O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal. / The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.

Discutir a problemática histórica das transgressões nos oferece a possibilidade de investigar mais detidamente uma característica marcante das formações sociais brasileiras coloniais e imperiais. Nas formações sociais da história brasileira transgredia-se muito e continuadamente. Ao mesmo tempo - traço fundamental dos modos de viver dessas sociedades - exercia-se cotidianamente uma visível tolerância social para com as transgressões. O estudo das práticas transgressoras oferece, portanto, a possibilidade de compreender um pouco mais sobre a complexidade desse processo social na história brasileira, moldado sobre parece ser mesmo esta a palavra mais adequada em um equilíbrio tenso, sem dúvida, mas estável, entre o que o era interdito, proibido e o que efetivamente, se permitia na vivência social cotidiana. Este trabalho pretende estudar a problemática das transgressões em um momento fundamental da história brasileira, a segunda metade do século XIX, quando, em meio a conflitos e tensões, iniciou-se o processo através do qual as configurações coloniais que definiram a vida social, política e econômica e cultural durante mais de três séculos foram gradualmente cedendo lugar à novos arranjos políticos e sócio-econômicos que fundamentariam a construção do Brasil contemporâneo. As décadas de 1850-1900 constituem assim um período crucial, marcado por difíceis e traumáticas transições. Na cidade de Taubaté, situada no médio Vale do Paraíba Paulista, região de importante significação econômica para a província de São Paulo e para o império em boa parte desse período, as transformações marcaram inapelavelmente a vivência cotidiana. A Taubaté da segunda metade do século dezenove coloca-se como cenário privilegiado para um estudo sobre a dinâmica da transgressão-transigência. Essa dinâmica, inequivocamente uma das efetivas permanências de caráter colonial na sociedade brasileira do século dezenove, não desapareceu no decorrer das transformações que marcaram as décadas finais do século. O complexo jogo de tensões entre o transgredir e transigir persistiu. Mas as vivências transgressoras nele pautadas tornaram-se progressivamente mais dificultosas, enfrentando resistências, hostilidade e impasses crescentes. / Discussing the historical problem of transgressions offers us the possibility to investigate more carefully a remarkable characteristic of the Brazilian social formations during colonial and imperial times. In social formation of Brazilian history transgressions were frequent and continuous. At the same time fundamental trait of the way of living of such societies people daily performed a visible social toleration for transgressions. Therefore, the study of the transgressions performances offers the possibility to understand a bit more about the complexity of this social process in the Brazilian society in a tense but stable balance, no doubt, between what was forbidden and what was in fact permitted in the everyday social behavior. This work intends to study the problematical of the transgressions on a very fundamental moment of the Brazilian history, the second half of the XIX century, when in between conflicts and tensions, it was started the process through which the colonial configurations that defined the social, political, economical and cultural life during more than three centuries had to gradually give in to new political and social-economical arrangements that would support the construction of the contemporary Brazil. For this reason the years 1850-1900 are a crucial time, marked by difficult and traumatic transition. At Taubaté, a town located in the middle Vale do Paraíba Paulista, region of economical importance for the province of São Paulo and for the empire, the changes marked strongly the everyday living. Taubaté of the second half of the nineteenth century places itself as a privileged scenery for a study over the dynamic of transgression-permission. This dynamic, no mistake one of the effective remains of the colonial nature in the Brazilian society of the nineteenth did not disappear during the changes that marked the final decades of the century. The complex game of tensions between transgress and permit persisted. But the transgressions there lined became progressively more difficult, facing resistance, hostility and impasses.

