Orientadores: Marcelo Esteban Coniglio, Carlos Caleiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T00:28:23Z (GMT). No. of bitstreams: 1 Bueno-Soler_Juliana_M.pdf: 944055 bytes, checksum: 560404307eedeebf3b45f7ca82f30d78 (MD5) Previous issue date: 2004 / Mestrado / Filosofia / Mestre em Filosofia

(in English): Our thesis is titled The Open Work? Swann in love and it's film adaptation. Our primary aim is not only to summarize the most famous theories about the openness of the work but also to apply these theories directly to the book Swann in love and subsequent comparison of the literary and film adaptation of the story. We have divided the thesis into three chapters. The first one is methodological overview. In our thesis we will deal with several phenomena from the field of literary science. We will be interested mainly in the character of the reader and the author and the different roles attributed to them by different theories. We will look closely at the differences between the empiric and model reader and the author, deal with the openness of the work, the difference between the subjects of the author, the narrator and the main characters, and we will also look into the theory of fictional worlds. We chose the work of Umberto Eco as a theoretical basis, but we also draw some ideas from the work of other literary theorists. In the second chapter, these theories will be applied to the specific passages of the book Swann in love. Let's get into the fictional world of Swan's love and watch the surroundings. We will try to conclude what the reader of this work should be, what mistaken...

Ses principaux lecteurs n’ont cessé de concevoir le Haut Livre du Graal comme un roman des confins de la barbarie. L’éclatement des cadres de l’écriture arthurienne est prégnant dans ses épisodes les plus emblématiques, qui révèlent un hiatus irréductible entre une « haute écriture » et l’exaltation de la matérialité des êtres. Le roman semble soumis à une double postulation vers le haut et le bas, vers les convulsions du monde sublunaire et une mystique aussi présente que ténue. L’étude des manifestations et senefiances de la mort s’applique à saisir l’écriture de cet entre-deux, tout en privilégiant l’approfondissement de deux traits majeurs : la dimension visuelle inhérente à la représentation de la mort et les procédés d’écriture propres à esquisser les linéaments d’une « écriture funèbre ». Le paradigme visuel relaie la puissance évocatoire des morts narrées, tandis que la dominante funeste du récit semble être l’un des gages les plus viables de l’unité d’une œuvre dont les structures narratives se dérobent. Le parcours herméneutique de cette étude considère tout d’abord le vocabulaire de la mort, avant d’aborder les circonstances de l’instant mortel, les deux versants spirituel et temporel de la mort, et le lien toujours puissant qui unit les vivants et les morts. Après des considérations à la fois stylistiques, rhétoriques, historiques et anthropologiques, la deuxième partie déplace vers le champ de la poétique du texte la problématique d’une mort fondamentalement ubiquitaire. / The main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous.

The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.

Les arguments de concevabilité sont des arguments philosophiques reposant sur le principe selon lequel tout ce qui est concevable est possible. Cette thèse se propose d'évaluer à un niveau général cette forme d'argumentation en s'appuyant sur des exemples historiques et contemporains. les arguments de concevabilité, quelle que soit la position philosophique qu'ils visent à défendre, soulèvent en effet des difficultés qui leur sont communes et ont trait principalement (i) à la définition de la notion de possibilitée, (ii) à la définition de la notion de concevabilité, et (iii) à la légitimité de l'inférence allant de l'une à l'autre. Le travail consiste d'abord (chapitres 1-3) à construire la catégorie que constituent les arguments de concevabilité en spécifiant notamment le genre de thèses philosophiques qu'ils peuvent chercher à établir. Une fois précisés les objectifs que les arguments de concevabilité peuvent viser, il s'engage (chapitres 4-8) dans l'examen de savoir si les ressources fournies par Ia concevabilité et l'inférence menant du concevable vers le possible suffisent à les atteindre. Pour ce faire, le travail propose une analyse détaillée des différentes formes de possibilité (chapitres 4-5) et de concevabilité (chapitres 6-8) impliquées dans ces arguments. II aboutit à une position dite sceptique modérée au sujet de la validité de cette forme d'argumentation, sur la base de la démonstration que, pour les thèses philosophiques qui nécessitent l'etablissement d'une possibilité métaphysique, la concevabilitée s'avère être un guide insuffisamment fiable, quelle que soit la manière dont on comprend la concevabilité. Mais il défend aussi l'idée que le fait que les arguments de concevabilité ne soient pas toujours concluants n'implique pas qu'ils sont depourvus d'utilité argumentative: car ils nous obligent à clarifier les implications modales de nos conceptions philosophiques et la manière dont nous pouvons raisonner au sujet de ces implications. Cette conception des arguments de concevabilité est appliquée pour finir à la clarification d'un chapitre essentiel de la philosophie de la cognition contemporaine relatif à la possibilité de fournir une explication naturaliste (physicaliste) de la conscience phénoménale, et ou un argument de concevabilité qui a fait couler beaucoup d'encre, dit argument des zombis, joue un rôle essentiel. / Conceivability arguments are philosophical arguments which rely crucially on the principle according to which conceivability entails possibility. This dissertation provides an analysis and a critical assessment of this kind of argumentative strategy, on the basis of contemporary and historical examples. Various possible explanations of the notion of conceivability are considered and it is argued that the inference from conceivability to possibility does not enable conceivability arguments to reach all their intended conclusions, especially those pertaining to substantial metaphysical issues.

