Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 204-222).

This thesis examines the popular and non-canonical Victorian novelist Ouida (Maria Louise de la Ramée) her relationship with her publishers and the reception of her works. In particular, through the study of published and unpublished correspondence, as well as nineteenth century periodicals, certain views concerning the writer and her oeuvre will be revised and amended, especially in the context of social and moral standards, anticipated from the female fictional character and the artist, the writer. The first chapter will concentrate on Ouida’s correspondence and will argue that the author’s reputation and sales were not only damaged by her ostensibly immoral plots but also as a result of her publishers’s differing priorities. In order to delineate the content of these ‘indecent’ novels and later the impact they had on reviewers, critics and readers, as well as Ouida’s writing, four of her three-decker novels have been selected for critical discussion. Strathmore (1865) is discussed in relation to sensation fiction and marriage law and Folle-Farine (1871) as an examination of inequality between classes and genders. Francis Cowley Burnand’s parody Strapmore (1878) is then read as a critical account of and response to Ouida’s ideologies. The thesis will then examine the controversy surrounding Moths (1880), and In Maremma (1882) will be read as a response to this controversy through its relation to mythology and the representation of the artist. The analysis of these novels and Ouida’s correspondence with her agent and publishers will trace the path that led to the gradual decline in her reputation and the posterior obscurity of her works.

Homme-théâtre, Dario Fo s’inscrit dans un continuel processus de définition de l’auteur comme acteur et de l’acteur comme auteur, qui passe par une affirmation de sa double place en scène et dans la vie publique. Il se fait ainsi le créateur d’une façon de faire du théâtre non pas radicalement neuve mais singulière et qui se distingue dans le panorama théâtral de son temps en envahissant d’autres domaines d’activité et de compétence, ce qui lui permet de conquérir une reconnaissance globale à la fois comme histrion et comme intellectuel. La première partie de la thèse analyse les processus de création pour voir comment Dario Fo se montre auteur en tant qu’écrivain, en tant que comédien et en tant que metteur en scène ou plutôt chef de troupe. La deuxième partie prend en considération la façon dont la figure d’auteur est présentée au public : dans la construction d’un réseau de sens qui donne une cohérence à l’ensemble de l’œuvre, dans la fixation de cette œuvre par des processus d’édition, de captation et d’archivage, et par la diffusion des spectacles en Italie et dans le monde, en présence de l’acteur-auteur ou non. La troisième partie, enfin, revient sur la construction d’une autorité intellectuelle, dans l’élévation de Fo au statut de porte-parole politique et de maître à penser. / Dario Fo is a theatre-man whose work ceaselessly redefines the author as an actor and the actor as an author, in a process that claims his dual position on stage and in public life. He thus creates an approach to theatre that, though not radically new, distinguishes itself in the theatrical landscape of his time, by encroaching on other fields of activity and competency, earning him a global recognition as an actor and intellectual. The first part of this study analyzes the creative process and shows how Dario Fo stages himself as an author through writing, acting and directing. The second part considers how the authorial figure is presented to the public : as part of a larger network of references that lends coherence to his work as a whole, in the fixation of this work through publishing, audio and video-recording and archiving, and through the circulation of his productions in Italy and the world, with or without his presence. The third part analyzes the construction of his intellectual authority, his promotion to the status of political spokesman and mentor.

