Made available in DSpace on 2016-04-28T14:16:10Z (GMT). No. of bitstreams: 1 Cibele Pereira Agibert.pdf: 2824950 bytes, checksum: 494af43e9b3e8fac3f922660001cff73 (MD5) Previous issue date: 2010-11-25 / Secretaria da Educação do Estado de São Paulo / The subject of this dissertation is the novel O cortiço (The slum) written by the Brazilian author Aluísio Azevedo (1857-1913), published in 1890. Besides dealing with literary features, this study also deals with some features related to the science of the 19th century in Brazil and how they are portrayed. This dissertation contains an introduction and three chapters. Chapter 1 presents the author Aluísio de Azevedo and the characters of the novel O cortiço. Chapter 2 discusses about some scientific, social, historical and literary features related to this novel. Chapter 3 provides some final remarks on the subject. As concerning literature, the novel O cortiço (The slum) displays some characteristics which belong to Realism such as observation and data collection in its composition. On the other hand, displays several characteristics which belong to Naturalism such as dealing with physiological conditions, and determinism. It portrays part of the social situation as well as the urbanization conditions of Rio de Janeiro city in the end of 19th century. The bad conditions in the slums enabled the spread of diseases such as yellow fever, for instance. Besides that, it also deals with the influence of such environment on their inhabitant‟s behavior / O objeto de estudo desta dissertação é a obra O cortiço de autoria de Aluísio de Azevedo (1857-1913) que foi publicada no Brasil em 1890. É um estudo de interface, pois, além dos aspectos literários, procura lidar com a ciência da época e como ela é retratada neste romance. Esta dissertação é composta por uma Introdução e mais três capítulos. O Capítulo 1 apresenta o autor Aluísio Azevedo e os personagens da obra O cortiço. O Capítulo 2 discute sobre aspectos científicos, sociais, históricos e literários relacionados ao Cortiço. O capítulo 3 apresenta algumas considerações finais sobre o assunto, comentando acerca das relações entre ciência e literatura nesta obra. Em termos literários, o romance O cortiço apresenta alguns aspectos que se enquadram no Realismo tais como basear-se na observação e coleta de dados. Por outro lado, apresenta várias características do Naturalismo literário tratando das condições fisiológicas e da influência que o meio exerce sobre os indivíduos (determinismo). Retrata parte da situação social e urbanística da cidade do Rio de Janeiro em que proliferavam os cortiços, que abrigavam a escória e devido às suas péssimas condições constituíam um foco de doenças, como a febre amarela, por exemplo. Além disso, a influência que esse ambiente exercia sobre comportamento de seus habitantes

Ce travail s'inscrit dans un questionnement sur les liens entre la littérature et la science au XXème siècle, appliqué à l’œuvre littéraire du poète américain E.E.Cummings (1884-1962). La première partie du travail consiste à voir comment Cummings répond dans son œuvre aux conceptions de la science et de la connaissance qui font partie de son arrière-plan culturel et littéraire, en particulier celles exprimées par les philosophes transcendantalistes et pragmatistes du XIXème et du début du XXème siècles. Il sera également question du caractère matérialiste et concret de l'écriture poétique de Cummings au début de sa carrière poétique, en réaction à ces courants de pensée. Les conceptions personnelles et les critiques de Cummings au sujet de la science et du langage scientifique seront ensuite dégagées : le poète s'attache à mettre en valeur les limites du langage savant et l'aspect déshumanisant des sciences et des techniques. Il montre la fracture qui s'instaure entre l'humanité et la nature, dont il souligne la spontanéité. La seconde partie étudie comment Cummings, en dépit de ses critiques, met en œuvre un véritable imaginaire scientifique dans ses poèmes et dans ses pièces de théâtre. Cet imaginaire lui permet de reconstruire sur le plan poétique la plénitude du cosmos et de l'humain mise à mal par les sciences. Le poète peut alors élaborer sa propre définition de l'intuition, proche de celle de Bergson, et esquisser le portrait du poète "homo faber", l'homme aux prises avec la matérialité du monde, dont l’œuvre et l'action répondent aux conséquences de celles de l'"homo sapiens", l'homme savant qui s'est détaché de la nature. / This dissertation questions the links between literature and science during the 20th century, as they can be observed in the literary works of American poet E.E.Cummings (1884-1962). The first part of this study is about how Cummings meets in his works to the conceptions of science and knowledge that are part of his cultural and literary background, especially those expressed by transcendantalist and pragmatist philosophers in the 19th and early 20th centuries. It will also deal with the concrete and materialistic aspect of Cummings' poetical writings at the beginning of his literary career as a reaction to these schools of thought. Cummings' personal conceptions and criticism about science and scientific langage will then be revealed : the poet endeavours to highlight the limits of scholarly langage and the deshumanizing aspect of sciences and techniques. He shows the newly installed breach between mankind and nature, whose spontaneity he emphasizes in his works. The second part studies how Cummings, in spite of his criticisms of science, makes use of a truly scientific imagination in his poems and theatrical works. This enables him to reconstruct, on a poetical level, the wholeness of cosmos and mankind that was jeopardized by science. He can then develop his own definiton of intuition which is close to that of Bergson, and draw a portait of the "homo faber" poet, or the man struggling with the materiality of cosmos as opposed to the "homo sapiens", a learned man who set himself apart from nature.

