Le présent travail propose une interprétation psychanalytique de l’œuvre de l’écrivain réaliste allemand Theodor Fontane (1819 1898). À la lumière de la théorie freudienne et des thèses de Béla Grunberger sur le narcissisme, nous montrons ce que sont les ressorts et les enjeux inconscients de la création littéraire, chez cet auteur, laquelle, dans son principe, reproduit le schème de la position fantasmatique régressive que ménageait la grande passion ludique de l’enfant, le jeu de cache cache selon un mode spécifique. Partant du constat de la structure obsessionnelle des romans, notre étude met en évidence, dans un premier livre, l’existence, « sous » la fable sociale récurrente de la liaison amoureuse illicite, sanctionnée (adultère et relations équivalentes), d’un singulier scénario s’articulant autour de la dynamique du « pseudo Œdipe », que décrit Grunberger (procédure d’évitement, à des fins de régression), et du mécanisme de la défense masochique. L’analyse de ce « mythe personnel » (Mauron), comme situation dramatique interne, nous amène à dégager les traits particuliers des éléments constitutifs de la personnalité psychique de Fontane (imagos et instances), puis à établir la genèse de sa position « pseudo œdipienne » et à faire ressortir le rapport qui la lie au processus de création (« rétablissement narcissique »). Les résultats acquis sont passés au révélateur de la vie de l’écrivain. Dans un second livre, nous nous penchons, tour à tour, sur les divers aspects essentiels de l’œuvre, réexaminés sous le nouvel éclairage apporté : fonctionnalité de l’ambivalence, conception du réalisme « poétique » (transfigurateur), recherche de la conciliation des principes contraires, écriture comme la pratique d’un jeu de cache cache (questions du dialogisme, de la stratégie narrative, du symbolisme). La dernière partie est consacrée à l’étude de la problématique cardinale de la régression narcissique, à laquelle tout mène, ici : instrumentalisation du complexe de la faute et de la sanction, à visée autodestructrice, dans une tension vers la mort fantasmée comme le retour à l’état de félicité du séjour au sein originel. / This study offers a psychoanalytical interpretation of the works of Theodor Fontane (1819 1898), the German realist writer. In the light of the Freudian theory and of Béla Grunberger’s theses on narcissism, we show the unconscious motivations which gave rise to this author’s literary creation and what is at stake in this process for him. The act of writing is based here on the principle of reproducing the scheme of the fantastical regressive position which was generated by Fontane’s strong passion as a child for the game of hide and seek, which he played in his own specific way. Considering the obsessive structure of his novels, in our first book we demonstrate the existence — “beneath” the ever present social dictum of the forbidden love affair that is always to be punished (adultery and similar relationships) — of a particular scenario revolving around the dynamic of the “pseudo Oedipus”, as described by Grunberger (avoidance procedure aiming at regression) and the mechanism of masochistic defense. The analysis of this “personal myth” (Mauron), as an inner dramatic situation, leads us, first, to unearth the specific features of the elements which make up Fontane’s psychic personality (imagoes and agencies), and then to establish the genesis of his “pseudo oedipal” position and to highlight its link with the creative process (“narcissistic restoration”). Our results are substantiated through the writers’s biography. In the second book we deal with the essential aspects of Fontane’s work, which we re examine thanks to what we have brought to light: the functionality of ambivalence, the conception of transfigurating “poetic” realism, the attempt to reconcile opposite principles and writing as a game of hide and seek (dialogism, narrative strategy, symbolism). The last part of our study is devoted to the cardinal issue of narcissistic regression to which everything leads: mainly the instrumentation of the complex of guilt and retribution with a self destructing aim in a tropism towards death fantasized as a return to the original state of bliss in the womb.