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-06-25T14:52:33Z No. of bitstreams: 1 PATRÍCIA COSTA FERNANDES DE MENEZES - TESE (PPGCEMat) 2015.pdf: 20736985 bytes, checksum: 6d5bf08cc6b3770e921031c7b7dd8006 (MD5) / Made available in DSpace on 2018-06-25T14:52:33Z (GMT). No. of bitstreams: 1 PATRÍCIA COSTA FERNANDES DE MENEZES - TESE (PPGCEMat) 2015.pdf: 20736985 bytes, checksum: 6d5bf08cc6b3770e921031c7b7dd8006 (MD5) Previous issue date: 2015-01-14 / Capes / A tecnologia Stealth é a capacidade de navios, aeronaves e submarinos tornarem-se invisíveis à detecção de radares. Para isso, se faz necessário o uso de Materiais Absorvedores de Radiação Eletromagnética – MARE que atuem de forma efetiva no bloqueio da radiação emitida pelos radares. Neste contexto, o objetivo desta pesquisa foi obter um compósito de matriz polimérica de borracha de silicone e carga de ferrita NiZn nanométrica em diferentes concentrações, visando sua utilização como um MARE. A carga foi sintetizada por reação de combustão e os compósitos foram obtidos com concentrações de carga variando entre 16 e 20 g e quantidade de silicone fixa de 20g. Visando investigar a melhor interação entre a carga e a matriz, a carga foi silanizada com 3-aminopropiltrietoxissilano e incorporada apenas ao compósito na concentração de 20:20 de carga:silicone. As técnicas de Difração de Raios-X (DRX), Espectroscopia na Região do Infravermelho por Transformada de Fourrier (FTIR), Microscopia de Força Atômica (AFM), Microscopia eletrônica de Varredura (MEV), Medidas Magnéticas e Eletromagnéticas foram utilizadas para caracterizar a carga e os compósitos. Observou-se que a carga apresentou a fase cristalina do espinélio inverso, com tamanho de partícula nanométrico, com característica de um material magnético mole com valores de absorção de -15,2 dB na faixa de 3 a 4 GHz. Todos os compósitos apresentaram características de MARE com valores de absorção variando de -5 a -17,5 dB na faixa de 3 e 6 GHz. De forma geral, verificou-se que o aumento do teor da carga no compósito dificultou a dispersão e introduziu defeitos volumétricos do tipo poros e aglomerados da carga, porém, não influenciou nos parâmetros magnéticos. A silanização não causou alterações significativas nas propriedades da ferrita, porém contribuiu efetivamente para uma melhor interação com a matriz, resultando diretamente no compósito com o melhor valor de absorção, -14 dB na faixa de 6 GHz, indicando ser o mais promissor para a aplicação como MARE. / Define the Stealth technology as the ability of ships, aircraft and submarines become invisible to radar detection. For this, it is necessary to use materials that effectively reduce this probe, this field that can stand out the use of Radiation Absorbing Materials Electromagnetic - RAME. The objective of this research was to obtain a polymer matrix composite silicone rubber and NiZn ferrite load with different concentrations and better dispersion, for their use as a MARE. The composites were obtained with concentrations varying load between 16 and 20 g of NiZn ferrite synthesized by combustion. To improve the interaction between the cargo and the matrix, it has been silanized with 3 aminopropyltriethoxysilane silane agent and incorporated into a composite. The techniques of X-ray diffraction (XRD), Infrared Spectroscopy in the region by Fourier transform (FTIR), Atomic Force Microscopy (AFM), scanning electron microscopy (SEM), Magnetic and Electromagnetic measurements were used to characterize the load and composite. It was noted that the load presented to the inverse spinel crystalline phase with nanometer particle size with characteristics of a soft magnetic material with 15.2 dB absorption values in the range 3 to 4 GHz. Silanization caused no change significant feature in the ferrite, but contributed effectively for better interaction with the matrix, resulting directly in the composite with the best absorption values, -14 dB at 6 GHz range, indicating that the most promising for application as RAME. For other composites was found that increasing the filler content provided processing difficulties which resulted in the formation of agglomerates and will not influence the magnetic parameters.