Thesis (Ph.D.)--Syracuse University, 2008. / "Publication number: AAT 3323081."

Thesis (Ph. D.)--University of Pennsylvania, 1922.

Thesis (Ph. D.)--University of California, San Diego, 2009. / Title from first page of PDF file (viewed September 15, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 197-223).

JARRY SEMBLE AVOIR TOTALEMENT ABANDONNÉ LES COMPLICATIONS STYLISTIQUES QUI CARACTERISAIENT SES PREMIERS TEXTES LORSQU'IL FAIT ŒUVRE DE CRITIQUE LITTERAIRE À LA REVUE BLANCHE. EN RÉALITÉ, L'AUTEUR DE MESSALINE CONTINUE, MAIS DE FAÇON EXTRÊMEMENT SOUS-JACENTE, À PRATIQUER UNE FORME D'OBSCURITE, ELLE PARADOXALE, DANS LE SENS OÙ ELLE EST INAPPARENTE, ET QUI SE TRADUIT PAR LE DÉVELOPPEMENT CONSTANT D'UNE ESTHÉTIQUE DU RACCOURCI ET PAR UN APPARENT RETRAIT DE SA PRÉSENCE DE CRITIQUE JUSQUE DANS L'ACTE MÊME DU COMPTE RENDU, JARRY DONNANT TOUTE SA PLACE AU TEXTE COMMENTÉ, EN TAISANT CETTE FAÇON QU'IL A, INCESSAMMENT, DE LE CITER. AINSI, CE TRAVAIL EST CONDUIT D'UNE PART PAR NOTRE SOUCI DE FAIRE AFFLEURER LA FAÇON DONT SE FAIT JOUR L'ESTHÉTIQUE DU RACCOURCI (JARRY PROCÈDE PAR SYNTHESES INCESSANTES QUI, À FORCE D'AFFIRMATION, EN DEVIENNENT SOIT OBSCURES SOIT INSAISISSABLES) AU SEIN DE CES TEXTES APPAREMMENT ALIMENTAIRES QUE SONT LES CRITIQUES LITTERAIRES DE JARRY, L'AUTEUR DU SURMÂLE PRÉSENTANT DE VÉRITABLES CONCRÉTIONS DE SENS, EN LIEN AVEC LA NOTION D'ÉRUDITION, DANS DES DOMAINES EXTRÊMEMENT DIVERS. D'AUTRE PART, NOTRE TRAVAIL VISE À MONTRER COMMENT SE FAIT JOUR CHEZ JARRY LE DÉTOURNEMENT DE L'USAGE HABITUEL DE LA CITATION, QUI PORTE EN CREUX UNE CRITIQUE CORROSIVE DU STATUT DE CRITIQUE, L'AUTEUR DE LA CHANDELLE VERTE DEVENANT UN CRITIQUE QUI NE S'EXPRIME LE PLUS SOUVENT QUE SUIVANT L'ABSENCE TOTALE DE PROPOS CRITIQUE - PUISQUE LORSQU'IL S'AGIT D'ÉNONCER DES " JUGEMENTS ", C'EST EN FAIT POUR CONTINUER DE TISSER UNE FILIATION AVEC UNE COMMUNAUTE D'AUTEURS DESQUELS IL SE SENT PROCHE ET AINSI, PRINCIPALEMENT, AVEC LE LIEU DU MERCURE DE FRANCE.

Twentieth-century science proves that heredity and environment function similarly in all named living species except one--Homo sapiens. Man alone, through his intellect, forms language and culture, thereby affecting his environment so that he participates in the process of his own creation. This participation so links humans that each man extends outside himself creating of the human race a single, whole fabric. C. P. Snow, aware of this communal reality, notes the present lack of communication between scientists and humanists. He contends that this lack, described as the two-cultures split, endangers both the practical survival of Western civilization and mankind's understanding of its own humanity. This study analyzes modern scientific reality and shows that Snow's articles, lectures, and novels articulate that reality and confirm the merit of Snow's observations.

