В диссертации исследуются способы «воображения» нации в произведениях Николая Карамзина малых жанров. В отличие от существующей традиции исследования проблематики нации в творчестве Карамзина, в диссертации анализируется не совокупность идей писателя, но поэтика нации в самих текстах. Конститутивными элементами ее поэтики полагаются пространство, время и эмоции, значения которых систематически исследуются в его панегирических, политических и художественных текстах. Такой исследовательский ракурс позволяет раскрыть связь между эстетическим измерением текста и политическим воображением писателя. В работе показывается, что специфика значений элементов поэтики нации раскрывается посредством эстетических категорий возвышенного и прекрасного (понимаемых, основываясь на эстетике Эдмунда Берка), которые, в свою очередь, связаны с реалистической и утопической тенденциями его политического мышления. Кроме того, в диссертации рассматриваются особенности взаимодействия между поэтикой нации и империи. Работа имеет междисциплинарный характер, так как в ней учитываются различные подходы, применяемые в других областях (историй эмоций и идей, эстетике, политической теории), прямо или косвенно связанных с исследованиями проблематики нации. В диссертации применяется конструктивистский подход, а также структурный метод анализа. / Disertacijoje yra tiriama, kokiu būdu yra „įsivaizduojama“ tauta Nikolajaus Karamzino mažųjų žanrų kūriniuose. Skirtingai nuo esančios tautos problematikos tyrinėjimo tradicijos Karamzino kūryboje, disertacijoje dėmesys yra sutelkiamas ne į rašytojo idėjų visumą, ar tautos sampratos analizę, bet į jos poetikos tyrimą pačiuose tekstuose. Pagrindiniais tautos poetikos elementais yra laikomi erdvė, laikas bei emocijos, kurių reikšmės yra sistemingai analizuojamos panegiriniuose, politiniuose bei grožiniuose Karamzino tekstuose. Šitoks tyrinėjimo rakursas leidžia atskleisti ryšį tarp estetinio teksto lygmens ir rašytojo politinės „vaizduotės“. Darbe yra parodoma, kad tautos poetikos elementų reikšmių specifika atsiskleidžia per estetines grožio bei pakylėtumo kategorijas (suprantamas, remiantis Edmundo Berko estetika), kurios, savo ruožtu, yra susijusios su rašytojo realistine bei utopine politinio mąstymo tendencija. Be to, darbe yra išryškinami sąveikos ypatumai bei skirtumai tarp tautos ir imperijos poetikos. Darbas yra tarpdisciplininio pobūdžio, kadangi jame yra atsižvelgiama į įvairias prieigas, taikomas kitose mokslo srityse (emocijų ir idėjų istorijoje, estetikoje, politinėje teorijoje), tiesiogiai ar netiesiogiai susijusias su tautos problematikos nagrinėjimu. Disertacijoje yra laikomasi konstruktyvistinės prieigos, atsisakančios esencializuoti reiškinius, bei taikomas struktūrinis analizės metodas. / The dissertation is devoted to the question how the nation is “imagined” in Nikolaj Karamzin’s works of the small genre. Unlike the existing tradition of researches of the problematics of the nation in Karamzin’s works, in this doctoral thesis attention is focused not on the set of his ideas, or on analysis of the concept of the nation, but on the poetics of the nation his texts on their own. The main elements of the poetics of the nation are considered to be space, time and emotions, whose meanings are systematically analyzed in Karamzin’s panegyric, political and prose fiction texts. Such study perspective allows revealing a connection between aesthetic dimension of the text and his political “imagination”. It is shown that the meaning of the elements of the poetics of the nation is defined through the categories of the sublime and the beautiful (understood basing on Edmund Burke’s aesthetics) that, in turn, are related to realistic and utopian tendency in Karamzin’s political “imagination”. Besides, the work highlights the peculiarities of the interrelation between the poetics of the nation and the empire in his texts. It has an interdisciplinary character, because it draws on different approaches applied in various areas of science (history of ideas and emotions, aesthetics, political theory) directly or indirectly related to analysis of the problematics of the nation. The dissertation uses the constructivist approach and structural method of analysis.

