Orientador: Pedro Laudinor Goergen / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-24T02:37:08Z (GMT). No. of bitstreams: 1 Zuin_AntonioAlvaroSoares_D.pdf: 1053430 bytes, checksum: b70b9068371e719698debac5a2588ce9 (MD5) Previous issue date: 1998 / Doutorado

This essay will explore Gustav Mahler’s treatment of time and space in his First Symphony by processing his experiences and memories into the music. In the music analysis, I will argue for and categorize the use of breakthrough as Mahler’s attempt to use his music as a key to create “another world” beyond the irreversible time and space. At the same time as he in a reflexive and retrospective point of view tries reveal a relationship between the past and the present that has not been covered by the obscurity of experience.

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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Trata-se de uma interpretação dos ensaios nos quais Theodor Adorno criticou autores clássicos da sociologia e discutiu problemas sociológicos de seu tempo. Tal investigação não se destinou em detectar as influências que determinados autores por ventura tenham desempenhado sobre o pensamento de Theodor Adorno, mas demonstrar como a sua teoria social pode ser reconstituída a partir de sua crítica à tradição sociológica. Pretende-se demonstrar que ao tratar da história da sociologia, ao posicionar-se ante as polêmicas e controvérsias científicas, Adorno efetua um alargamento do âmbito da experiência sociológica e leva às últimas consequências o projeto de compreender o processo social através da crítica ao pensamento sociológico moderno. Pode-se afirmar que Adorno nas polêmicas contra o positivismo na sociologia alemã, em suas análises a respeito da obra de Auguste Comte, na interpretação dos trabalhos de Émile Durkheim, através da crítica imanente visa à construção de uma teoria crítica que se compõe a partir da crítica da tradição sociológica. / This text is a interpretation of the essays in which Theodor Adorno criticizes classic authors of sociology and discusses the sociological problems of his time. This investigation dont have the aim of to detect the influences that certain authors by chance would have over the Theodor Adornos thoughts, but to show how his social theory can be rebuilt starting from his criticism of the sociological tradition. I intend to show that, by dealing with the sociologys history, positioning himself before the scientific polemics and controversies, Adorno perform a widening the comprehension of the sociological experience leading to the last consequences the project of understanding of the social processes through the criticism to modern sociological thought.I can assert that Adorn, in the polemics against the positivism in German sociology, in his analysis about the Auguste Comtes work, in the interpretation of Émile Durkheims works, through of immanent criticism, seeks to build a critical theory, which constitutes itself starting from the criticism to sociological tradition.