O presente trabalho tem por objetivo estudar pontuais questões estéticas e formais na peça da dramaturga inglesa Sarah Kane: Blasted (1995), de modo a entender a forma e sua respectiva correspondência com o contexto sócio-histórico. Em linhas gerais, o estudo objetiva investigar os procedimentos formais utilizados por Kane e as relações entre tema e forma, partindo do pressuposto de Peter Szondi que compreende a forma como conteúdo precipitado. Nesse sentido, analisaremos de que maneira elementos temáticos, tais como a violência (psicológica, verbal, física), a guerra, o abuso sexual e tabus, tais como, cenas de intercurso hetero e homossexual, canibalismo, entre outros, são amplamente utilizados pela dramaturga e como se engendram estruturalmente no enredo da peça. Para tanto, procuramos fazer uma breve introdução histórico teatral ao contexto político, econômico e social da Inglaterra nos anos noventa, à peça, à dramaturga e à estética teatral do In-yer-face theatre. Em seguida, focamos na apresentação cena-a-cena da peça, dedicada à análise pormenorizada de Blasted e ao levantamento das temáticas relevantes expressas na peça. Finalmente, nos dedicamos às relações formais e escolhas estéticas presentes em Blasted, relacionadas aos eventos histórico-sociais a que a peça remete. / The present work aims to study specific formal-aesthetic issues in the 1995 play Blasted by British playwright Sarah Kane in order to understand the play´s form as related to its socio-historical context. In general terms, this study aims to investigate the formal procedures used by Kane and the plays relations between theme and form, according to Peter Szondi´s assumptions which comprehend that form could be conceived of as precipitated content. In this sense, we will analyze how themes such as psychological, verbal and physical violence, war, sexual abuse and taboo scenes of heterosexual and homosexual intercourse, for example, or cannibalism, among others, are widely used by the playwright and how they are structurally embedded in the plot of the play. The study starts with a brief historical introduction to the political, economic and social context of England in the nineties, followed by an introduction to the play and its theatrical context, to the playwright and to the aesthetic principles of In-yer-face theatre. Then, we focus on the detailed analysis of each scene of the play, stressing its relevant issues. Lastly, we proceed to analyze the formal relations and the aesthetic choices present in Blasted, as related to the social-historical events that the play refers to.

O presente trabalho tem por objetivo estudar pontuais questões estéticas e formais na peça da dramaturga inglesa Sarah Kane: Blasted (1995), de modo a entender a forma e sua respectiva correspondência com o contexto sócio-histórico. Em linhas gerais, o estudo objetiva investigar os procedimentos formais utilizados por Kane e as relações entre tema e forma, partindo do pressuposto de Peter Szondi que compreende a forma como conteúdo precipitado. Nesse sentido, analisaremos de que maneira elementos temáticos, tais como a violência (psicológica, verbal, física), a guerra, o abuso sexual e tabus, tais como, cenas de intercurso hetero e homossexual, canibalismo, entre outros, são amplamente utilizados pela dramaturga e como se engendram estruturalmente no enredo da peça. Para tanto, procuramos fazer uma breve introdução histórico teatral ao contexto político, econômico e social da Inglaterra nos anos noventa, à peça, à dramaturga e à estética teatral do In-yer-face theatre. Em seguida, focamos na apresentação cena-a-cena da peça, dedicada à análise pormenorizada de Blasted e ao levantamento das temáticas relevantes expressas na peça. Finalmente, nos dedicamos às relações formais e escolhas estéticas presentes em Blasted, relacionadas aos eventos histórico-sociais a que a peça remete. / The present work aims to study specific formal-aesthetic issues in the 1995 play Blasted by British playwright Sarah Kane in order to understand the play´s form as related to its socio-historical context. In general terms, this study aims to investigate the formal procedures used by Kane and the plays relations between theme and form, according to Peter Szondi´s assumptions which comprehend that form could be conceived of as precipitated content. In this sense, we will analyze how themes such as psychological, verbal and physical violence, war, sexual abuse and taboo scenes of heterosexual and homosexual intercourse, for example, or cannibalism, among others, are widely used by the playwright and how they are structurally embedded in the plot of the play. The study starts with a brief historical introduction to the political, economic and social context of England in the nineties, followed by an introduction to the play and its theatrical context, to the playwright and to the aesthetic principles of In-yer-face theatre. Then, we focus on the detailed analysis of each scene of the play, stressing its relevant issues. Lastly, we proceed to analyze the formal relations and the aesthetic choices present in Blasted, as related to the social-historical events that the play refers to.