Disertacijoje yra tiriama, kokiu būdu yra „įsivaizduojama“ tauta Nikolajaus Karamzino mažųjų žanrų kūriniuose. Skirtingai nuo esančios tautos problematikos tyrinėjimo tradicijos Karamzino kūryboje, disertacijoje dėmesys yra sutelkiamas ne į rašytojo idėjų visumą, ar tautos sampratos analizę, bet į jos poetikos tyrimą pačiuose tekstuose. Pagrindiniais tautos poetikos elementais yra laikomi erdvė, laikas bei emocijos, kurių reikšmės yra sistemingai analizuojamos panegiriniuose, politiniuose bei grožiniuose Karamzino tekstuose. Šitoks tyrinėjimo rakursas leidžia atskleisti ryšį tarp estetinio teksto lygmens ir rašytojo politinės „vaizduotės“. Darbe yra parodoma, kad tautos poetikos elementų reikšmių specifika atsiskleidžia per estetines grožio bei pakylėtumo kategorijas (suprantamas, remiantis Edmundo Berko estetika), kurios, savo ruožtu, yra susijusios su rašytojo realistine bei utopine politinio mąstymo tendencija. Be to, darbe yra išryškinami sąveikos ypatumai bei skirtumai tarp tautos ir imperijos poetikos. Darbas yra tarpdisciplininio pobūdžio, kadangi jame yra atsižvelgiama į įvairias prieigas, taikomas kitose mokslo srityse (emocijų ir idėjų istorijoje, estetikoje, politinėje teorijoje), tiesiogiai ar netiesiogiai susijusias su tautos problematikos nagrinėjimu. Disertacijoje yra laikomasi konstruktyvistinės prieigos, atsisakančios esencializuoti reiškinius, bei taikomas struktūrinis analizės metodas. / The dissertation is devoted to the question how the nation is “imagined” in Nikolaj Karamzin’s works of the small genre. Unlike the existing tradition of researches of the problematics of the nation in Karamzin’s works, in this doctoral thesis attention is focused not on the set of his ideas, or on analysis of the concept of the nation, but on the poetics of the nation his texts on their own. The main elements of the poetics of the nation are considered to be space, time and emotions, whose meanings are systematically analyzed in Karamzin’s panegyric, political and prose fiction texts. Such study perspective allows revealing a connection between aesthetic dimension of the text and his political “imagination”. It is shown that the meaning of the elements of the poetics of the nation is defined through the categories of the sublime and the beautiful (understood basing on Edmund Burke’s aesthetics) that, in turn, are related to realistic and utopian tendency in Karamzin’s political “imagination”. Besides, the work highlights the peculiarities of the interrelation between the poetics of the nation and the empire in his texts. It has an interdisciplinary character, because it draws on different approaches applied in various areas of science (history of ideas and emotions, aesthetics, political theory) directly or indirectly related to analysis of the problematics of the nation. The dissertation uses the constructivist approach and structural method of analysis. / В диссертации исследуются способы «воображения» нации в произведениях Николая Карамзина малых жанров. В отличие от существующей традиции исследования проблематики нации в творчестве Карамзина, в диссертации анализируется не совокупность идей писателя, но поэтика нации в самих текстах. Конститутивными элементами ее поэтики полагаются пространство, время и эмоции, значения которых систематически исследуются в его панегирических, политических и художественных текстах. Такой исследовательский ракурс позволяет раскрыть связь между эстетическим измерением текста и политическим воображением писателя. В работе показывается, что специфика значений элементов поэтики нации раскрывается посредством эстетических категорий возвышенного и прекрасного (понимаемых, основываясь на эстетике Эдмунда Берка), которые, в свою очередь, связаны с реалистической и утопической тенденциями его политического мышления. Кроме того, в диссертации рассматриваются особенности взаимодействия между поэтикой нации и империи. Работа имеет междисциплинарный характер, так как в ней учитываются различные подходы, применяемые в других областях (историй эмоций и идей, эстетике, политической теории), прямо или косвенно связанных с исследованиями проблематики нации. В диссертации применяется конструктивистский подход, а также структурный метод анализа.

<p>The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo / s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.</p>

This paper addresses the aesthetic encounter from the perspective of the writings of Maurice Merleau-Ponty on the visible and the invisible. It begins with the premise that from time to time we encounter situations which precipitate a sense of slippage in our experience of the world. The paper proceeds to argue that the arts can provide a point of access to this experience, and that aesthetic theory has, for example, responded to it through the development of the notion of 'the sublime'. The writings of Maurice Merleau-Ponty and, in particular, aspects of his text The Visible and the invisible, are presented with a view to augmenting this aspect of aesthetic theory. Proceeding from a 'Merleau-Pontian' perspective, the paper explores how the arts can serve to disrupt our conventional sense of space and time - creating ripples in the substance Merleau-Ponty names as 'flesh' - so as to expose the chiasm or blind spot in our experience of the world. The methodology adopted is an experiential one, which draws on the writer's interaction with the selected works of various artists as well as her own practice in glass.