This study examines the themes of alchemy and transformation in Paradise Lost and seventeenth-century thought. Beginning with an overvieiw of the historical roots of alchemy, this study analyzes the ancient, underlying philosophical concepts that marital union produces the birth of the soul and that destruction is necessary for this birth. Alchemical references identified in Paradise Lost include animal lore and direct alchemical images, which demonstrate Milton's knowledge of alchemy and his deliberate use of the alchemical metaphor. These themes support the proposal that Milton, a Christian humanist, uses alchemy as a metaphor described in this study as "divine alchemy," which begins with his belief that Christians, inheriting original sin, must submit themselves to a transformative process similar to transmutation to restore right reason and, ultimately, achieve salvation. / by Andrea J. Rutherford. / Thesis (M.A.)--Florida Atlantic University, 201?. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-05-12T12:54:41Z No. of bitstreams: 1 YURE DE FREITAS PIRES.pdf: 1239854 bytes, checksum: d8a54fb67c48c869478b3188e1d826ef (MD5) / Made available in DSpace on 2017-05-12T12:54:42Z (GMT). No. of bitstreams: 1 YURE DE FREITAS PIRES.pdf: 1239854 bytes, checksum: d8a54fb67c48c869478b3188e1d826ef (MD5) Previous issue date: 2017-02-15 / This work contributes to the definition and understanding of the science fiction that both lacks clarification and definition for many admirers or not, both scholars and readers, for confusing a science fiction with other styles, those arising from fantasy, horror, realism, realism Fantastic, among many others. We draw a time line with three works of science fiction to more effectively demonstrate a regency of his art about facts that permeate a reality and imaginary, a science and a literature. Such works as What are The War of the Worlds by H. G. Wells, 1984 by George Orwell and The Martian Chronicles by Ray Bradbury. In addition to the portrayal here as functions that differ from the elements inherited from other literary genres and their transmutations, a question of an element for man throughout his evolutionary process, a war. We use war as the most defining of scientific and technological progress, banks are broadly defined in these three works. And finally, about these requirements, what is more inherent in science fiction is its feedback between the real and imaginative, imaginative and real. / Este trabalho vem colaborar para uma compreensão a mais da ficção científica por leitores a fim de que não confundam a ficção científica com outros estilos, já que essa ficção advém da fantasia, horror, realismo, realismo fantástico, entre diversos outros sedimentos. Traçamos uma linha temporal com três obras de ficção científica para demonstrar, com mais eficiência a regência de sua arte sobre fatos que permeiam a realidade e o imaginário, a ciência e a literatura. São objetos de estudo as A Guerra dos Mundos de H. G. Wells, 1984 de George Orwell e As Crônicas Marcianas de Ray Bradbury. Além de retratar aqui as funções que se diferenciam dos elementos herdados de outros gêneros literários e suas transmutações, cunhamos a questão de um elemento chave para o homem em seu processo evolutivo, a guerra. Usamos a guerra como maior definidor do progresso científico e tecnológico, os quais são amplamente descritos nestas três obras. E por fim, sobre esses requisitos, o que mais é inerente à ficção científica é sua retroalimentação entre o real e imaginativo, imaginativo e real.

Made available in DSpace on 2016-04-28T14:16:17Z (GMT). No. of bitstreams: 1 Marcia Nobue Sacay.pdf: 966027 bytes, checksum: 2f75af320fb173e12c0a53cf53e61afa (MD5) Previous issue date: 2013-06-05 / This paper Will present the scientific facts discussed in the book Conversations on the Plurality of Worlds, written by Bernard Le Boyer de Fontenelle, in 1686, which had a great impact on many issues. To narrate the scientific facts of the time, Fontenelle deals, the book first published in 1686, the form of dialogues between supposedly caught him and a marquese on their evening walks around the castle gardens in the Summer. Both talk about the design of astronomical systems from Ptolomy and Copernicus. The Moon, the planets and the possibility of existence of other worlds like our own, are also discussed during the meetings. Narratives built using a communications strategies and arguments in order to facilitate understanding of abstract and complex astronomical phenomena by means of analogies. With the book, takes part in iniciatives to popularize science, in order to inform and entertain people without impose theories, staying somewhat on the fringes of science academies. In this paper we present the ideas of science contained in the book, trying to recognize, at the same time, the similarities and differences of those groups conveyed by scholars / Este trabalho apresentará os fatos científicos discutidos no livro Diálogos sobre a Pluralidade dos Mundos, escrito por Bernard Le Boyer de Fontenelle, em 1686, que teve grande repercussão com grande número de edições. Para narrar os fatos científicos da época, Fontenelle adota a forma de diálogos supostamente travados entre ele e uma marquesa em seus passeios noturnos pelos jardins do castelo, no verão. Os dois conversam sobre a concepção dos sistemas astronômicos de Ptolomeu e Copérnico. A Lua, os planetas e a possibilidade de existência de outros mundos semelhantes ao nosso, também são tratados durante os encontros. Fontenelle construiu narrativas utilizando estratégias de comunicação e argumentação, de modo a facilitar a compreensão dos fenômenos astronômicos abstratos e complexos por meio de analogias, Com o livro, toma parte de iniciativas em divulgar a ciência, com o intuito de informar e entreter as pessoas, sem impor teorias, mantendo-se, de certa forma, à margem da ciência das academias. Neste trabalho vamos apresentar as ideias de ciência contidas no livro, buscando reconhecer, ao mesmo tempo, as aproximações e distanciamentos daquelas veiculadas pelos grupos eruditos