My dissertation focuses on an analysis of postmodern narrative strategies in Milan Kundera's The Unbearable Lightness of Being (ULB) and The Book of Laughter and Forgetting ( BLF) . By analysing the postmodern ab/use of narrative strategies, I argue that postmodern fiction marks a decided shift from both classical realism and modernism. My dissertation has predominantly been motivated through my contention that postmodern fiction is not elitist as it has been perceived to be. Rather, I suggest that postmodern fiction ab/uses narrative strategies to deconstruct the ontological boundaries between the political and private and fiction and 'fact'. Consequently, postmodern fiction interrogates the contrived intelligibility of History. A further argument that I raise is that postmodern fiction through its (re) appropriation, subversion and use of parodic structures creates.narrative space for the Other. In order not to canonize Kundera's texts, I situate both ULB and BLF as 'nodes' within a diffuse network of intertextual discourse. My analyses of the postmodern narrative strategies in ULB and BLF, attempt to interrogate the diffuse 'nature' of postmodern fiction which resists both authorative analysis and closure. In exploring the relationship between recuperation and postmodern narrative strategies in ULB and BLF and other works and/or texts of fiction, I argue that postmodern fiction does not revel in its narrativity, it constitutes, instead, a political strategy / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

Thèse de doctorat réalisée en cotutelle entre l'Université Paris IV Sorbonne et l'Université de Montréal / Des affinités rapprochent l’œuvre d’Hubert Aquin et celle de Georges Bataille. Ces deux auteurs explorent une voie mystique présentant de fortes similitudes, apparentée à ce que Roger Caillois appelle le « sacré gauche », c’est-à-dire le sacré impur, maléfique, dont l’accès serait donné selon Georges Bataille par la transgression, et qui correspondrait, pour reprendre l’expression bataillienne, au « moment privilégié d’unité communielle ». L’objectif de l’auteur français est de dégager l’expérience mystique de ses antécédents religieux et de rendre le phénomène de l’extase accessible à tous. La sortie de soi est rendue possible par la communication, qui implique la rupture de son intégrité et de celle d’autrui. Bien que provenant d’un horizon culturel différent, Hubert Aquin théorise également et met en scène dans et par le récit une certaine forme d’«extrême du possible » qui s’avère très proche de « l’impossible » bataillien. Cette thèse se propose de montrer en quoi les théories de « l’expérience intérieure » et de l’érotisme de Bataille éclairent tant les essais que le Journal, les romans, récits et nouvelles d’Aquin, nous amenant par la même occasion à définir les particularités de la voie mystique empruntée par l’auteur québécois, et aussi, plus généralement et plus fondamentalement, de souligner deux façons différentes d’appréhender et de vivre le refus de la transcendance : l’une, celle de Georges Bataille, qui consiste à embrasser à corps perdu la perte de Dieu et de soimême dans un formidable éclat de rire, et l’autre, celle d’Hubert Aquin, qui réside dans le tiraillement incessant et douloureux entre ce qui éloigne du Christ et ce qui rapproche de Lui. Le premier chapitre de la thèse est théorique ; il est consacré aux trois concepts qui régissent l’ensemble de notre analyse : le mysticisme, le sacré et l’érotisme. La singularité de la nouvelle théologie mystique que propose Georges Bataille dans ses textes théoriques par rapport à l’expérience mystique traditionnelle fait ensuite l’objet du deuxième chapitre. Le troisième et dernier chapitre montre les points de convergence et de divergence entre l’auteur français et l’auteur québécois et met en valeur la spécificité de l’expérience de ce dernier. Comment Hubert Aquin conçoit-t-il et représente-t-il « l’extrême du possible » dans l’ensemble de son œuvre ? C’est à cette ultime question que nous tâchons de répondre. / Affinities link Hubert Aquin’s and Georges Bataille’s writings. These two authors explore a mystic path, which presents strong similarities related to what Roger Caillois called «left sacred», that is to say the impure, malefic sacred, accessible to Georges Bataille by transgression, and which corresponds to the « privileged moment of communal unity ». The French author’s goal is to free the mystic experience from its religious background and to make ecstasy accessible to everybody. It is precisely by communicating that men can break their isolation and that of the others and reach ecstasy. Even if Hubert Aquin doesn’t share the same cultural background as Georges Bataille, he also theorizes and represents in his novels a form of « extreme of the possible », which is very close to the bataillian « impossible ». This thesis aims to show how Georges Bataille’s theories of «inner experience » and eroticism highlight Hubert Aquin’s essays, Journal and novels, leading us to define the peculiarities of the mystic experience explored by the author from Quebec, and more generally and fundamentally, to focus on two different ways to think and to live the refusal of transcendence: the first, that of Georges Bataille, which consists in embracing the loss of God and of ourselves in laughter, and the second one, that of Hubert Aquin, which consists in being ceaselessly and painfully torn between what takes away from the Christ and what moves closer to Him. The first chapter of the thesis is theoretical; it is dedicated to three key concepts for our whole analysis: mysticism, sacred and eroticism. The object of the second chapter is the peculiarity of the new mystic theology of Georges Bataille in his theoretical texts compared to the traditional mystic experience. The third and last chapter shows the points of convergence and the differences between the French author and the author from Quebec and emphasizes the specificity of the latter’s experience. How does Hubert Aquin conceive and represent «the extreme of the possible » in his writings? It is the ultimate question we try to answer in this thesis.