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 234-242). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.E.S.)--Baylor University, 2008. / Includes bibliographical references (p. 52-57)

Thesis (Ph. D.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 31, 2009) Includes bibliographical references.

Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-02-25T23:13:07Z No. of bitstreams: 1 DISSERTAÇÃO_BeloSublimeMulher.pdf: 509361 bytes, checksum: a7a263503f1506a17652a8721805bded (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-13T22:33:37Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_BeloSublimeMulher.pdf: 509361 bytes, checksum: a7a263503f1506a17652a8721805bded (MD5) / Made available in DSpace on 2013-03-13T22:33:37Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_BeloSublimeMulher.pdf: 509361 bytes, checksum: a7a263503f1506a17652a8721805bded (MD5) Previous issue date: 2008 / Kangussu, Imaculada / A dissertação tem como objetivo apresentar a mulher, conforme caracterizada por Immanuel Kant. Houve uma preocupação em tratar o tema, considerando a época dos escritos e as perspectivas empregadas em cada obra que faz menção às mulheres. E, principalmente, manteve-se na investigação um olhar neutro, afastado de qualquer ressentimento que se pudesse ter com relação às críticas dirigidas à condição feminina. Assim, entendemos que as conclusões provindas desta análise seriam mais coerentes, por serem justificáveis a partir dos próprios argumentos kantianos. A mulher, na obra Observações sobre o sentimento do belo e do sublime (1764), é representada através das qualidades originárias do sentimento do belo. São estas: honestidade, piedade, compaixão e solicitude. A simplicidade e a ingenuidade determinam a modéstia e, assim, têm-se garantidos a benevolência e o respeito para com os outros. Já sensibilidade e a vaidade são consideradas pelo filósofo como debilidades. O sexo masculino é considerado sob os aspectos do sentimento sublime. Cabe mencionar que ao determinar a mulher através do sentimento do belo, Kant pretende distinguir o sexo, através da atribuição de especificidades próprias deste, mas isso não impedirá que tais designações sejam encontradas também no sexo sublime, e vice e versa. Ainda nas Observações, Kant argumenta que o refinamento do gosto feminino dá-se através das sensações. Para ele era difícil acreditar que a mulher seria capaz de nortear-se segundo princípios, mas com isso não esperava ofendê-la, pois princípios também não eram facilmente encontrados no sexo masculino. Somente na teoria moral kantiana, a mulher pode ser considerada apta para o exercício racional capaz de conduzir à moralidade. Justamente, porque tais escritos sustentam-se sobre preceitos estabelecidos a priori, ou seja, não se encontram no âmbito da experiência. Tal discurso direciona-se ao sujeito transcendental, àquele considerado somente sobre o aspecto da racionalidade. Logo, a teoria moral revela-se independente do gênero. Contudo, sob esta mesma perspectiva, Kant preocupou-se em discorrer sobre o matrimônio. O que o conduzirá a uma contradição, a saber, se a liberdade é considerada um direito nato, porque negá-la à mulher casada? _______________________________________________________________________________________________________________________________________ ABSTRACT: The dissertation has as objective to present the woman, as characterized by Immanuel Kant. There was a concern in treat the subject, considering the time of the writings and perspectives employed in each work that refers to women. In addition, mainly, the research kept a neutral look, away from any resentment that could be concerning the criticisms directed at the female condition. Thus, we believe that the conclusions of this analysis would be more consistent, because it is justifiable from Kantian own arguments. The woman, in Observations on the feeling of the beautiful and sublime (1764), is represented by the qualities from the feeling of beauty. These are honesty, mercy, compassion and solicitude. The simplicity and ingenuousness determine the modesty and thus has been guaranteed the kindness and respect for others. The sensitivity and vanity are considered by the philosopher as weaknesses. The male is considered under the aspects of the sublime feeling. In determining the woman through the feeling of beauty, Kant wants to distinguish the sex by attribution of specifics characteristics, but this will not impede that such designations are also found in the sublime sex, and vice versa. On Observations, Kant argues that the refinement of female taste happens through the sensations. For him, was hard to believe that a woman would be able to govern in accordance to principles, but with this, he does not expect to offend her, because principles were also not easily found in males. Only in the Kantian moral theory, a woman can be considered fit for the rational exercise capable to lead to morality. Precisely because such written sustain itself on principles established a priori, that is, are not to be found in the experience area. Such speech directs to the transcendental individual, which is considered only by the rationality aspect. Therefore, the moral theory it is regardless of gender. However, under this same perspective, Kant worried himself to talk about the marriage. This will lead him to a contradiction, namely, if freedom is considered a native right, why deny it to the married women?