Orientador: Roberto Akira Goto / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T18:17:18Z (GMT). No. of bitstreams: 1 Aquino_FernandoLopesde_M.pdf: 709820 bytes, checksum: 028ce6d5e7475a4f3bb15ecbb1b95e00 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa se propõe a analisar a educação contemporânea a partir de dois pontos fundamentais: o primeiro envolve as considerações de Adorno ao desenvolvimento cultural da modernidade e o segundo, os desdobramentos dessas observações para a educação, particularmente, para o ensino de filosofia. O primeiro tópico contempla o modo como se processa a criação de um modelo cultural cujo principal objetivo é adaptar os indivíduos ao sistema econômico capitalista e à sua estrutura reificante, elemento que segundo Adorno se estende a experiências como as das Grandes Guerras Mundiais, expoente histórico nefasto, símbolo da barbárie e prerrogativa no que concerne a reflexão sobre a educação. Isso nos mostra que a crítica a adaptação cultural - termo usado para indicar a conformação das consciências ao sistema capitalista e que abarca tanto a instrumentalização da razão quanto a industrialização da cultura -, é algo extremamente importante, pois se configura como uma resistência ao retorno da barbárie. Assim, não se trata somente de analisar as considerações adornianas, mas expor e debater os pressupostos para uma educação que ainda sirva como um referencial de emancipação. A partir dessas observações tentaremos averiguar em que medida Adorno preserva uma concepção dialética de educação e como isso se processa em sua função de "resistência". Especificamente, este é o assunto do segundo tópico da pesquisa e para isso analisaremos este pormenor no âmbito do ensino de filosofia, ou seja, como este ensino poderia contribuir para uma formação cultural crítica, fortalecendo as consciências para que não se rendam a adaptação, retroagindo sobre a cultura e sobre a sociedade. Todo o nosso trabalho se situará por meio de um recorte das obras de Adorno, destacando os textos de Dialética do esclarecimento e as conferências reunidas em Educação e emancipação. / Abstract: This research aims to analyze some aspects of the contemporary education based on two fundamental points: the first involves considerations of Adorno of development of cultural modernity and the second, the ramifications of these observations in education, particularly in teaching philosophy. The first topic covers how one handles the creation of a cultural model whose main goal is to match the individuals to the capitalist economic system and its reifying structure, an element that Adorno extends to experiences such as the World Wars, a nefarious historical exponent, a symbol of barbarism and prerogative as it regards the reflection on education. This shows that the criticism of cultural adaptation - the term used to indicate the conformation of the capitalist system and consciousness that embraces both the use of reason as the industrialization of culture - is something extremely important as it is configured as a return of resistance barbarism. Thus, it is not only to examine Adorno's considerations, but to expose and discuss the conditions for an education that also serves as a referential for emancipation. From these observations we will try to ascertain the extent to which Adorno maintains a dialectical conception of education and how it is processed in their capacity as "resilience." Specifically, this is the subject of the second topic of this research and for that we will analyze this carefully in the teaching of philosophy, ie, how this education could contribute to a cultural criticism, strengthening the conscience not surrender the adaptation, retroactive on culture and on society. Our work will be based on a part of the works of Adorno, highlighting the text of Dialectic of Enlightenment and the conferences met in Education and Emancipatio. / Mestrado / Filosofia e História da Educação / Mestre em Educação

To be successful and be effective in teaching, one must be familiar with a variety of methods in instruction and teaching strategies. This also includes becoming aware of any challenges that student and teachers might confront at all levels. Advanced-level piano students, such as those who are at the collegiate level, study the masterpieces of the great composers. However, they may still be in need of developing certain technical and musical skills which should have been covered at the late intermediate level. This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.

In einer direkten Konfrontation der zwischen 1844 und 1852 von beiden geschriebenen Artikel, Bücher und Briefe wird versucht, die wenigen Gemeinsamkeiten und die vielen Trennungspunkte zwischen Marx und Hagen, zwei linken Achtundvierzigern und Mitgliedern des Bundes der Kommunisten, in Bezug auf die Begriffe Zivilisation und Musik darzustellen. Mit dem Ergebnis, dass bezogen auf Musik von Marx wenig zu erfahren ist und bezogen auf die Zivilisation der bürgerlichen Gesellschaft beide Autoren ziemlich entgegengesetzte Ansichten hegten. Während Marx in der Herrschaft der Bourgeoisie ein notwendiges Durchgangsstadium im weltgeschichtlichen Prozess sah, die durch eine Revolutionierung der Produktionsverhältnisse beseitigt werden würde, sah Hagen in der Zivilisation den entscheidenden Hinderungsgrund für eine Emanzipation des Volkes und der Arbeiterklasse, die zuvörderst mittels der Musik geschwächt und beseitigt werden müsse, um an einen Sieg über das Bürgertum denken zu können. Marx’ Idealisierung der materiellen Produktion und Hagens Idealisierung der Musik als Befreiungsmittel werden durch Hinweise auf nur zwanzig Jahre ältere Gedanken von Goethe korrigiert. / In a direct confrontation of the articles, books and letters written by both between 1844 and 1852, an attempt is made to illustrate the few similarities and the many dividing points between Marx and Hagen, two left-wing forty-eighties and members of the Communist League, in relation to their concepts of civilization and music. With the result that there is little to be learned by Marx in relation to music and that in relation to civilization of bourgeois society both authors had rather opposite views. While Marx saw the rule of the bourgeoisie as a necessary stage in the process of world history, which would be eliminated by a revolution in the conditions of production, Hagen saw civilization as the decisive obstacle to the emancipation of the people and the working class, which was primarily weakened and eliminated by music to be able to think of a victory over the bourgeois class. Marx’s idealization of material production and Hagen’s idealization of music as a means of liberation are corrected by references to Goethe’s ideas that are only twenty years older.