Four modern shoals on the Louisiana continental shelf are proposed to have formed through transgression, marine reworking, and submergence of Mississippi River deltaic lobes. However, one of these shoals, the St. Bernard Shoals, is dissimilar to the other shoals in morphology and stratigraphy. Understanding the processes that lead to these differences resulted in the development of a wholly new model for subaqueous shoal evolution. The results of this study suggest that the St. Bernard Shoals are transgressive remnants of a near shelf-edge delta lobe that was transgressed and truncated by marine processes after fluvial abandonment. Subsequent to truncation, the shoals formed through subaqueous excavation and reworking of coarse grained sediment contained within underlying distributary channels by hurricane related marine currents. As a result the shoals are bound at their base by a ravinement surface and lie directly upon progradational facies associated with previously unrecognized southern progradation of the La Loutre distributary network.

No description available.

O objetivo do presente trabalho é demonstrar como se estabeleceram as relações de gênero nos processos de criação musical ao longo da história, e a oposição das mulheres compositoras em relação à dominação masculina, termo cunhado por Pierre Bourdieu, trazendo à tona questões como a visão androcêntrica, legitimadora das práticas de submissão feminina, bem como a dominação simbólica, pela qual as mulheres incorporam as relações de poder e reconhecem a sua submissão a um agente dominante. Ao analisar os papéis sociais desempenhados pelas mulheres, identifica-se que suas práticas cotidianas estão calcadas na visão androcêntrica, e que a estrutura patriarcal está presente tanto na esfera social como na esfera política e econômica. Ao longo da dissertação, foram também abordadas questões relacionadas à temática de gênero, através da análise de literaturas em outros campos do conhecimento humano. Em face ao alijamento da mulher na criação musical, detectar as composições ditas do universo feminino traz uma grande contribuição para a história da música e análise musical. Partindo do referencial da nova história, cuja contribuição consiste em questionar as categorias de dominação a partir das quais a história foi constituída, surge a questão: como analisar o contexto histórico musical partindo da experiência composicional feminina? Sobre a questão, é oportuno mencionar o que Joan Scott ressalta: que, ao se incluir à história a versão feminina, tem-se um novo entendimento daquela que os historiadores apontavam como a verdade total. Nesse sentido, Pilar López e Lucy Green também defendem que a mulher teve uma trajetória de muita luta para compor gêneros musicais que não aqueles preestabelecidos pela sociedade dominadora, ou seja, para criar obras ditas complexas, atividade que era considerada própria do universo masculino. Apesar dos obstáculos que a mulher teve de enfrentar no âmbito da criação musical, e de muitas compositoras terem criado peças ligadas mais à educação musical ou canções para poucos instrumentos, como piano e canto, algumas delas conseguiram compor obras mais complexas. / The purpose of this work is to demonstrate how gender relations were established in the musical creation processes throughout history, as well as the opposition of women composers against male domination, a term dealt by Pierre Bourdieu, bringing up issues like androcentric view, legitimizing practices of female submission, as symbolic domination, in which women incorporate power relations and recognize their submission to a dominant agent. Investigating roles played by women, some identifies that their quotidian practices are grounded in this androcentric sight, and that the patriarchal structure is present as in social as in political and economical spheres. All over the text, issues related to the theme of gender were also approached, through the analysis of literature in other fields of human knowledge. In light of women\'s casting off in musical creation, detecting compositions said to be part of feminine universe brings up a great contribution to the History of Music and Musical Analysis. As from the referential of New History, whose contribution consists in objecting the domination categories from which history was built, the question arises: How to analyze historical and musical context from the female compositional experience? About the question, it\'s appropriate to mention what Joan Scott emphasize, that, by including the female version of the history, one has a new understanding in spite of that the historians pointed as the whole truth. In this way, Pilar López and Lucy Green also defend that women have had a trajectory of hard struggle to compose musical genres other than those predetermined by the domineering society, that is, to create works said complexes, an activity that was considered proper to male universe. Despite the obstacles that women faced under the musical creation, and many composers have created more connected parts to music education or songs for a few instruments such as piano and singing, some of them managed to compose more complex works.