This study focuses on the representation of masculine imagos in the South African novelist Eben Venter’s novel oeuvre and more specifically on the multifaceted nature of Venter’s delineation of masculinity. His novels Foxtrot van die Vleiseters (1993), Ek stamel ek sterwe (1996) (translated into English as My beautiful death ((2004)) and Santa Gamka (2009) were selected to represent Venter’s novel oeuvre. The male protagonist in each novel may be viewed as typical representations of masculine imagos in his novels. The workability of cognitive narratology as a literary approach to analyse and interpret novels is tested by identifying the frames and scripts within the selected novels. Cognitive frames in narratives are those backdrops against which the events take place, while the actions executed by the characters are read as cognitive scripts. These scripts create the projected masculinity imagos of the male protagonists. When reading the novels, the reader is confronted with various cognitive choices of which three are especially important. The first is the choice to discard existing ideas and perceptions in order to make room for new ideas and perceptions. The second choice is to modify existing ideas and adjust them by means of the cognitive processing of information in the novels. The last choice entails the total rejection of the new ideas. Irrespective of the cognitive processes that occur during the reading process, the representation of masculinity in the novels will inevitably have an effect on the way in which the reader will experience masculinity in future. In the characters of Petrus Steenekamp (Foxtrot van die Vleiseters), Konstant Wasserman (Ek stamel ek sterwe) and Lucky Marais (Santa Gamka) Venter illustrates the complexity of the masculinity issue due to the cultural, social and political frames with which people are encoded. This encoding is also reflected in the scripts that are determined by the characters’ behaviour and actions. Venter demonstrates sensitivity and compassion for all the characters in his novels and his representation of masculinity instils sensitivity and compassion in readers. This instilment will most probably create a better understanding of masculinity, as well as humanity, within the cognition of the reader. The most important finding is that it is indeed possible to use cognitive narratology as literary approach to analyse and interpret the chosen novels in order to make valid conclusions – in this case with regard to the complex delineation of multifaceted masculine imagos within Eben Venter’s novel oeuvre. Further deductions include those made about the appearance of different images of masculinity within Venter’s novel oeuvre and especially how the farm frame and the father/son relationship frame manifest prominently in Venter’s novels. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

This study focuses on the representation of masculine imagos in the South African novelist Eben Venter’s novel oeuvre and more specifically on the multifaceted nature of Venter’s delineation of masculinity. His novels Foxtrot van die Vleiseters (1993), Ek stamel ek sterwe (1996) (translated into English as My beautiful death ((2004)) and Santa Gamka (2009) were selected to represent Venter’s novel oeuvre. The male protagonist in each novel may be viewed as typical representations of masculine imagos in his novels. The workability of cognitive narratology as a literary approach to analyse and interpret novels is tested by identifying the frames and scripts within the selected novels. Cognitive frames in narratives are those backdrops against which the events take place, while the actions executed by the characters are read as cognitive scripts. These scripts create the projected masculinity imagos of the male protagonists. When reading the novels, the reader is confronted with various cognitive choices of which three are especially important. The first is the choice to discard existing ideas and perceptions in order to make room for new ideas and perceptions. The second choice is to modify existing ideas and adjust them by means of the cognitive processing of information in the novels. The last choice entails the total rejection of the new ideas. Irrespective of the cognitive processes that occur during the reading process, the representation of masculinity in the novels will inevitably have an effect on the way in which the reader will experience masculinity in future. In the characters of Petrus Steenekamp (Foxtrot van die Vleiseters), Konstant Wasserman (Ek stamel ek sterwe) and Lucky Marais (Santa Gamka) Venter illustrates the complexity of the masculinity issue due to the cultural, social and political frames with which people are encoded. This encoding is also reflected in the scripts that are determined by the characters’ behaviour and actions. Venter demonstrates sensitivity and compassion for all the characters in his novels and his representation of masculinity instils sensitivity and compassion in readers. This instilment will most probably create a better understanding of masculinity, as well as humanity, within the cognition of the reader. The most important finding is that it is indeed possible to use cognitive narratology as literary approach to analyse and interpret the chosen novels in order to make valid conclusions – in this case with regard to the complex delineation of multifaceted masculine imagos within Eben Venter’s novel oeuvre. Further deductions include those made about the appearance of different images of masculinity within Venter’s novel oeuvre and especially how the farm frame and the father/son relationship frame manifest prominently in Venter’s novels. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

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