This essay explores the concept of soul in the theology of Sarah Coakley. This is done by analyzing the ideas in Coakleys work descriptively. The notion of soul has been found to have a close connection to two of Coakleys main ideas, those of desire and asceticism. From these ideas I have tried to add a concept of soul to Coakleys theological work.  The notion of the soul has its basis in the material body and its desires. Coakley understands the desires of the body as both sexual desire and desire for God. In her theology desire can be understood as a metaphor for the soul´s longing for God. From the desires of the material body this essay have shown that one can design a concept of soul in Coakleys theology. I argue that you can understand Coakleys theology better theoretically by engaging a concept of soul instead of just focusing on contemplative prayer as a way of reaching God and do academic theology. With a concept of soul in Coakleys theology it can work regardless of confession or religious practice and it makes the academic theology possible without depending on contemplation.

Conservative males traditionally dominated Texas politics. In 1930, however, Sarah T. Hughes, a liberal woman from Maryland, began a spectacular career in state politics despite obstacles because of her gender and progressive ideas. First elected to the Texas Legislature in 1930, she remained active in politics for the next fifty years. Hard work, intelligence, and ability allowed her to form solid friendships with Texas's most powerful politicians. She became the first woman in Texas to hold a district judgeship, the first woman from Texas appointed to the federal bench, and the only woman to swear in a U.S. president. Hughes profoundly influenced state politics, challenging the long-standing conservative male domination. She helped to create a more diverse political field that today encompasses different ideologies and both genders.

Le théâtre est le lieu d’un rapport privilégié au corps, dans la co-présence du corps de l’acteur et du corps du spectateur au moment de la représentation théâtrale. Il est l’arène privilégiée où s’observe l’impact des bouleversements qui ont modifié les codes de la représentation au cours du vingtième siècle. Le théâtre anglais contemporain attire les regards sur le spectacle d’un corps souffrant, exhibé, violenté (théâtre In-yer-face, théâtre de la Catastrophe) et dans le même temps propose la représentation d’un corps spectral dans un théâtre influencé par Beckett. Ces deux tendances – corps spectacle et corps spectral – sont les signes visibles d’une crise de la représentation du corps et de la déconstruction du sujet. Les auteurs que nous avons choisis pour cette étude (Edward Bond, Howard Barker, Martin Crimp et Sarah Kane) se sont imposés comme les figures de proue d’un théâtre non-naturaliste, poétique et subversif, qui font du corps le pilier de leurs esthétiques. Notre étude se présente comme une anatomie du « corps esthétique » (Roland Barthes) dans une perspective comparatiste des dramaturgies abordées. Elle explore le rôle du corps dans tous les domaines de la représentation : Comment le texte construit-il le corps ? Comment le corps envahit-il le texte ? Quelles sont les stratégies mises en œuvre pour représenter le corps dans le passage de la page au plateau ? Quelle est la place du corps de l’acteur ? du corps du spectateur ? Parce que « le » corps n’existe pas, les théâtres du corps en jeu ne cessent d’affirmer le potentiel illimité du corps en exposant la labilité du corps du personnage, de l’acteur et du spectateur. / The theatre is a privileged site to understand the body, because of the copresence of the body of the actor and that of the spectator during the representation. It is the privileged arena where we can observe the consequences of the upheavals that changed the conventions in representation in the course of the twentieth century. English contemporary theatre attracts our attention both to the spectacle of a suffering body, which is also exposed and violated (In-yer-face theatre, the theatre of Catastrophe) and that of a spectral body, in a theatre influenced by Beckett. These two trends – the body as spectacle and the spectral body – are the visible signs of a crisis in the representation of the body and the deconstruction of the subject. The authors chosen for this study (Edward Bond, Howard Barker, Martin Crimp and Sarah Kane) are the figureheads of a non-naturalistic, poetic and subversive theatre. The body is at the core of their aesthetics. Our contention is to develop an anatomy of the “aesthetic body” (Roland Barthes) with a comparative approach of the works, and to investigate the role of the body in all the different fields of representation: How does the text create a body? How does the body invade the text? What are the strategies at stake to represent the body in the translation from page to stage? How is the body of the actor used? How is the spectator’s body affected? Because it seems there is no such thing as “the” body, the theatres of the “body-at-play” try to reassess the limitless potential of the body, to deliver it from all constraints, and to expose the lability of the character’s body, as well as the actor’s and the spectator’s.