O presente texto pretende apresentar a investigação, a partir de referenciais práticos e teóricos, sobre as possibilidades, caminhos e princípios da construção de uma Pedagogia do Palhaço, que venho desenvolvendo, desde 2000 - proposta educativa que tem como principais concepções e propostas pedagógicas as técnicas do ator-criador, do arteiro, do atuador, do artivista e do educador para a paz, que se constitui a partir dos elementos da Arte do palhaço, como o riso (enquanto deflagrador do pensamento sério), o corpo jogador, a transgressão e a inversão, na relação com a Educação, na interface com as Ciências Sociais e com as Artes, e em conformidade com minhas próprias experiências enquanto ator, palhaço, jogador de capoeira, contador/colecionador de histórias e educador. A partir da pesquisa qualitativa, através do levantamento e do estudo bibliográfico, assim como, através do método autobiográfico, selecionei materiais escritos e iconográficos sobre minha trajetória profissional e docente, problematizando-os e colocando-os sob perspectiva para a consolidação desta Pedagogia, que se aproprie do riso, do jogo e do corpo do palhaço como estratégias dialógicas; a pensar uma práxis provocadora pedagógica que caiba nos corpos dos/as profissionais que trabalham com a educação de crianças e de jovens. / This paper aims to present the research, based on practical and theoretical references, on the possibilities, ways and principles of the constrution of a Clown Pedagogy, I have been developing since 2000 educational proposal whose main pedagogical conceptions and proposal are the actor-creators techniques, the mischievous, the actuating, the artivista and the educator for peace, created from the Clown arts elements such as laughter (as precipitant of serious thought), the body player, transgression and inversion, in relation to Education, the interface with the Social Sciences and the Arts, and in accordance with my own experiences as an actor, clown, capoeira player, Story Teller/ Collector of stories and educator. Starting from the qualitative research through the survey and bibliographical study, as well as through the autobiographical method, I have selected written and iconographic material about my professional career and teaching, questioning them and putting them in perspective for the consolidation of this pedagogy which appropriates laugh, play and clown body as dialogical strategies; to think a pedagogical provocative práxis that fits in bodies of the professionals working with the education of children and youth.