[pt] Este trabalho apresenta uma reflexão sobre o feminino,sobre os enigmas que flutuam o seu universo e que produzem uma imagem social relevante e sustentável . Essa imagem enuncia transformações decorrentes de aspectos sócio-culturais e vai revelando como o comportamento feminino está inserido em circunstâncias históricas e em que proporção a literatura desvela e influencia tais mudanças. Para esse olhar , tomamos A Moreninha, de Joaquim Manuel de Macedo, como fio condutor e o romance nos foi mostrando uma nova mulher, uma mulher que em sua morenice retrata brasilidade e apresenta nova matiz feminina. Conseqüentemente, visualizamos um novo Macedo, um Macedo que alinhava irreverência e equilíbrio, um Macedo que ousamos ver grande e anunciador de um universo feminino capaz de tecer novos conceitos e de produzir voz e tornar-se visível e representável. / [en] This work introduces a study about the feminineness, about the riddlesthat floatits universe and produce an important and sustainablesocial image. This image enunciates transformation originated from social- cultural aspects and keeps on showing how the feminine behavior is inserted in historical circumstances and in which proportion literature shows influences these changes. Concerning this point of view we consider A Moreninha, written by Joaquim Manuel de Macedo as the starting point and the novel began to show a new woman, a woman who with her brunetteness represents brazilian feelings and also a new female clour. For this reason we visualize a new Macedo. A Macedo that gathered inreverence and equilibrium. A Macedo we dare to consider a great announcer of a feminine universe able to create new concepts and producing voice, becaming visible and representative.

This thesis is an enquiry into the Marquis de Sade, his writing and the perversion known as sadism. The narrower focus of this thesis investigates the problem of the meeting of violence and language in Sade's novels and the implications for cinema. The procedure has been to adopt the Critical and Clinical approach to philosophy that brings together both the literary style of Sade and the clinical symptoms of sadism. This method canvasses a number of Sades novels to consider the psychoanalytical definition of sadism before moving on to discuss the expression of sadism through language. Finally, the model of sadism and language is then applied to a number of films to discuss how violence within the context of sadism functions through language within cinema. The general results show how speech and action can be defined as equivalent forms of sadian violence when expressed through language in both literature and cinema. This occurs, furthermore, through the transcendent model of violence where both speech and action refer to a higher order of violence and this is put at the service of the senses through language. The major conclusions reached suggest that language in literature and cinema can be a demonstrative form of the higher order of violence. Sadism draws out the violence and excess of the world by reflecting it within language. In doing so, violence is designated with a quality of the erotic through this excess. Finally, each act of violence within literature and cinema is an attempt to overcome taboos through transgression. The breaking of a taboo creates an amount of excess but also reinstates the taboo in what becomes an empty act of transgression. The excess is expressed through violence within language and deed according to a transcendent function of language in literature and cinema.

La différence entre Dieu et un chirurgien, réplique-t-on classiquement à celui-ci lorsque il s'estime comme créateur de son opéré, c'est que Dieu, lui, ne se prend pas pour un chirurgien. Qu'y a-t-il dans cette action qui soit si spécifique que son agent, le chirurgien, puisse à ce point risquer de s'idolâtrer ?Il semble bien, tout d'abord, qu'il y ait dans la chirurgie une réelle dimension religieuse c'est-à-dire un rapport certain avec le sacré - l'interdit -, ce que l'on ne doit pas profaner. Le questionnement sur le chirurgien et la chirurgie éclaire cet aspect. Si tout chirurgien est d'abord un médecin, et comme tel s'il a bien pour mission de soulager une personne humaine lorsqu'elle est affectée par la maladie ou le traumatisme, pour autant son mode " opératoire " est particulier. La chirurgie, malgré la prégnance de plus en plus forte de l'appareil techno-scientifique à son service, reste encore une activité manuelle et particulièrement immédiate. Elle nécessite certes une connaissance scientifique, mais sa technicité se nourrit de l'expérience pratique. C'est ici qu'elle recèle l'autre dimension sacrée que représente le sacrifice, de manière sans doute plus aboutie que la médecine purement clinicienne. Mais elle est surtout agressive, parce que douloureuse et sanglante, et transgressive, parce qu'elle autorise son agent à inter-venir, à rentrer dans un corps humain. Cette intervention ne se fait jamais sans un rituel quasi religieux qui semble attester de la sacralité de son champ : le corps-personne de l'opéré. Malgré la profonde influence de la Modernité qui, avec Descartes en particulier, vise à dissocier radicalement le corps de l'esprit, une analyse rigoureuse de la pratique chirurgicale tend à infirmer cette illusion, même s'il y a nécessité d'objectivation pour parvenir à assumer la transgression qui consiste à ouvrir un corps. La phénoménologie nous éclaire sur la subjectivité transcendantale du chirurgien qui, en même temps qu'il vise son opéré comme l'objet de son faire, ne peut pas être complètement extérieur à cet opéré et à son intervention. Le chirurgien ne saurait être le simple réparateur d'un objet, ni même un vétérinaire, obligé qu'il est de par la spécificité morale de l'être humain qu'il prend en charge. Il devient alors plus que la cause efficiente de l'opération chirurgicale, pour être nécessairement concerné par sa finalité. Cette obligation de viser à la restauration du pouvoir-être au monde de son opéré, plus que de le re-mettre dans une norme arbitraire, fait en effet de la chirurgie une action morale. Car oublier cette finalité, cherchant à s'exonérer de cette responsabilité qui dépasse le pur faire, ce serait réduire la chirurgie à une simple fabrication. La démesure alors guetterait celui qui pourrait se prendre pour Dieu, mais au mauvais sens du concept, puisque s'ouvriraient subrepticement les portes de la barbarie. Etre instrumentalisé par le désir jamais assouvi de son patient, comme être prisonnier de sa pure technicité, sont alors les deux écueils, intimement liés, qui empêchant le chirurgien de décider, ferait perdre toute dimension morale à son action. D'autant que le lent " désenchantement du corps " présent dans nos sociétés occidentales contemporaines, semble participer de ce déni. La question de la contribution de la chirurgie au vaste désir de transformation de l'homme, véhiculé par le transhumanisme, s'abreuve peut-être à la source d'une insidieuse barbarie.Retrouver la nature spirituelle de l'homme reste alors sans doute le point d'appui le plus sûr pour parer à une telle dérive, en sacralisant ainsi, et la personne de l'opéré, et le geste d'y intervenir, lui rendant peut-être son véritable sens._____