O emprego da ventilação e da iluminação natural nas construções minimiza os impactos ambientais e possibilita uma maior harmonia entre o entorno e o edifício. Isso pode ser ilustrado através das obras do arquiteto João Filgueiras Lima, Lelé, que proporcionam o uso racional da energia elétrica, conforto aos usuários e humanização dos espaços. Este trabalho evidencia as metodologias de projeto de Lelé e sua equipe na elaboração de um edifício mais confortável. Posteriormente, identifica as estratégias de conforto térmico e ventilação natural utilizadas por ele, por meio da comparação e avaliação de dois hospitais da Rede Sarah, localizados nas cidades de Salvador - BA e do Rio de Janeiro - RJ. A análise se divide em duas etapas: primeiramente a qualitativa, através da identificação e caracterização dessas estratégias. Em seguida, é efetuada a análise quantitativa, por meio de medições in loco das variáveis ambientais temperatura, umidade relativa e velocidade do ar e dos níveis de iluminância e através de ensaios no túnel de vento. A análise dos resultados é baseada em entrevistas; pesquisas de campo; nas normas ASHRAE Standard 55-2004 e NBR/ABNT 5413; na comparação da velocidade do vento em cada hospital analisado nos ensaios no túnel de vento e nos parâmetros adquiridos em literatura especializada. As análises apresentadas neste trabalho demonstram a preocupação de Lelé na incorporação dos aspectos bioclimáticos desde a concepção do projeto, destacando a importância de suas experiências profissionais. Além disso, destaca-se que a principal evolução que ocorreu no Sarah Rio foi à estrutura e a geometria da cobertura em sheds. / The use of natural ventilation and lighting by buildings reduces the environmental impacts and allows a better harmony between the building and its surroundings. It can be seen in the work of the architect João Filgueiras Lima, Lelé, which provides a rational use of electricity, comfort to the users and the humanization of the spaces. This work shows Lelés design methodology for the conception of a more comfortable building. After that, this research identifies thermal comfort and natural ventilation strategies used by this architect through the evaluation of two Sarah Network Rehabilitation hospitals, which are located in the Salvador - BA and Rio de Janeiro - RJ. The analysis is divided in two steps: initially a qualitative analysis based on the identification and characterization of these strategies. Then it was done the quantitative analysis based on field research of environmental variables as temperature, humidity and air velocity, lighting levels and also through wind tunnel experiments. The analysis of the results was based on interviews, field research, the ASHRAE 55-2004 and NBR/ABNT 5413 standards, the comparison of the air velocity variables in each hospital analyzed in the wind tunnel, and the data obtained in specialized literature. The analysis presented in this work shows the Lelés concern about the incorporation of bioclimatic aspects since the design conception, highlighting the importance of his professional experiences. Furthermore, the results indicated that the main evolution occurred in the Rio de Janeiro Sarah Hospital was about structure and geometry of the sheds on the roofing.

