Thesis (Ph.D.)--University of California, Berkeley, 2000. / Includes bibliographical references (leaves 242-254).

Honors project (B.A.) -- Carson-Newman College, 2009. / Dr. Beth Vanlandingham, advisor. Includes bibliographical references (p. 75-76).

Th.--Lettres--Paris-Sorbonne, 1995. / Bibliogr. p. 266-267.

Made available in DSpace on 2014-06-11T19:25:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-09Bitstream added on 2014-06-13T19:12:41Z : No. of bitstreams: 1 ferreira_jcd_me_prud.pdf: 533939 bytes, checksum: bcf3a95d1c3fad5c58edb320f5ac9160 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Buscamos uma aproximação entre dois campos do conhecimento que envolvem diferentes gêneros de linguagem: a literatura de ficção científica e a física. Partimos do pressuposto de que todo professor é professor de leitura, e como decorrência, todas as formas de leitura se relacionam e criam entre si pontos de apoio para a construção de sentidos. Assim, na obra de Júlio Verne, procuramos por elementos associados ao conteúdo de física do Ensino Médio. Nos livros Viagem ao Centro da Terra, Vinte Mil Léguas Submarinas e A Volta ao Mundo em Oitenta Dias, tomando Bakhtin como referencial de análise, encontramos em Júlio Verne o que denominamos didática das ciências: uma sistematização e intencionalidade de ensinar conceitos por parte do autor. Existe uma proximidade entre as situações descritas por Júlio Verne e os enunciados de fenômenos físicos típicos de livros didáticos do Ensino Médio, com algumas diferenças: a riqueza e complexidade nas quais os textos de Verne são produzidos, com enredos que tornam os conceitos científicos altamente contextualizados e favorecem a constituição do tema, ampliando as possibilidades de compreensão do leitor. Essas e outras diferenças, marcadas por elementos comuns, tornam promissora a aproximação entre a leitura de ficção e o ensino de física, com o objetivo mais amplo de formar o leitor, um dos papéis centrais da escola. A leitura de livros de ficção, como os de Júlio Verne, não substitui o ensino de física e de ciências com seus conceitos, expressões matemáticas, esquemas e gráficos, entre outros itens... / We seek a rapprochement between two fields of knowledge that involve different genres of language: the science fiction literature and physics. We assume that every teacher is a teacher of reading, and as a result, all forms of reading are related to each other and create points of support for the construction of meaning. Thus, in the work of Jules Verne, we search for elements associated with the content of high school physics. In the books Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea and Around the World in Eighty Days, taking Bakhtin as reference for analysis, we found in Jules Verne's what we call teaching science: a systematic and intentional teaching of concepts by the author. There is a closeness between the situations described by Jules Verne and the statements of physical phenomena typical of high school textbooks, with some differences: the richness and complexity in which the texts of Verne are produced, with storylines that make scientific concepts highly contextualized and favor the establishment of the theme, expanding the possibilities for the reader's understanding. These and other differences, marked by common elements, promising to make links between the reading fiction and the teaching of physics, with the broader goal of educating the reader, one of the central roles of the school. The reading of fiction books such as Jules Verne does not replace the teaching of physics... (Complete abstract click electronic access below)

Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2018-08-23T12:37:11Z No. of bitstreams: 1 texto completo.pdf: 1434490 bytes, checksum: 06a22c19b684fcb1bbbd187caf343a81 (MD5) / Made available in DSpace on 2018-08-23T12:37:11Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1434490 bytes, checksum: 06a22c19b684fcb1bbbd187caf343a81 (MD5) Previous issue date: 2018-03-28 / No ápice das explorações da África, em 1863, Jules Verne publica sua primeira viagem extraordinária, Cinco semanas num balão. Aproveitando-se da onda de interesse crescente do público francês pelas regiões “bárbaras”, o autor elabora um romance inovador, cujo ponto chave se encontra exatamente neste fascínio pelo desconhecido, envolto, pela então, efervescente temática da “ciência moderna”. O principal aspecto a ser aqui abordado seria a possibilidade de representação de uma África desnudada em todos os seus aspectos inconvenientes – etnográficos e geográficos –, os quais são, na maioria das vezes, perpetuados por exploradores, viajantes, naturalistas e literatos. Destarte, à luz de uma abordagem interdisciplinar, no qual os Estudos Pós-Coloniais encontram maior destaque, o presente trabalho objetiva analisar como o texto de estreia de Verne se circunscreve dentro de uma tradição europeia de representação das zonas consideradas “primitivas”, ou seja, demonstrar como representar “o diferente” redunda, sempre, na delimitação de uma clara fronteira entre “nós” e “eles”, com seu correspondente juízo de valor. Essa divisão, de natureza ideológica, estabelece, então, uma hierarquia, na qual o objeto representado se constitui como um desvio a ser identificado. Sendo assim, nota-se que, na obra em questão, a representação adquire uma função absolutamente pragmática, projetando o continente africano de maneira a, sobretudo, reivindica-lo para as potências ditas colonialistas. Estudos tais como de Edward Said, Albert Memmi, Eric Hobsbawm dentre outros, servirão de guia a este estudo. / In the apex of the exploration of the 1860s Africa, Jules Verne publishes his first “extraordinary” journey, Five Weeks on a Balloon. Aware of the growing interest of the French public in the so-called “barbarian” regions, the author elaborates an innovative novel, whose key of interest lies exactly in such fascination with the unknown, intertwined with the appealing thematic of “modern science”. The main focus of this research is rather to reveal another Africa, devoided of all its inconvenient aspects – ethnographic and geographic ones – mostly perpetuated by explorers, travelers, naturalists and writers in general. Therefore, under the perspective of an interdisciplinary approach, in which Post-colonial Studies are projected, the present work intends to analise Verne’s above mentioned début as a writer, showing to what extent it can be framed within the European tradition of representation of world zones considered “primitive”. Thus it intends to show to what extent the process of representing the “different” always ends up in a move of delimitation of a clear cut division between us and them. Such an ideologically- oriented division, establishes a hierarchy in which the represented object constitutes itself as a detour to be identified. By the same token, in Verne’s novel, representation acquires the pragmatic function: of projecting the African Continent with rather the purpose of claiming it to the colonialist enterprise. Studies of Albert Memmi, Edward Said, Eric Hobsbawm among others will guide this dissertation.

The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix. The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen. The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting), false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy. Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion. / Arts, Faculty of / English, Department of / Graduate

Entre 1853 et 1870, de multiples quartiers de la ville sont éventrés pour permettre la mise en place de nouveaux boulevards par le baron Haussmann, préfet de Paris sous Napoléon III. Ces travaux majeurs ont frappé l’imaginaire social et constitué un objet de fascination pour la littérature. Le mémoire se situe sur le terrain de la sociocritique. La chercheuse cherche à comprendre comment des textes de Verne, Hugo et Zola lisent la nouvelle configuration urbaine parisienne. Dans Paris au XXe siècle (1863), Jules Verne projette la destruction dans le futur et, en retour, imagine les rémanences d’un passé étrangement constructif. Bien qu’il soit en exil, Victor Hugo est très au courant des changements urbains et sociaux en cours. Dans Paris (1867), son écriture travaille à rendre compatibles les idées de ruine et de progrès. Émile Zola, avec Paris (1898), exprime les contradictions accompagnant le changement urbain par le biais de métaphores médicales et organiques proches de « l’esprit de décadence » qui caractérise la fin du siècle. En conformité avec les visées de l’approche sociocritique, c’est à partir d’une lecture interne des oeuvres, mettant à profit les ressources de l’analyse de texte, de la poétique et de la narratologie, que la recherche se développe. L’étude mobilise également les ressources des travaux consacrés aux relations de la littérature et de la ville, ainsi que celles des ouvrages de synthèse produits dans les champs de l’histoire générale et de l’histoire de l’urbanisme. / Between 1853 and 1870, many areas of the French capital are torn down to allow the establishment of new avenues by Baron Haussmann, Paris’ prefect under Napoleon III. These major urban projects have struck the social imaginary and became an object of fascination for literature. This essay is located on the grounds of sociocriticism and seeks to understand how Verne’s, Hugo’s and Zola’s texts interpret the Paris’ new urban conformation. In Paris au XXe siècle (1863) Jules Verne is planning future destructions and, in turn, imagines the strange constructiveness of residual past. Although in exile, Victor Hugo is very aware of urban and social changes under way. In Paris (1867) his writing works to make compatible the ideas of ruin and progress. Émile Zola with Paris (1898) reflects the contradictions accompanying urban change through medical and organic metaphors close to "the decadence’s spirit" that characterizes the end of the century. In accordance with the aims of the sociocriticism’s approach, the research develops itself from an internal reading of works, drawing on the resources of texts’ analysis, poetics and narratology. The essay also mobilizes diverse works on relations between literature and the city, as well as works of synthesis produced in the fields of general history and of urban planning history.

