There are multiple ways in which language and image share one another’s aesthetic message, such as traditional ekphrasis, which uses language to describe a work of art, or notional ekphrasis, which involves literature describing something that can be considered a work of art but does not physically exist at the time the description is written. However, these two terms are not inclusive to all artworks depicting literature or literature depicting artworks. Several scenes and characters from literature have been appropriated in art and the numerous paintings of Ophelia’s death as described by Gertrude in Hamlet, specifically Millais’ Ophelia, is the focus of this project. Throughout this thesis I analyze Gertrude’s account in three sections—the landscape, the body, and the voice—and compare it to its transmutation on the canvas.

This thesis looks to explore the rise of women in television comedy and the accompanying implications of this phenomenon. Using a historical framework, this thesis looks at the progression of representations of women in television comedies beginning in the 1950s up to today. Considering factors such as the rise of social media, as well as online television streaming services such as Hulu and Netflix as more legitimate avenues to distribute content, this thesis traces women’s place within television comedy, and argues that shows such as Parks and Recreation, The Mindy Project, and Broad City serve as examples of the progress that has been made in achieving gender equality on television, as well as stepping stones for how much more progress must be made in the future.

In a broad sense this thesis concerns the politics (and ethics) of strategic management, organisational psychology, organisational narratives, knowledge management and conditions of innovation. More specifically, this is research into the dimension of politics and the legitimacy of power relations within the synchronization of time and space in social organisations, typically as part of the design and implementation of strategy, in context of organisational definitions of innovation and contestations of 'the new'. With a conceptual archaeology, the thesis contends that strategy research focuses on the nodal concepts of 'inertia', 'adaptation' and 'friction', in context of three past conceptual frameworks: namely, Newtonian mechanics, Hobbesian interpretations of evolution, and Clausewitzian military theory. A genealogical approach is used to reveal the persistent influence of the Newtonian notion of simultaneity (absolute time and absolute space) across these three frameworks in their combinatorial guise in the discourse of strategic management. The genealogy unfreezes the nodal concepts by showing the history of their contingent construction and selection. Finally, a critical analysis scrutinizes the contextual appropriateness of applying the concept of simultaneity to social matters. The thesis rejects simultaneity and its dominant position as an 'articulatory practice' of organisational strategy. By decoupling the notion of simultaneity from frames through which sense is made of motion and events, the grip that structuralism has on organisational strategy is loosened and by substituting simultaneity with political power the implications for strategic management become clear. The approach draws from Political Discourse Theory to reframe the strategy discourse, in its current conception, as hegemonic and an antagonistic system of 'Politics' that, instead of facilitating either stability or innovation, leads, instead, to 'conceptual inertia' and economic stagnation, by repressing emergences of 'the Political'. The thesis proposes a strategy of 'agonism' as an alternative. Rather than replacing one despotic concept with another, the suggestion of agonistic strategy is made because agonism allows for its own reinterpretation, thus does not represent a sedimented centre of a discourse. In this way, agonism is less susceptible to stagnation, and more amenable to innovation. The theoretical framework is then accompanied with a study of the design and implementation of strategy within a research institute engaged with the innovation of genetically modified organisms (GMOs) using the CRISPR-cas9 technique. The selection of this case organisation allows for an analysis of the politics and power relations at play in the definitions of innovation, and a means to ground a study of the social construction of reality within an empirical setting regarding the strategic development of genetic constructs.