Made available in DSpace on 2016-04-28T20:39:34Z (GMT). No. of bitstreams: 1 Helena Maria Melo Dias.pdf: 458774 bytes, checksum: ce665a4dda25f841c3a142caf178c836 (MD5) Previous issue date: 2007-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As we were touched by the Sarah case, a scrutiny was performed about the concept of Countertransference which was framed by authors whom highlighted its relevance throughout a psychoanalytical treatment. Among them, we regard Pierre Fédida as the one who amplified and brought the matter into a deeper understanding, as he considered the Metapsychology within the psychological processes of the therapist upon the psychoanalysis technique. The articulations of the case in question, allied with such thought, are the cornerstones of this thesis which understands Countertransference as an inherent mechanism to the analytical scenario and thus, adequate as prescribed therapy. Therefore, a specific comprehension was sought about this technique developed by Freud which has dreaming as its basic paradigm. A thought was also given about its methodology by Ferenczi, based upon cases which were reckoned to be difficult to deal with and aliens to his own arena, fact which provoked increasing scientific publications on the topic of countertransferencial effects in the analysis. The major characteristic of this research has its core on the topic of the first objectional relationships in a baby s psychological constitution which turns to be the transferencial basis upon which the therapist intervene in a patient s psychism. From this perspective, Fédida supported the inherent model of countertransference as a fictional relationship, mother-son-like, capable of becoming both resonant and contigent to a patient s state of anguish and hence proper to the treatment. In the Sarah case the Countertransference s Auto-Transgression, a critical scenario during the analysis, permited the patient to both metabolize and metaphorize his psycologhical suffering / Mobilizados pelo estudo do caso Sarah realizamos uma investigação do conceito de contratransferência formulado por autores, que destacam sua relevância no tratamento psicanalítico. Dentre estes, sustentamos que Pierre Fédida ampliou e aprofundou esta concepção, ao considerar a metapsicologia dos processos psíquicos do analista na técnica psicanalítica. As articulações do caso com o fecundo pensamento deste autor fundamentaram esta tese que concebe a contratransferência como dispositivo inerente à situação analítica e adequada ao enquadre no tratamento. Para tanto, buscamos compreender a especificidade da técnica elaborada por Freud, que tem como paradigma o sonho. Refletimos sobre a problematização dessa técnica por Ferenczi, a partir de casos considerados difíceis e estranhos a seu campo, que promoveu uma gama de estudos voltados à pesquisa dos efeitos contratransferenciais na análise. A característica principal dessa pesquisa tem por referência as primeiras relações objetais na constituição psíquica do bebê, as quais tornam-se modelos de toda transferência, a partir do que o analista intervém no psiquismo do paciente. Dessa perspectiva, Fédida argumentou o modelo implícito da contratransferência como de uma relação fictícia mãe-filho, capaz de ressonância e continência ao estado de angústia do paciente e apropriado à linguagem no tratamento. No caso Sarah, a auto-transgressão da contratransferência, como momento crítico da análise, possibilitou a paciente metabolizar e metaforizar seu sofrimento psíquico

Parmi les îles de l’Indianocéanie, La Réunion présente une topographie complexe soumise à un climat tropical fortement variable. Sa localisation dans le sud-ouest de l’océan Indien lui octroie un potentiel solaire important. Concomitamment, son isolement géographique dirige le territoire vers l’autonomie énergétique, par la meilleure intégration des énergies renouvelables dans son mix énergétique. Le verrou de l’exploitation du gisement solaire local réside dans la forte intermittence de cette ressource qui est grandement tributaire de la couverture nuageuse. Ainsi, il est de première nécessité d’approfondir les connaissances du potentiel solaire local, autant en ce qui concerne sa variabilité temporelle que sa répartition spatiale. Les travaux de recherches ici menés s’axent autour de cet approfondissement nécessaire du gisement solaire local. La mesure in situ du rayonnement solaire global n’est pas équitablement répartie sur le département et ne permet donc pas d’établir une cartographie aussi équilibrée que celle offerte par les résolutions de l’imagerie satellitaire. Dans le cadre des travaux de recherches, nous exploitons le produit satellitaire SARAH-E (Solar surfAce RAdiation Heliosat – East) prodigué par le SAF Climat (CM SAF) d’Eumetsat. Les résolutions spatiales et temporelles de SARAH-E permettent d’étudier l’irradiance à la surface de La Réunion sur un total de 89 pixels et de 16 ans de données horaires (0,05°×0.05°, 1999-2015, excluant 2006). Grâce à ces données, nous articulons l’approfondissement de la connaissance du gisement solaire autour de deux méthodologies complémentaires. Dans une première étude, une cartographie du potentiel solaire moyen est établie en combinant ses deux composantes orbitales, soit : les cycles diurne et saisonnier. La complémentarité de cette considération nous permet d’extraire des zones cohérentes tant au niveau spatial que temporel, à l’image de la dynamique atmosphérique locale. En seconde partie, il sera ensuite question de quantifier et qualifier les perturbations possibles pouvant moduler le potentiel solaire moyen dans la journée. Cinq journées-types sont retenues et caractérisées selon leurs structures spatiales et temporalité associée. Par la suite, nous proposons un premier lien entre les perturbations solaires locales et certains processus atmosphériques de plus large échelle. Ainsi, nous estimons des modulations relatives selon l’oscillation de Madden-Julian, les talwegs tropicaux-tempérés et les cyclones. Finalement, nous décomposons la ressource solaire réunionnaise en (1) un potentiel moyen cyclique, selon une combinaison de la variabilité saisonnière à l’évolution diurne, et (2) des perturbations journalières types, présentant des liens avec les dynamiques atmosphériques à plus large échelle. / In the South-West Indian Ocean, La Réunion Island is located in a strong solar potential. However, its complex topography and tropical climate are obstacles to the best exploitation of renewable energies. Thus, the knowledge of the local solar potential has to be deepen, both on its temporal and spatial variabilities. The research here focuses on this deepening of the local solar deposit. Thus, the use of SARAH-E satellite product (Solar surfAce RAdiation Heliosat - East) allows us to study the irradiance of Reunion Island on 89 pixels and 16 years of hourly data. In a first study, the mean solar potential is mapped by combining its two orbital components: the diurnal and seasonal cycles. Their complementarity permits the extraction of coherent zones with the local atmospheric dynamic. In the second part, the daily perturbations modulating the mean solar potential are detailed in five typical days with specific spatial structures and temporality. We then propose a first link between local solar perturbations and the larger-scale atmospheric processes, namely the Madden-Julian oscillation, the Tropical-Temperate Troughs and Tropical Cyclones. Finally, La Réunion island solar resource is decomposed into (1) an mean cyclic potential, combining seasonal and diurnal evolutions, and (2) typical daily perturbations, with links to larger-scale atmospheric dynamics.

Made available in DSpace on 2016-03-15T19:21:43Z (GMT). No. of bitstreams: 1 Marisa Eulalio Rocha.pdf: 16583618 bytes, checksum: 1f20a064d5b4d0e59861b8c0254c7c7f (MD5) Previous issue date: 2011-02-10 / For a long time and even today, the hospital is perceived in a negative way, as a place of death, pain, suffering, among other feelings. The Brazilian architect João Filgueiras Lima, known as Lele, who now stands out in the field of hospital architecture, presents a fresh look at health institutions. The architect proposes measures projective spaces that make hospitals less cold and hostile in order to improve the welfare of the patient and speed up the healing process. The research, in turn, discusses the journey of Lele in the consolidation of the Rede Sarah Kubitschek of Hospitals, the object of the present study, based on the concept of the humanization of the hospital building. Describes the transformation of the hospital buildings over time and the issues that were faced by Lele to produce a higher quality of hospital architecture / Durante muito tempo, e até hoje, o hospital é encarado de uma forma negativa, como sendo um local de morte, dor, sofrimento, dentre outros sentimentos. O arquiteto brasileiro João Filgueiras Lima, mais conhecido como Lelé, que hoje se destaca na área da arquitetura hospitalar, apresenta um novo olhar sobre as instituições de saúde. O arquiteto propõe medidas projetuais que tornam os espaços hospitalares menos frios e hostis, a fim de melhorar o bem-estar do paciente e acelerar no seu processo de cura. A pesquisa, por sua vez, discorre sobre o percurso do Lelé na consolidação dos hospitais da Rede Sarah, objeto de estudo deste trabalho, com base nos conceitos da humanização do edifício hospitalar. Descreve as transformações dos edifícios hospitalares ao longo do tempo e as questões que foram enfrentadas por Lelé para a produção de uma arquitetura hospitalar de maior qualidade

