Denna uppsatsens ämne är adaption. John W. Campbells science fiction/skräck kortroman Who Goes There? skall jämföras med två filmatiseringar som baserats på verket och som spelats in under olika generationer. Den första filmen är The Thing From Another World som regisserades av Christian Nyby 1951 och den andra filmen är The Thing som regisserades av John Carpenter 1982. Utöver en generell jämförelse som tar upp likheter och skillnader verken emellan så kommer teman som våld och genus också vara ett genomgående fokus i uppsatsen. Frågor som varför inga kvinnliga karaktärer finns i Campbells berättelse diskuteras, dessutom varför en av filmatiseringarna väljer att göra samma val när det gäller inkluderingen av kvinnor medan den andra inte gör det. Hur och varför kvinnor representeras som de gör generellt inom skräckgenren tas också upp. Effekten, graden och nödvändigheten av våld är en fråga som diskuteras inte bara inom ramarna av den ursprungliga berättelse skriven av Campbell och de två filmer som är baserade på den, men också inom skräckgenren som helhet. Ljudets roll inom skräck är också en faktor som tas upp via diskussion kring filmmusik.

Como as práticas baseadas nos lugares de Mercado podem ser analisadas sob uma ontologia diferente? Esse trabalho é baseado na discussão de alguns prismas teóricos fundamentais na epistemologia de estudos de comportamento de consumo. Estudos envolvendo consumo geralmente focam-se no consumidor como indivíduo final, monolítico – portador de agência e voz. Portanto, esse trabalho busca compreender o descolamento aparente entre os humanos e os não-humanos (coisas). Para tanto, utilizei-me do conceito de coisa, advinda do campo da Antropologia, para estudos de comportamento de consumo. Escolhi, como tema, a sexualidade – visto que é um tema com pouca expressividade no campo de comportamento de consumo. Inicio meu argumento com três pilares teóricos: o conceito de coisa; o conceito de performatividade para gênero e sexualidade; e o conceito de interseccionalidade. Depois, apresento o método utilizado para unir os três pilares na análise empírica in loco. Por fim, ofereço uma discussão sobre a convergência da fundamentação teórica e o método. Meus achados iluminam como atores humanos envolvidos em uma malha de relações, que dividem práticas com outros atores, engajam-se em oclusão de consumo: a necessidade de esconder uma prática de consumo dentro de uma malha próxima de relações. Também iluminam como a cooptação de locais de mercado de forma institucional – adicionando lugares focados em diversidade – não preclude a exclusão. Observei a continuação das práticas exclusionárias dentro de ambientes de mercado considerados abertos à diversidade, ou exclusão interseccional. Ambos achados foram resultado da abordagem ontológica delimitada previamente, que resultou no conceito de gayscape – um conceito puramente qualitativo que contém a malha de interrelação dos atores (humanos e não-humanos) do campo de consumo gay. / How do the marketplace-based practices can be analyzed with a different ontology? This work is based on the discussion of some theoretical approaches fundamentally attached to consumption behavior studies. These studies are usually focused on the consumer as a finished, monolithic individual – bearer of agency and voice. Therefore, this work tries to comprehend the apparent detachment between humans and non-humans. To achieve this I use the concept of thing, from the anthropology field to study consumption behavior. My chosen theme is sexuality – seen it is regarded as an understudied in consumption behavior studies. I start my argument based on three theoretical pillars: the concept of thing; the concept of performativity connected to gender and sexuality; and the concept of intersectionality. Following this, I present the method that was used to unite these three pillars for data collection. Lastly, I offer a discussion about the convergence of the literature review and the method. My findings illuminate how human actors are involved in a mesh of relationships – sharing practices with other actors – engage in what I call Consumption Occlusion: the need to hide a consumption practice within a tightly woven mesh of relationships. I also illuminate how institutional marketplace cooptation – for example, adding diverse marketplaces – does not preclude exclusion. I observed the continuation of exclusionary practices within marketplaces regarded as open to diversity, or intersectional exclusion. Both findings are the results of a previously delimited ontological approach, resulting in the concept of gayscape – a purely qualitative concept that brings forth the relationship mesh among actors (humans and non-humans) of the gay consumption field.