This essay researches the prevalence of Gnostic influences in contemporary music lyrics, more exclusively within the context of the extreme metal scene. A resurgence of such topics has also been evident in contemporary music; not surprisingly, as music in general is part of the foundations of culture, and in a wider aspect, of society at large. The essay is performed using a hermeneutic method, interpreting music lyrics and discussing them from a background of cultural and religious theory. The purposes of researching the influences of Gnosticism in this environment are to determine the presence of Gnostic thought in extreme metal lyrics, research the eventual re-interpretations of historical sources of Gnosticism, and to discuss the acknowledged Gnostic influences in the displayed art form in a contemporary cultural perspective, related to cultural aspects such as secularization, modernity and globalization. Sources include music lyrics appropriate to the subject matter at hand as well as previously published interviews. The results of the investigation demonstrate that there are multiple interpretations of Gnostic thought apparent in extreme metal lyrics, varying from slight re-interpretations to more extensive ones, as apparent in what is identified as a chaos-gnostic current. The Gnostic material has in the latter scenario been integrated into an originally satanic worldview and as a result has become a major part of the chaos-gnostic belief system. The chaos-gnostic current has appeared in a highly secular surrounding, and the results of the essay propose that a secular surrounding can breed elements of trangression within individuals, leading to the resurgence of oppositional counter-cultural characteristics and an awakening of alternative spirituality with oppositional overtones.

The aim of this monograph is to demonstrate the probable transgressions of Eliza Sommers who is the protagonist of The fortunes daughter (1999) written by the Chilean writer Isabel Allende. This novel is the base for our work and it was written in the postboom framework there we can evidently observe the strength of the feminist’s characters. Through investigating the model of conducts that was current by the chronological time the novel is based and by using the adequate theoretical model for this analysis we will either demonstrate or refuse our hypothesis. With this goal in mind and this theoretical framework we will try to explain the diversity of terms but principally patriarchy, feminism and stereotypes. Raising a few different questions helped us to come to the conclusion that all the transgressions the protagonist has been going through just helped her to get a better life as a woman, without hinders and in freedom.