Trata-se de uma leitura do livro O trabalho da obra Maquiavel (1972), opus magnum de Claude Lefort (1924-2010). Com base na distinção lefortiana entre discurso manifesto e palavra latente da obra de pensamento, concebemos nosso texto a partir de uma divisão tripla. Inicialmente, com o objetivo de localizar o leitor ciceroneando-o pelos mesmos caminhos que levaram Lefort a Maquiavel , perguntamos: se à obra do secretário florentino dedica-se o discurso manifesto do filósofo francês, como este objeto se inseriria na problemática de seu hic et nunc, temática latente que o motivou a levar a cabo o seu mais longo estudo? Em seguida, apresentaremos nossa interpretação do Maquiavel de Lefort, na qual veremos emergir ao primeiro plano a personagem do conspirador, trazendo à cena consigo a proposição da inevitabilidade da impostura do poder e a defesa da imprescindibilidade e da legitimidade do ato ilegal empreendido contra a legalidade ilegítima. Por fim, é à crítica ao idealismo democrático que somos conduzidos ao nos depararmos com o saldo de nossa leitura e, diante dele, questionarmo-nos: de que modo o Maquiavel de Lefort conteúdo manifesto deste trabalho pode nos ajudar a pensar o nosso próprio tempo, a sustentar os nossos desejos de saber e de agir, a nos engajarmos aqui e agora no enigma de uma paixão realista, palavra latente de todo e qualquer escrito que aceite o desafio do político? / This is a reading of the book Machiavelli in the making (1972), the magnum opus of Claude Lefort (1924-2010). Based on the Lefortian distinction between the manifest discourse and the latent word in the work of thought, the text is in three parts. Initially, with the aim of locating the reader by guiding him along the same paths that led Lefort to Machiavelli we ask: if the manifest discourse of the French philosopher is dedicated to the work of the Florentine Secretary, what is the place of this object in the problematic of his hic et nunc, the latent thematic that led him to undertake his longest study? Next, we present our interpretation of Leforts Machiavelli, in which we will see the conspirator\'s character emerge to the foreground, bringing with him the proposition of the inevitability of the imposture of power and the defense of the indispensability and legitimacy of the illegal act employed against illegitimate legality. Finally, we are led to a critique of democratic idealism as we are confronted with the results of our reading and, faced with this, we ask ourselves: how can Leforts Machiavelli the manifest object of this work help us to think about our own time, to sustain our desires to know and act, to engage ourselves here and now in the enigma of a realistic passion, the latent word of each and every text that accepts the challenge of the political?

Made available in DSpace on 2016-04-28T19:58:52Z (GMT). No. of bitstreams: 1 Roseli Hirasike.pdf: 622941 bytes, checksum: 0cfa0e7d142d905b392cbc7276275bd3 (MD5) Previous issue date: 2014-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master s degree dissertation aims to present the construction process for both, the text and the character to focus the feminine theme approach, in the short stories entitled Amor, Devaneio e embriaguez duma rapariga and A imitação da rosa, by Clarice Lispector, published as part of the short stories collection Laços de família. The use of poetic word, language, narrative and character construction take a transgressive style that, actually, matches the author approach of the feminine theme, as a human attribute which remains oppressed and static. The feminine revived and revealed is approached from a historical, philosophical, mystic and social perspective. A brief exposition has also been presented, from ancient times, before monotheistic religions, to the modern family concept. A brief history of the family, as an institution, completes the above mentioned perspectives as we face the short stories collection inspiration. It is a reflection concerning the influence of the domestic enviroment and social rules, in general, on women s existence, with the literature as a factor for changing minds and the perception of the beauty and fullness of being / Esta dissertação objetiva demonstrar o percurso de construção do texto e das personagens, com foco na abordagem do feminino, nos contos Amor, Devaneio e embriaguez duma rapariga e A imitação da rosa, de Clarice Lispector, publicados na coletânea Laços de família. O uso da palavra poética, a linguagem, a narrativa e a construção das personagens seguem um estilo transgressor que se afina com o modo como a autora trata da questão do feminino, como atributo humano, oprimido e estático. O feminino entendido como sentido re-experimentado e revelado é mostrado de uma perspectiva histórica, filosófica, mística e social, desde tempos antigos, anteriores às religiões monoteístas e à noção atual de família. Uma breve história da formação da família dá continuidade às perspectivas mencionadas, diante da temática da coletânea. Trata-se de reflexão sobre a influência do espaço doméstico e dos papéis sociais em geral na existência da mulher, com a literatura como agente de transformação do pensamento e da percepção da beleza e plenitude do ser