Esta pesquisa se dedica a questões conceituais da arte contemporânea implicadas na proposição intitulada Estruturação do Self, desenvolvida pela artista brasileira Lygia Clark entre 1978 e 1988, que se coloca num limite ambíguo entre a arte e a terapia. Por meio de perspectivas críticas é possível analisar determinados aspectos daquela experiência, seus desdobramentos, territórios e paradigmas, de modo a compreender melhor suas contribuições ao pensamento artístico contemporâneo. Esses aspectos dizem respeito à recepção estética da obra e sua relação com determinados públicos da arte; às maneiras de pensar e fazer arte; ao seu tempo; às possíveis aproximações com outros campos de conhecimento, tais como filosofia e psicologia; aos lugares em que a arte se apresenta (museu, galeria, ateliê, clínica); às questões éticas e políticas que movimenta; à produção crítica. Em suma, trata-se de perceber o que há de contemporâneo no trabalho de Lygia Clark e de revisitar o próprio pensamento artístico a partir dele. / This research engages in conceptual issues of contemporary art implicated in the entitled proposition Structuring of the Self, developed by the Brazilian artist Lygia Clark between 1978 and 1988, which puts itself in an ambiguous boundary between art and therapy. Through critical perspectives it is possible to analyze certain aspects of that experience, its development, territories and paradigms in order to better understand its contributions to the contemporary artistic thought. These aspects concern to the aesthetic reception of the work and its relation to a certain public of art; to the ways of thinking and doing art; to its own time; to the possible approaches with other areas of knowledge, such as philosophy and psychology; to the places where the art is presented (museum, gallery, atelier, clinic); to its ethical issues and policies; to the critical production. In short, it is about realizing what is of contemporary in the Lygia Clark\'s work and, from it, to review the artistic thought itself.

Partindo do exame dos pressupostos do realismo formal no romance, a dissertação pretende demonstrar como a desconfiança do narrador beckettiano quanto aos fundamentos que sustentam a voz em primeira pessoa e a estrutura ficcional do romance, observada desde Molloy e Malone Morre, dá lugar ao exame dos fundamentos relacionados à constituição da própria noção de subjetividade e desdobra-se em reflexões de natureza linguística em O inominável. Momento em que a hipótese de que é na linguagem e pela linguagem que o homem se constitui como sujeito, formulada pelo linguista Émile Benveniste, será desenvolvida considerando a dimensão trágica da experiência do eu. Com efeito, parte da tarefa da desta dissertação consiste em demonstrar a pertinência do trágico em O inominável, com o propósito de aprofundar a discussão teórica sobre a narrativa do século XX. / From an examination of the formal assumptions realism in the novel, the dissertation aims to demonstrate how distrust of Becketts narrator at the grounds that support the voice in first person and the fictional structure of the novel, observed since Molloy and Malone Dies, giving rise to the investigation of the grounds related to the constitution of the notion of subjectivity and unfolds in linguistic nature reflections in The Unnamable. Moment when the hypothesis that it is in the language and by the language that humans is constituted as subject, formulated by the linguist Émile Benveniste, will be developed based on the tragic dimension of the experience of \"I\". Indeed, part of the task of this dissertation is to demonstrate the relevance of the tragic dimension in The Unnamable, in order to deepen the theoretical discussion of the twentieth centurys narrative.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-15T15:10:27Z No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T14:56:52Z (GMT) No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T14:57:31Z (GMT) No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) / Made available in DSpace on 2016-07-22T14:57:31Z (GMT). No. of bitstreams: 1 raquelperalvamartinsdeoliveira.pdf: 423135 bytes, checksum: 936dc9680038ecba9d4af58f966164fc (MD5) Previous issue date: 2011-10-25 / Apesar da vasta obra de Machado de Assis, há poucas publicações suas explicitamente dedicadas à crítica literária. No entanto, muitas das narrativas ficcionais machadianas se oferecem como possibilidades de compreensão acerca das suas concepções teóricas e críticas. A relevância dessa pesquisa está, justamente, em investigar e aprofundar os conhecimentos a respeito dos posicionamentos de Machado sobre questões referentes à teoria e à crítica literária, demonstrando também em que medida este entrelaçamento entre o texto ficcional e o teórico pode representar uma afinidade (antecipada) com o conceito de escritura formulado por Roland Barthes no século XX. Através deste mapeamento a ser realizado nos textos ficcionais machadianos, objetivo ressaltar, sobretudo, alguns de seus pensamentos a respeito do fazer literário e dos papéis distribuídos ao autor, ao crítico/teórico e ao leitor. Além disso, a visualização de determinados posicionamentos teóricos e críticos de Machado permite o aprofundamento do debate a respeito do frequente atributo de precursor de tendências, o qual foi muito bem sintetizado por Merquior em De Anchieta a Euclides: breve história da literatura brasileira: “Machado de Assis teve a intuição da crítica moderna.” (1979, p. 162). / Despite the extensive work of Machado de Assis, he has few publications devoted to explicit literary criticism. However, many of the Machado’s fictional narratives are offered as possibilities for understanding his theoretical and critical conceptions. The relevance of this research is precisely to investigate and improve the knowledge about the positions of Machado around issues of theory and literary criticism, demonstrating how this interweaving of theoretical and fictional texts may represent an early affinity with some concepts formulated by Roland Barthes in the twentieth century. Through this analysis of Machado’s fictional texts, I aim to emphasize, above all, some of his thoughts about the literary production and the roles occupied by the author, the critic/theoretic and the reader. Furthermore, the visualization of certain theoretical and critical positions of Machado allows a deeper debate about the common attribute of a trendsetter, which was well summarized by Merquior, in, De Anchieta a Euclides: breve história da literatura brasileira: "Machado de Assis had the insight of modern criticism."

