that the primary lens through which critics often read British decadence is the lens of experimentation and redefinition. It has been well established that British decadents creatively experimented with their representations of gender and sexuality, their use of genre, and their incorporation of Western philosophy, yet their treatment of religion—specifically the Western religious traditions which appear in their works—has been largely unexamined. This project argues that the British decadent authors’ creative treatment of religion is central to their works and to their broader experimental project. In my first chapter, I suggest that the experimental work that Pater does with philosophy, art theory, and genre has its roots in the experimental work he does with religion. Pater espouses a syncretic approach to religion which sees Christianity as the most recent, and most evolved, link in a series of conversant religious and philosophical traditions. At the same time, he opposes the institutionalization of religion as well as any violence that might take place in its name. In my second chapter, I claim that Oscar Wilde’s destabilization of language—separating words from their denotative meanings—lays the groundwork for his separation of religious ideology from the aesthetic and communal elements of religion. My third chapter argues that decadent religion, as imagined by Pater and Wilde, was not always easily integrated into religious life. I suggest that the sadomasochistic imagery seen throughout some of Francis Thompson’s works signifies a larger conflict between his attraction to decadence and his devotion to Catholicism. In the final chapter, I consider Vernon Lee, a woman writer who spent much of her life in Continental Europe. I claim that her position on the fringes of British, male, decadent society allowed her a unique vantage point, from which she repeatedly examined the decadent religious project even as she valued a secular, moral humanism over that project.

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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 siècle</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 Gérard 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 Siècle 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.

Oscar Wilde’s fairytales have been read to children for more than a century. Nevertheless, since the time of their publication in 1888 and 1891, the target audience of The Happy Prince and Other Tales and A House of Pomegranates have been the concern of critics. Delving into the context behind the rich and colourful imagery, one can find implications of homosexuality, the Paterian aesthetic and religious connotations. According to Carol Tattersall, The Happy Prince and Other Tales successfully mislead the public that it is innocent of any intention to undermine established standards of living or writing. Tattersall’s argument is based on comparing the first collection to Wilde’s second, A House of Pomegranates, which was perceived as “offensive and immoral” (136). On the other hand, William Butler Yeats states in his introduction to The Complete Works of Oscar Wilde that overall the reviewers of The Happy Prince and Other Tales were hostile because of Wilde’s aesthetic views (ixxvi). But Yeats overlooks the fact that Wilde was very pleased and proud, dashing notes to friends and reviewers and signing copies to many people (Tattersall 129). In general, the reception of Wilde’s first collection was more positive than that of the second because it was milder and more subtle in its controversial themes.

Texte remanié de: Diss.--Fremdsprachliche Philologien--Marburg--Philipps-Universität, 2000. / Bibliogr. p. 317-337.

Thèse de doctorat : Littérature générale et comparée : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr.. Index.

This dissertation examines the moralization and beautification campaigns of Mexico City's mayor Ernesto P. Uruchurtu. As head of the Department of the Federal District from 1952-1966, his policies encouraged more popular housing, improved infrastructure, better transportation, cleaner markets, and safer streets. Uruchurtu also aimed to crack down on vice and beautify the city. He believed that through beautification and moralization the city would become safer, healthier, and more livable for all residents. Significantly, he promoted the expansion and improvement of parks, gardens, recreational facilities, the repairing and building of fountains, and the planting of trees and flowers, especially gladiolas. Living with more green and athletic spaces, urban dwellers would have the opportunity to improve physically and spiritually, and would feel inspired to lead more moral lives. Residents could then collectively come together to take pride in their city and generate a stronger sense of civic culture. Consequently, a new generation of youth would grow up in a healthier urban environment and promote national prosperity.This dissertation explores these policies and analyzes the debates surrounding Oscar Lewis's anthropological work, The Children of Sanchez, to highlight anxieties about the effects of urbanization, modernization, and industrialization on the capital's inhabitants. Following the book's publication in 1964, hundreds of articles appeared in newspapers and magazines responding to its subject matter; the intimate details about life for one "typical" poor family living in a slum tenement in the city's center. The debates underscored the uneven benefits of Uruchurtu's policies and offered insights into contradictory depictions of Mexico City: the prospering center of industrialization and growth, and the hub of poverty and despair. Responses to the book expressed how many of the poor experienced economic and political changes during the 1950s and 1960s. The debates also offered details about the cultural and social implications of Uruchurtu's administrative policies and provided a unique opportunity for an open public exchange about life in the capital.