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Estudos da Tradução, Florianópolis, 2014 / Made available in DSpace on 2015-02-05T21:23:10Z (GMT). No. of bitstreams: 1 330831.pdf: 804158 bytes, checksum: 1331d492c314889623e0f646cddda4ab (MD5) Previous issue date: 2014 / Tomando a tradução como um trabalho que se abre para a reflexão e considerando a importância de atentar para a tradução de textos clássicos (da antiguidade clássica), esta dissertação apresenta um estudo sobre a tradução do sublime em Metamorphoses de Ovídio (foram estudados os mitos de Daphne, Callisto e Arethusa). A fim de investigarem que medida o sublime foi traduzido, de que modo esse efeito foi construído nas traduções para a língua portuguesa brasileira, primeiramente foi estudado o conceito de sublime buscando compreendê-lo em suas manifestações, investigando o percurso por que passou o conceito e a que está relacionado. Deste modo o sublime é estudado naquilo que apresentam: Longuino (século I d.C.); Edmund Burke e Friedrich Schiller (do século XVIII); Victor Hugo (século XIX). O sublime está relacionado em grande medida à retórica e ao terror, e é com base nesses elementos que é investigada a construção do sublime no texto de Ovídio e suas traduções. Estando o sublime relacionado à letra (BERMAN, 2007) do texto, ele é trasladado ao português nas duas traduções analisadas.<br> / Abstract: Taking translation as a work that opens itself to reflection and considering the importance of paying attention to the translation of classical texts (from the classic antiquity), this dissertation presents a study about the translation of the sublime in Ovid's Metamorphoses (the myths studied are: Daphne, Callisto e Arethusa) . In order to investigate to which extent the sublime was translated, and how this effect was built on translations to portuguese, the concept of sublime was studied first, trying to comprehend its expressions, investigating the progress the concept has been through and what it is related to. Thus, the sublime is studied in what Longuino (1st century), Edmund Burke and Friederich Schiller (18th century), and Victor Hugo (19th century) present. The sublime is mostly related to rhetoric and terror, and based in these elements is that the contruction of the sublime in the text of Ovid and his translations is investigated. Being strictly related to the letter(BERMAN, 2007) of the text, the sublime is transferred to portuguese in both analysed translations.

O objetivo da presente dissertação consiste em analisar o sublime, um conceito estético que vem sendo estudado desde os primeiros séculos. Tomamos como base a definição do sublime como algo paradoxal que cria o prazer e o medo ao mesmo tempo. Porém, o sublime apresenta especificidades que variam de acordo com o filósofo analisado. Neste trabalho, três críticos foram estudados: Longinus, Edmund Burke e Immanuel Kant. Assim, o sublime pode ser representado através da imensidão da natureza, do poder de uma criatura sobrenatural ou, até mesmo, através da sexualidade feminina. E, com o intuito de exemplificar essas diferentes perspectivas do sublime, buscamos obras da Literatura Gótica. Sendo esta uma vertente literária que buscava a oposição ao racionalismo trazido pelo movimento iluminista, as características sublimes foram essenciais para enfatizar a emoção. Para tal exemplificação, utilizamos trechos de dois romances góticos dos séculos XVIII e XIX, respectivamente: The Monk escrito por Matthew Lewis e Dracula escrito por Bram Stoker / The objective of the present work is to analyze the sublime, an aesthetic concept which several theorists have been studying since the first centuries. Taking into consideration a definition which considers the sublime as something paradoxical raising pleasure and pain at the same time. However, there are some specificties which vary according to the philosopher being analyzed. This work deals with three of them: Longinus, Edmund Burke and Immanuel Kant. So, the sublime can be represented by the vastness of nature, the power of a supernatural creature or, even, by the female sexuality. And, in order to exemplify these different perspectives of the sublime, we chose important novels in the Gothic literature. Since this type of fiction is aimed at opposing to the rationality brought by the Enlightenment, the sublime characteristics were essential to emphasize emotions. In order to exemplify this, two gothic novels were taken into consideration: The Monk written by Matthew Lewis in the 18th century and Dracula by Bram Stoker in the 19th century