No single volume of mythological or philological research exists for Hades. In the one moment Hades appears in archaic Greek literature, speaking for only ten lines, Hermes stands nearby. Thus, to understand and journey to Hades is to reckon with Hermes’ close presence. As I synthesize research by writers from several different disciplines, may some light be brought into the depths. May we analyze Hades’ brief appearance in archaic Greek literature, examining how what I define as the “Hermetic” emits from his breath in the one moment he physically appears and speaks.

This paper examines the work of German artist Horst Hoheisel in Latin-America. I open the conversation by including Hoheisel’s provocative participation in the 2005 memory debates in Buenos Aires, Argentina. Here, I introduce the nature of Hoheisel’s reasoning and the dialectical self-reflectiveness that is at work in his artifacts. In each project, I look for the way in which Hoheisel lays down the “memorialistic substance” of a specific site together with the self-critical rationality that characterizes his creation. The second part of this essay attempts to construct the theoretical parameters for the expansion of the definition of the countermonument. This expanded definition attempts to unlock the countermonument and the memorial from the therapeutic mechanics of repetition -at the level of the subject- and release its possibilities vis-à-vis the potentiality of the event of language. Using the insights of Alain Badiou and Giorgio Agamben, I discuss the work of two contemporary artists (Jochen Gerz and Krzysztof Wodiczko) who experiment with the use of space and language as a way to invent a new type of countermonument, one that is based on the notion of an active memory rather than a cathartic one.

We often think of architecture as distinct buildings, yet as we move through the city we continuously pass through a built environment that is a collage of buildings. These spaces between buildings are underestimated as influences on our experience of everyday life in the city. Considering architecture as linked existential experiences through spaces rather than confined to individual buildings is more in line with our experience of the city as a series of interconnected spaces and places. Rather than describing a single, static architecture through words, how can we express this linked experience of spaces dynamically through narratives? Can writing reveal subtle experiences of interconnected atmospheres within the city? If so, how could this understanding inform the way architects consider the relationship between built-forms and the greater urban context? This thesis investigates and interprets the atmospheres of pathways and in-between spaces to understand their influence on the experience of moving through the city. Although in-between spaces are where much of the human experience of the city occurs, they are rarely discussed and, in many ways, this keeps them out of the realm of design consideration. Atmospheres (discussed by Peter Zumthor, Juhani Pallasmaa and Alberto Pérez-Gómez) arise from our multi-sensory perception of space. The thesis investigates the literature surrounding the phenomenological study and design of atmospheres as well as the connection between atmospheres and narratives—how they develop and are essential in creating meaningful spaces for embodied-experience. Assuming the identity of the flâneur—city-wanderer, documentarian, and observer—as an entry point into investigating the city through movement, the project aims at documenting and rendering atmospheres in the city through photography and writing. Through the intersection of architecture, atmosphere and narrative, the thesis presents a multi-media study of atmospheres of in-between spaces in Montreal focusing on writing as a tool for generating new narratives that inform design. This research project develops a new methodology that reorients design-thinking towards a sequence of experiences through atmospheres in the city. Ultimately, this research sets the conditions, methodology and context for the architectural intervention of attuned public spaces for events along an extension of Parc linéaire du Réseau-Vert (the Greenline).

This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.