MESQUITA, Breno Taveira. Como se eu carregasse um monte de cadáver atrás de mim: os vivos e os mortos no NUTAF da PEFOCE. 2016.105f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Sociologia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-18T16:11:27Z No. of bitstreams: 1 2016_dis_btmesquita.pdf: 2927674 bytes, checksum: 438c278d68d8412f159b3b34e81ed792 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-19T14:10:23Z (GMT) No. of bitstreams: 1 2016_dis_btmesquita.pdf: 2927674 bytes, checksum: 438c278d68d8412f159b3b34e81ed792 (MD5) / Made available in DSpace on 2017-05-19T14:10:23Z (GMT). No. of bitstreams: 1 2016_dis_btmesquita.pdf: 2927674 bytes, checksum: 438c278d68d8412f159b3b34e81ed792 (MD5) Previous issue date: 2016 / The following paper aims to describe and analyze the relationship between expertise and coroners aids as well as his views about death and the dead - elements that are routine in their profession. The survey was conducted as having locus the NUTAF - Center for Forensic Thanatology a Coordination sector of Legal Medicine of PEFOCE - Ceará State Forensics located at Avenida Castelo Branco 901 in the neighborhood Moura Brazil. Discuss ways of how this "daily death" presents the study space as well as the looks of these professionals perceive the body as a "thing" and the implications of this category when applied to the dead. / O seguinte documento visa descrever e analisar as relações entre auxiliares de perícia e médicos-legistas bem como as suas concepções acerca da morte e do morto – elementos que são rotina em sua profissão. A pesquisa foi realizada tendo como locus o NUTAF – Núcleo de Tanatologia Forense, um setor da Coordenadoria de Medicina Legal da PEFOCE – Perícia Forense do Estado do Ceará localizada na Avenida Castelo Branco nº901 no Bairro Moura Brasil. Discuto as maneiras de como essa “morte cotidiana” apresenta-se no espaço estudado, bem como os olhares destes profissionais que apreendem o cadáver como sendo uma “coisa” e as implicações desta categoria quando aplicada aos mortos.

Como as práticas baseadas nos lugares de Mercado podem ser analisadas sob uma ontologia diferente? Esse trabalho é baseado na discussão de alguns prismas teóricos fundamentais na epistemologia de estudos de comportamento de consumo. Estudos envolvendo consumo geralmente focam-se no consumidor como indivíduo final, monolítico – portador de agência e voz. Portanto, esse trabalho busca compreender o descolamento aparente entre os humanos e os não-humanos (coisas). Para tanto, utilizei-me do conceito de coisa, advinda do campo da Antropologia, para estudos de comportamento de consumo. Escolhi, como tema, a sexualidade – visto que é um tema com pouca expressividade no campo de comportamento de consumo. Inicio meu argumento com três pilares teóricos: o conceito de coisa; o conceito de performatividade para gênero e sexualidade; e o conceito de interseccionalidade. Depois, apresento o método utilizado para unir os três pilares na análise empírica in loco. Por fim, ofereço uma discussão sobre a convergência da fundamentação teórica e o método. Meus achados iluminam como atores humanos envolvidos em uma malha de relações, que dividem práticas com outros atores, engajam-se em oclusão de consumo: a necessidade de esconder uma prática de consumo dentro de uma malha próxima de relações. Também iluminam como a cooptação de locais de mercado de forma institucional – adicionando lugares focados em diversidade – não preclude a exclusão. Observei a continuação das práticas exclusionárias dentro de ambientes de mercado considerados abertos à diversidade, ou exclusão interseccional. Ambos achados foram resultado da abordagem ontológica delimitada previamente, que resultou no conceito de gayscape – um conceito puramente qualitativo que contém a malha de interrelação dos atores (humanos e não-humanos) do campo de consumo gay. / How do the marketplace-based practices can be analyzed with a different ontology? This work is based on the discussion of some theoretical approaches fundamentally attached to consumption behavior studies. These studies are usually focused on the consumer as a finished, monolithic individual – bearer of agency and voice. Therefore, this work tries to comprehend the apparent detachment between humans and non-humans. To achieve this I use the concept of thing, from the anthropology field to study consumption behavior. My chosen theme is sexuality – seen it is regarded as an understudied in consumption behavior studies. I start my argument based on three theoretical pillars: the concept of thing; the concept of performativity connected to gender and sexuality; and the concept of intersectionality. Following this, I present the method that was used to unite these three pillars for data collection. Lastly, I offer a discussion about the convergence of the literature review and the method. My findings illuminate how human actors are involved in a mesh of relationships – sharing practices with other actors – engage in what I call Consumption Occlusion: the need to hide a consumption practice within a tightly woven mesh of relationships. I also illuminate how institutional marketplace cooptation – for example, adding diverse marketplaces – does not preclude exclusion. I observed the continuation of exclusionary practices within marketplaces regarded as open to diversity, or intersectional exclusion. Both findings are the results of a previously delimited ontological approach, resulting in the concept of gayscape – a purely qualitative concept that brings forth the relationship mesh among actors (humans and non-humans) of the gay consumption field.