Wally Olins (2008:6), points out that in contemporary culture “brands and branding are all-pervasive and ubiquitous”. As he says, one need only walk down the high street of any major foreign city in the world, be it San Francisco or Shanghai, to be embraced by so many familiar brands, including Coca-Cola, KFC, Apple MAC, Chanel and Toyota, that one could mistake it for home. In the last 15 years particularly, the ubiquitous influence of brands and branding has seen the field outgrow its commercial role and expand into more secular and political spheres. Thus, the focus of this study is the role and influence of brands and branding on modern nations and their reputations via intentionally constructed national identities, with specific reference to South Africa. According to the main objectives of this study, focus was placed on the critical examination of South Africa’s nation brand, It’s Possible, in the light of the theoretical ideals for an intentional constructed national identity as proposed by Bartholmé and Melewar, Anholt and Olins. The examination centred on the analysis and interpretation of the individual communiqués that constituted the South African pavilion at the world Expo 2010, as their content is the result of the implementation of the nation’s visual brand language. The analysis and interpretation sought to, firstly, investigate the constitution of the South African visual brand language used in the design and construction of the pavilion’s communiqués and, secondly, to broadly identify the core values of the intentionally constructed South Africa nation brand – It’s Possible, made manifest in the South African exhibit through the visual communiqués. / Dissertation (Master of Arts)--University of Pretoria, 2012. / Visual Arts / unrestricted

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The subject of the thesis is a research investigation aimed at comparing the visual and verbal expression of children, which is exhibit striking differences in the achieved level of these two expressions, and evaluation criteria of kindergarten teachers in the assessment of both expressions. The aim of the thesis is based on research findings to contribute to the deepening of the professional competencies of teachers in kindergartens in solving pedagogical problems in children with a significant mismatch between the actual achieved level of visual and verbal expression. The research problem is expressed by the research questions aimed at pre-schoolers and the kindergarten school teachers . The research uses mainly qualitative research, supplemented in some parts by quantitative research. In the preliminary investigations were used content analysis of text, in the context of my research are included the methods of observation, interviews, analysis of children's drawings, narratives . The expected outcome of the thesis is the preparation of documents intended for kindergarten teachers, allowing them to deepen their knowledge of the problem. Its contents will include possible causes of a mismatch between visual and verbal expression of the preschoolers and proposals for concrete actions that belong...

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This diploma thesis explores the theory of possible worlds and its relation to broadcast during the coronavirus pandemic. It perceives news, especially broadcast, as a possible world. Using narrative analysis, this thesis describes the characteristics of two possible worlds that arose during the first wave of the coronavirus pandemic on Czech Television and television Prima. The main goal of this research is to examine what kind of possible worlds have these two TV stations constructed in their main news programs and to point out how these two possible worlds differed. My diploma thesis should primarily contribute to a clear comparison of how the depiction of the coronavirus pandemic differed by individual television channels in the first half of 2020.