Zielsetzung der vorliegenden literaturwissenschaftlichen Studie ist es, einige Romanfiguren in Fontanes Roman Effi Briest (Ersterscheinung im Jahr 1896) im Spiegel der protestantischen Ethik näher zu betrachten und dabei Verständnis für ihr Agieren und für ihre Mentalität zu bewirken. Wissenschaftlicher Ansatz der Studie ist die diskurstheoretische Analyse mit Fokus auf die Interdiskurstheorie. Diese Studie hat die Hypothese formuliert, die sagt, dass die situations- und ortsbedingte Interpretation von Religion sich zum moralischen Verständnis entwickelt, die sich im sozialen Handeln als ausschlaggebend für die jeweilige Entwicklung der Einzelnen zeigt. Um diese Hypothese zu bestätigen, hat die Studie drei zentrale Fragestellungen in den disziplinären Untergruppen Literaturwissenschaft, Soziologie und Soziokultur ausgearbeitet. Erkenntnisfortschritte dieser drei disziplinären Untergruppen werden in einer längeren und thematisch zugeordneten Analyse, miteinander und im fließenden Text verbunden, um so einen interdisziplinaren fachlichen Zusammenhang zu bilden. Am Leitgedanken der Hypothese dieser Studie orientiert, wird belegt, dass Verständnis von Religion und Kultur nicht voneinander getrennt zu verstehen sind und dass die Romanfiguren in Effi Briest, dementsprechend, ein moralisches Verständnis erwirken, mit eine für sich perspektivierende Sicht der Wirklichkeit, durch die sie im sozialen Kontext agieren. Die Studie belegt auch, dass das normengeleitete und normenorientierte Handeln der Romanfiguren in Effi Briest, durch einen normenprüfenden Diskurs an Geltung gewinnt und dass ethische Diskurse, so als Prozesse der sprachlichen Erzeugung von Realität zu verstehen sind, die aus moralischen Begründungen und moralischen Einsichten entstehen.

Uppsatsen syftar till att testa den kritiska teorins relevans och användbarhet vid analysen av en modern, politisk Hollywoodfilm som Judas and the Black Messiah (Shaka King, 2021). Utifrån narrativ, form och reception undersöks om filmen kan sägas förmedla subversivitet och samhällskritik. Resultatet visar att filmen följer en klassisk narrativ struktur som inte ger utrymme för samhällskritik. Dock finns vissa formmässiga brott som kan sägas göra det, inte minst i hur dåtid och nutid knyts ihop. I receptionsanalysen studeras amerikanska recensioner av filmen, och här återfinns flera exempel på hur recensenterna läser in ett tydligt antirasistiskt budskap i filmen och relaterar detta till den nutida Black Lives Matter-rörelsen. Å ena sidan går det att hävda att Judas and the Black Messiah därigenom förmedlar subversivitet och samhällskritik till åskådarna. Å andra sidan är frågan om antirasism idag verkligen kan ses som genuint subversivt, och huruvida detta vederlägger den kritiska teorin eller ej.

This thesis proposed the idea of oral interpretation of children's literature as a pedagogical tool in the primary classroom. A group interpretation script entitled "The Wonderful World of Dr. Seuss" was compiled for performance in the primary classroom as a viable vehicle for teaching children to understand and appreciate literature. The script was evaluated by qualified teachers in the areas of English, oral interpretation, and elementary education as well as a critical analysis by the author. The thesis concluded that oral communication is necessary in the primary grade and that group interpretation is an exciting way to enhance learning.

No description available.

Dans les années 1930, Walter Benjamin et Theodor W. Adorno sont les premiers théoriciens à appréhender l'objet d'art dans une perspective critique. Persuadés que les conditions d'existence de l'homme moderne sont marquées du sceau de la contradiction, ils inaugurent une pensée de l'oeuvre d'art qui fait de cette dernière un condensé paradoxal de tous les antagonismes sociaux. Le problème qu'ils soulèvent est alors clair : comment l'art peut-il simultanément préfigurer un échappement à l'égard de la barbarie sociale et réfléchir l'exploitation à l'oeuvre dans la civilisation ? Le présent mémoire propose d'analyser le débat théorique entre Benjamin et Adorno dans la mesure où il nous fournit la clé de l'élucidation de ce statut problématique de l'art moderne. En proposant une analyse comparative des perspectives benjamienne et adornienne, il s'agira de montrer que ces dernières définissent les lignes de force d'une esthétique critique qui, non seulement rend compte des contradictions que la modernité artistique fait peser sur l'expérience humaine, mais explore aussi les possibilités qui émergent de ces contradictions.

D’emblée, l’Holocauste fut perçu comme le choc moral et politique le plus radical du vingtième siècle. Des nombreux intellectuels à s’être penchés sur cette question p o u r tenter d’en comprendre le sens, Theodor W. Adomo et Hannah Arendt sont, sans contredit, parmi les plus importants. Ce mémoire explore l ’interprétation philosophique que donnèrent Adomo et Arendt de cet événement. Mettant ces deux auteurs en parallèle dans le but de faire ressortir les convergences et les divergences de leurs pensées, il analyse la place et le rôle que joue l ’Holocauste dans celles-ci. Les grandes lignes de leurs analyses, qui consistent à rattache r l ’Holocauste aux conditions d ’existence propres à la modernité et à souligner to u t ce q u ’un tel lien comporte de potentiel critique, connaîtront un destin brillant : Adomo et Arendt constituent, jusqu’à ce jour, des incontournables dans l ’analyse philosophique de l ’Holocauste et de la domination politique en général.