Made available in DSpace on 2016-04-28T19:58:53Z (GMT). No. of bitstreams: 1 Ana Beatriz Germano Santos.pdf: 421808 bytes, checksum: a25d20afd83f06545c21437ba25384b4 (MD5) Previous issue date: 2014-08-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main focus of this study is the two parts of the novel Lavoura arcaica, emphasizing the conflictive relation between André and his father, Iohána. Characterized by anger and rebellion in his discourse against his father s principles, André returns to family environment, but actually questions it. He resents himself and the ones who await him at home, the embodiment of the character s inner conflict. This dissertation aims to discuss some image constructions related to both father and his prodigal son (au contraire), André, through the interaction between literature and psychoanalysis. To do so, some concepts referring to erotism, father s rule and myth will be approached, in order to perceive how the text apprehends the transgression in the narrative, emphasizing the heuristic potential of the piece for the understanding of both profane and sacred. It is tried to comprehend the way André s desire comes to be through his father s, insofar as this desire is one of the guiding elements of the work / O enfoque central deste estudo incide sobre as duas partes do romance Lavoura arcaica, com destaque para a relação conflituosa de André com seu pai, Iohána. Caracterizado pela revolta e cólera em seu discurso contra os princípios defendidos pelo pai, André retorna ao seio da família, mas, na verdade, vai de encontro a ela, amargando um embate consigo e com aqueles que estão à sua espera em casa, lugar símbolo do conflito interior da personagem. Assim, esta dissertação pretende discutir algumas das construções relacionadas às imagens do pai e do seu filho pródigo (às avessas), André, a partir da interação dos campos da literatura e da psicanálise. Para tanto, serão abordados alguns conceitos referentes ao erotismo, à lei do pai e ao mito, para perceber como o texto apreende a transgressão na narrativa, destacando, assim, o potencial heurístico da obra para a compreensão do profano e do sagrado. Tenta-se entender como o desejo de André se dá, também, por meio do desejo do pai, constituindo-se esse desejo em um dos elementos norteadores da obra

Made available in DSpace on 2016-08-10T11:07:18Z (GMT). No. of bitstreams: 1 GILSAMARA OLIVEIRA VIANA MARINHO.pdf: 1632563 bytes, checksum: 042b69d64eb6194de24230a7b3bd917b (MD5) Previous issue date: 2016-03-14 / This work has as its central object the work language A Casa dos Budas Ditosos, wrote by João Ubaldo Ribeiro. We believe that this work is an allegorical construction, in which the language itself is personified as the leading voice of all the dilemmas substantiated by the narrated actions. Therefore, we have as a guide Eros in various symbolic aspects guided by the literary creation in aesthetic and philosophical proportions, dissolved among reflections expressed in the text lines. Through misty paths we are guided by the narrator character and her only by that voice, we understand that there are no secret truths, that there are circumstances, experiences and statements that form part of metaliterário universe of a mysterious woman. It is the center of everything, so much so that at times is the metaphor that spreads erotic speeches, formed by a generator semantic field of enjoyment, since it leads the reader to repulse moments and pleasure by reading his imaginary lines, and then generate a state of "ecstasy." Amid the complexity of this novel, we adopted as reference some studies on language and its metaphorical nuances; studies on the modern novel; some philosophical conceptions of the transgression, about eroticism and incest. / Este trabalho tem como objeto central a linguagem da obra A Casa dos Budas Ditosos, de João Ubaldo Ribeiro. Consideramos que essa obra é uma construção alegórica, em que a própria linguagem se personifica como a voz condutora de todos os dilemas substanciados pelas ações narradas. Diante disso, temos como fio condutor Eros, em diversos aspectos simbólicos, guiados pela criação literária em proporções estéticas e filosóficas, dissolvido em meio às reflexões expressas nas entrelinhas do texto. Por meio de caminhos nebulosos somos guiados pela personagem narradora, e por ela, somente por essa voz, compreendemos que não existem verdades secretas, o que existem são circunstâncias, vivências e afirmações que formam parte do universo metaliterário de uma senhora misteriosa. Ela é o centro de tudo, tanto que em certos momentos é a metáfora que se espalha em discursos eróticos, formados por um campo semântico gerador de fruição, posto que conduza o leitor a momentos de repulsa e de prazer pela leitura de suas linhas imaginárias, para depois gerar um estado de êxtase . Em meio à complexidade desse romance, adotamos como referência alguns estudos sobre a linguagem e suas nuances metafóricas; estudos sobre o romance moderno; algumas concepções filosóficas sobre a transgressão, sobre o erotismo e o incesto.