The concept of a building in the roman law Abstract This diploma paper deals with a definition of a building concept in the roman law. Thanks to many possibilities of its appellation, the attention is paid to the designation used by the sources at first. Its definition according to the legal characteristic of things follows. Concerning the building description as a composed thing, the perception of the part in general is also taken in focus, because of the specific understanding kept by the roman law, particularly in relation with things sometimes called as pertinecies. However, the application of the general standard used by romans as the definition of the part (perpetuus usus) to the building brings some difficulties. Firstly, the building was specially defined in a context of some special norms. Tignum iunctum is the most important example, but a prohibitive regulation of demolitions or destructions, including particularly the senatusconsultum Aviola et Pansa, was significant too. Secondly, the development of the understanding what does it involve took a part, as the things used for the water supply illustrate. Than the paper focuses on the negative delimitation of the building by the categories of things, such as instrumentum, ornamentum or suppellectiles and ruta et caesa. Last part of the paper deals...

The gramophone's function in literature has generally been examined in relation to media studies and Walter Benjamin's discussion of the reproduction of art through mechanical means, emphasizing the gramophone’s playback of recorded materials. This particular methodology, however, only deals with half of the machine's potential. My project mediates the links between media studies and “thing theory.” By making a distinction between the gramophone as an instrument (through which we access or hear a recording) and the gramophone as a "thing" (an object which draws attention to itself by not behaving as expected, thereby forcing us to confront the object's irreducibility), I trace connections between the physical “thing” as well as its embedded or recorded cultural archives of history, trauma, and identity for Modernist authors and their contemporary audiences. As both a voiced and mute object, the gramophone amplifies embedded accounts of a culture frequently traumatized through violence and disruption; it also bears physical testimony to the scars left behind by those traumatic encounters. My project takes Irish Modernism as its primary focus, and it identifies ways in which the traumas represented by phonograph and gramophone are tied to cultural traumas specific to Ireland. Again to briefly quantify, in my work I discuss (to varying degrees) over 20 Irish texts that evoke the gramophone as an object of some significance and in relation to some aspect of cultural trauma. For instance, in Dracula, the oral traditional of Ireland is under attack by the undead oralities of the phonograph: a machine that presumably preserves living oral culture, is essentially killing what it attempts to preserve. In George Bernard Shaw’s Pygmalion, the gramophone is feminized in the context of gendered colonial politics. In Elizabeth Bowen’s The Last September and Sean O’Casey’s Juno and the Paycock the machine is imbued with the physical and psychological violence of Ireland at war. And in works like Flann O’Brien’s At Swim-Two-Birds and Brian Friel’s The Gentle Island the gramophone is a manifestation of post-war tensions—both psychological and political—that can erupt in violence when left unresolved.

This essay analyzes the role and power of edible meat in the Swedish translations of Pow! by Mo Yan and The Vegetarian by Han Kang. The focus is on the main characters and their relation to meat-eating, their choices of eating or not eating meat, and the way meat influences their lives. Through the characters' habits of eating the analysis also explores their animality to further investigate power-dynamics. The result shows that both main characters in the novels suffer under the influence that meat has over them. They both decide to stop eating meat in order to regain control over their lives, by changing their eating habits they are able to become different from what they used to be. In Pow! Xiaotong is able to learn how to better control his animalistic desire. In The Vegetarian Yeong-hye's attempts to reform life and gain freedom are never enough, and she ends up trying to starve herself to death as a last way out.

No description available.