<p>This essay is an introduction to the intentions and purposes of the british play writer Sarah Kane (1971-1999). Her own voice is presented both via quotations linked to her work and by an explanation of her connections to the surrealist poet and actor Antonin Artaud. The main focus is on Kane’s second play, Phaedra’s Love, first performed in 1996. The play is analyzed in co-relation to La volonté de savoir, the first volume in Michel Foucault’s trilogy Histoire de la sexualité. The analysis concentrates on how the structures in society control and act in relationship to and in collision with desire.</p><p>In La volonté de savoir Michel Foucault presents the thesis that there exists a special talk about sex and sexuality. A talk that states that these are repressed issues. Foucault asserts that such a talk originates from several discourses and institutions in society and together they constitute a chain of power. In his analysis Foucault examines why we declare ourselves as oppressed and what consequences that generates. This essay relies heavily on an inquiry of these consequences and its discourses. The theories of Foucault are applied to Phaedra’s Love and explain the scenarios in which the social discourses of power collide and how they try to affect the characters and their desire. Together they make clear, that desire, in the play, is not primarily related to sex and sexuality. It is rather a desire; the object of which is the state of self-governed individuality. A need for an individual space in the discourses of talk. The main characters, Phaedra and Hippolytus, changed attitude concerning talk and silence result in a powerful social reaction. They both riot against a structure which maintains the standard discourses of power and knowledge. The riot is to be read as the final outcome of the society that surrounds them. The social reaction that comes with this exposes that the controlling discourses of power ultimately are based upon, not talk, but violence.</p><p>Several other aspects are of importance for the analysis and its conclusions even though they are not pointed out in this abstract. The play Phaedra’s Love and Foucault’s theories both operate on numerous levels at the same time, and as a whole, they both present experiences they wish the spectator/reader will reflect upon.</p> / <p>Uppsatsen ger en ingång till den brittiska dramatikern Sarah Kanes intentioner som pjäsförfattare. Hon kommer själv till tals via citat knutna till sin produktion och genom påvisade beröringspunkter med den surrealistiska poeten och skådespelaren Antonin Artaud. Tyngdpunkten ligger på Kanes andra pjäs; Phaedra’s Love, uruppförd 1996. Med stöd i Michel Foucaults Viljan att veta band 1 ur trilogin Sexualitetens historia undersöks det hur samhällets strukturer kontrollerar och verkar tillsammans med och i kollision med begäret i pjäsen.</p><p>Michel Foucault driver i Viljan att veta tesen att det finns ett särskilt tal om könet och sexualiteten, ett tal som hävdar att dessa är förtryckta. Foucault menar att ett sådant tal utgår från flera olika diskurser och institutioner i samhället och att de tillsammans utgör en maktens relation. Foucault undersöker i sin analys varför vi påstår oss vara förtryckta och vad det får för konsekvenser. Analysen av pjäsen fördjupar sig i dessa konsekvenser och dess diskurser under rubrikerna: ”Familj och monarki”, ”Tal och tystnad”, ”Begär”, ”Motstånd”, ”Bekännelse”, ”Samhälle” och ”Våld”. I varje avsnitt appliceras Foucaults teorier på Phaedra’s Love och förklarar det scenario som uppstår då samhällets maktstrukturer kolliderar med och försöker påverka rollfigurernas begär.</p><p>Genom analysen av pjäsen visar sig begäret inte primärt vara sexuellt relaterat utan rör istället begäret att agera som självständigt subjekt. Behovet av att ta subjektiv plats i talet och dess diskurser. Rollfigurernas förändring i förhållningssätt till talet och tystnaden och deras agerande därefter utlöser en kraftig reaktion från samhällets sida. Huvudrollerna Phaedra och Hippolytus gör uppror mot de strukturer som bibehåller makten och vetandets diskurser intakta. Deras agerande kan läsas som en reaktion provocerad ur det samhälle som omger dem. Samhällets reaktion mot detta visar, i sin tur, på att maktens kontrollerande diskurser ytterst inte ligger i talet utan i våldet.</p><p>Flera andra aspekter är av betydelse för analysen och dess slutsatser även om de inte poängteras här i sammanfattningen. Kanes pjäs rör sig liksom Foucaults teorier parallellt på flera genomgripande nivåer. Som helhet presenterar dock de båda en erfarenhet med en förhoppning om att åskådaren/läsarens ska ta tillvara densamma.</p>