Entre 1853 et 1870, de multiples quartiers de la ville sont éventrés pour permettre la mise en place de nouveaux boulevards par le baron Haussmann, préfet de Paris sous Napoléon III. Ces travaux majeurs ont frappé l’imaginaire social et constitué un objet de fascination pour la littérature. Le mémoire se situe sur le terrain de la sociocritique. La chercheuse cherche à comprendre comment des textes de Verne, Hugo et Zola lisent la nouvelle configuration urbaine parisienne. Dans Paris au XXe siècle (1863), Jules Verne projette la destruction dans le futur et, en retour, imagine les rémanences d’un passé étrangement constructif. Bien qu’il soit en exil, Victor Hugo est très au courant des changements urbains et sociaux en cours. Dans Paris (1867), son écriture travaille à rendre compatibles les idées de ruine et de progrès. Émile Zola, avec Paris (1898), exprime les contradictions accompagnant le changement urbain par le biais de métaphores médicales et organiques proches de « l’esprit de décadence » qui caractérise la fin du siècle. En conformité avec les visées de l’approche sociocritique, c’est à partir d’une lecture interne des oeuvres, mettant à profit les ressources de l’analyse de texte, de la poétique et de la narratologie, que la recherche se développe. L’étude mobilise également les ressources des travaux consacrés aux relations de la littérature et de la ville, ainsi que celles des ouvrages de synthèse produits dans les champs de l’histoire générale et de l’histoire de l’urbanisme. / Between 1853 and 1870, many areas of the French capital are torn down to allow the establishment of new avenues by Baron Haussmann, Paris’ prefect under Napoleon III. These major urban projects have struck the social imaginary and became an object of fascination for literature. This essay is located on the grounds of sociocriticism and seeks to understand how Verne’s, Hugo’s and Zola’s texts interpret the Paris’ new urban conformation. In Paris au XXe siècle (1863) Jules Verne is planning future destructions and, in turn, imagines the strange constructiveness of residual past. Although in exile, Victor Hugo is very aware of urban and social changes under way. In Paris (1867) his writing works to make compatible the ideas of ruin and progress. Émile Zola with Paris (1898) reflects the contradictions accompanying urban change through medical and organic metaphors close to "the decadence’s spirit" that characterizes the end of the century. In accordance with the aims of the sociocriticism’s approach, the research develops itself from an internal reading of works, drawing on the resources of texts’ analysis, poetics and narratology. The essay also mobilizes diverse works on relations between literature and the city, as well as works of synthesis produced in the fields of general history and of urban planning history.

Theoretical part of this thesis examines the most significant adaptations of Jules Verne´s novels into feature films. From the beginning of cinematography until present days the author describes different artistical approaches during the 20th century around the whole world. The main part of this thesis is an artistic concept of the movie based on Verne´s novel "Ocelové město" (Les Cinq Cents Millions de la Begum). It contains description of the whole idea and author´s proposal for a design introduced in form of paintings based on specific scenes from the novel.

Thèse : Lettres : Paris 4 : 1979. / Thèse soutenue sous le titre : "Le Thème de la machine dans le roman français de la 2e moitié du 19e siècle" Bibliogr. p. [401]-407. Index.