Le mouvement de construction de théâtres en plein air sous le Troisième Reich ou Thingbewegung est un aspect relativement méconnu de la politique culturelle national-socialiste. Ce théâtre de propagande devait réunir plusieurs milliers de spectateurs dans des lieux excentrés, des espaces construits spécialement par le régime afin de célébrer la communauté du peuple dégagée de toute différenciation sociale ou, pour reprendre la terminologie nazie, la Volksgemeinschaft. L’aspect central reste la volonté du régime de faire coïncider, à une échelle considérable, une nouvelle forme d’architecture et de spectacle théâtral de masse. L’objectif, exprimé clairement dès le début du mouvement en 1933, était l’élaboration de 400 scènes sur l’ensemble du territoire. Dès 1934, vingt étaient effectivement en construction et en 1939, au début de la Seconde Guerre mondiale, elles étaient environ au nombre de trente. Ce projet de recherche part de l’hypothèse qu’une meilleure compréhension du phénomène devient possible lorsque ce dernier est restitué dans la tradition historique double du théâtre et de l’architecture. Cette démarche, à la fois synchronique et diachronique, fondée sur une approche pluridisciplinaire, vise à mettre au jour les formes spécifiques de création de ces lieux scéniques tout en soulignant l’appartenance à la politique idéologique totalitaire du national-socialisme. / The open-air theatre construction movement under the Third Reich or Thingbewegung is a relatively unknown aspect of National Socialist cultural policy. This propaganda theatre was to gather several thousand spectators in outlying places, spaces specially built by the regime to celebrate the community of the people free of any social differentiation or, to use Nazi terminology, the Volksgemeinschaft. The central aspect remains the regime’s desire to bring together, on a considerable scale, a new form of architecture and mass theatrical performance. The objective, clearly expressed from the beginning of the movement in 1933, was to develop 400 stages throughout the country. By 1934, twenty were actually under construction and, at the beginning of the Second World War in 1939, there were about thirty of them. This research project is based on the hypothesis that a better understanding of the phenomenon becomes possible when it is replaced within the dual historical tradition of theatre and architecture. This approach, both synchronic and diachronic, based on a multidisciplinary approach, aims to uncover the specific forms of creation of these scenic places while emphasizing the association with the totalitarian ideological policy of National Socialism.

Né en 1812 et mort en 1870, Charles Dickens assiste tout au long du XIXe siècle au développement de l’ère industrielle, de la société de consommation et de nouvelles pratiques de lecture qui transforment les usages du document. Ce sont ces nouveaux usages que Dickens commente continuellement dans ses romans ainsi que dans ses essais, en ne cessant d’en exposer toute l’ambivalence. Le romancier manifeste une inquiétude permanente quant au pouvoir de l’instance auctoriale qui n’est jamais pris pour acquis. Ce travail s’inscrit donc dans une réflexion sur le lecteur et la réception tels qu’ils se présentent dans les textes dickensiens. Le personnage dickensien est présenté comme un lecteur concret et un herméneute imparfait. Sa réception des textes écrits dépend de sa subjectivité d’une part, et d’autre part de la matérialité du support qui s’interpose entre lui et le texte. Ainsi, le sens construit ultérieurement par les lecteurs dickensiens peut se distinguer de l’intention originelle de l’auteur : contrairement à l’oral, l’écrit s’inscrit dans une communication différée et crée un écart dans lequel la subjectivité et la matérialité s’insère. En considérant ces deux paramètres dans le processus de la communication écrite, ce travail adopte les perspectives d’étude de ce que la critique anglo-saxonne nomme Book History. L’analyse de l’objet textuel qu’est le document rejoint également les constructions théoriques du courant Thing Theory. Dans la continuité de ces courants, nous nous intéresserons à “l’imagination matérielle” de l’œuvre dickensienne qui pense, rêve et vit dans la matière du document. Il s’agira de voir pourquoi et comment Dickens cherche paradoxalement à se défaire des matières inertes que sont le papier, la plaque et la pierre comme supports de l’écriture, pour ensuite examiner son rêve de textes vivants qui trouvent leur possibilité en l’homme, dans un au-delà de la matière. / From his birth in 1812 until his death in 1870, Charles Dickens was part of the industrial development era of the 19th century which brought about the consumer society and new forms of reading that transformed the use of documents. Dickens comments on these different forms and uses throughout his work, both in his novels and in his essays, in which he demonstrates a persistent uncertainty concerning the power of the author. This dissertation aims at reflecting on the role of the reader and the act of reading as they are presented in Dickens’s novels. Dickens’s characters are presented as concrete readers who imperfectly interpret the various texts they are presented with. The reception of written texts is subject on the one hand to the character’s subjectivity and on the other hand the materiality of the document which comes between the reader and the text. Thus whatever sense is construed by a Dickensien reader can differ from the original intent of the text’s author. Contrary to an orally delivered message, a written text is part of a differed communication into which subjectivity and matter irrupt. Considering these two parameters within the process of written communication, this work adopts the perspectives of the Anglo-Saxon critical study called Book History. The analysis of the textual object which is the document is connected with the theoretical reflections on objects as considered in Thing Theory. Together with these theories, this work is interested in “the material imagination” in Dickens’s work which thinks and dreams about the materiality of the document. We set out to understand why and how Dickens paradoxically attempts to deconstruct inert materials such as paper, signboards, stones as media for writing to then examine his dream of living texts which find its answer in man, beyond matter.