The Lake Malawi cichlid fishes are a pre-eminent example of adaptive evolutionary radiation. The diversity of species (nearly 1000 extant) is mirrored by an array of variation in dozens of phenotypes (e.g. trophic morphology, tooth shape, color patterns, behavior, development). The unique characteristics of this system have produced unparalleled diversity with very little genetic differentiation between species. This dissertation is composed of four studies addressing different aspects of the variation in the LM cichlids and the mechanisms generating and maintaining this level of diversity at multiple biological levels. Community-level diversity is investigated using null model analysis of species co-occurrence data. We detect signals of non-random community assembly at only the broadest and finest spatial scales. Based on the unique ecological and evolutionary characteristics of this assemblage we suggest that different mechanisms are responsible for these patterns. A core‟ group of species is posited to act as a foundation on which these diverse communities are created as a result of fine-scale species interactions. We identify both positive and negative depth-based correlations between species and suggest these interactions play an important role in species diversity in these fish. The Lake Malawi cichlids exhibit an array of trophic morphologies which may play a role in the fine-scale species interactions described in chapter one. In the second chapter we build a genetic model to predict the evolution of jaw morphology and a complex functional jaw trait. We use a complex biomechanical system, the 4-bar jaw linkage, to simulate trait evolution during interspecific hybridizations. We find rampant transgression (trait values beyond parental distributions) in jaw function in a large proportion of potential crosses. This result is characterized by a lack of novel morphological components but rather is the result of recombinations of existing component traits thus producing functional novelty. In the third chapter we create a laboratory cross of one of the parental combinations suggested from the genetic model. The results of this study serve as a proof of principle to the simulations as we observe a large proportion of transgressive 4-bar function in the F2. As predicted this diversity is produced in the absence of transgressive morphology. We contrast these results between this complex system and data generated from several simple jaw lever traits and report differences in the patterns. Using quantitative trait locus (QTL) mapping approaches we examine the genetic basis for complex and simple jaw traits and discuss correlative patterns within and between systems. Finally we examine the genetic architecture of sex-determination and color morphs in this hybrid cross. We find both ZW and XY sex systems segregating as well as linkage to sex-specific color patterns. Several loci and epistatic interactions are associated with sex-determination and color morphs in this cross. The orange-blotch (OB) color is found associated with ZW as predicted from previous work but a previously undescribed (in these species) male nuptial color (blue) is found associated with both ZW and XY genetic systems as well as other loci segregating for sex-determination. These results are discussed in the context of models of sex chromosome evolution as a result of sexual conflict and the potential importance of sexual selection in the diversification of Lake Malawi cichlids. Overall we observe various mechanisms generating and maintaining diversity at different levels of biological organization. We use community co-occurrence analyses, genetic simulation, and QTL analysis of an F2 hybrid population to examine these mechanisms in this rapidly radiating assemblage. These results bolster our understanding of the origins of diversity and the interplay between variation and aspects of evolution in all biological systems.

<p>The creation of Emma Bovary, the major character in Madame Bovary written by Gustave Flaubert, must have been one of the most reckless literaray enterprises of its time. There is no doubt that its inventor, Flaubert, aimed to promote a feminist viewpoint. In this masterwork, Flaubert fully depicts the different options, offered to women in the Napoleon era.</p><p>However, somehow Flaubert’s novel is concerned less with the differences between men and women, as they are pre-given, than with what differentiates men from other men. Therefore, I have in this essay also payed particular attention to the codified social roles and rights for men within the legal framework of the Code Napoléon, leading to a reformulation of ‘masculinity’ and ‘manhood’ in nineteenth-century France. These codified roles and rights reveal a number of negative power-and social relationships with men, as well as with women. Not all men are equal or unaffected by the laws of Patriarchy. In Madame Bovary shifts in gender value, shifts in the codification of what is ‘feminine’ or ‘masculine’ are present throughout the entire novel, thus creating a real gender trangression or a new woman and a new man.</p>

This essay argues that Elizabeth Gaskell challenges the limiting gender roles of the Victorian era through giving her heroine, Margaret Hale in North and South, both the traditionally female qualities of virtue and selflessness and the traditionally masculine qualities of independence and action. The essay also argues that Gaskell’s heroine balances between the feminine and the masculine world as to not appear “unwomanly”, but rather subtly influencing the readers and calls for changing gender norms. Concrete examples of the heroine’s gender transgressions are put forward, but also her compliance to the traditional gender roles summed up in three roles or themes: the angel in the house, the female visitor and the refined lady. This essay also provides a didactic approach on working with North and South and the topic of Victorian gender norms in the upper secondary school. The relevance of and reasons for reading literature in school are also presented. The didactic chapter offers a concrete lesson plan on how to work with the theme of Victorian gender norms, which may develop students’ emphatic skills and also make them aware of ties between themselves and people that lived a long time ago.