La thèse porte sur la représentation de la foule « rebelle » dans la littérature italienne du XIXème siècle. Tout en considérant les contributions des sciences sociales, de Le Bon a l'école lombrosienne de Scipio Sighele et Pasquale Rossi, passant par Freud, jusqu'aux sociologues plus contemporains, comme Reich, Ortega y Gasset, Canetti, Allport, Turner etc, la recherche se concentre sur le roman et la nouvelle, qui voient le jour dans une Italie qui, luttant pour son unité nationale, n'arrive pas a transformer la révolution politique en révolution nationale, selon la formule de Nievo. Manzoni fixe le modèle de représentation des foules rebelles, qui sera suivi par Nievo avec des variations importantes. Ensuite, l'influence de Zola s'ajoutera a celle de Manzoni et dominera, d'une part, l'idée que la foule est capable de montrer un comportement rationnel et d'être un sujet vraiment révolutionnaire (les scapigliati, Valera, De Amicis, etc), d'autre part celle du pessimisme et du destin prédéterminé des masses (Verga). Enfin, Gabriele D'Annunzio, dans ses nouvelles et ses romans, oscillera entre la fascination pour la sauvagerie des foules et son méprise d'aristocratique. / The thesis is about the representation of the rebel crowds in the Italian literature in the 19th century. We consider the contributions of social sciences, from Le Bon to the lombrosian school of Scipio Sighele and Pasquale Rossi, as well as Freud, until some more contemporary sociologists, like Reich, Ortega y Gasset, Canetti, Allport, Turner etc; but the research focuses on the novels and the short stories, which are conceived in Italie, when the fight for the national unity tries, without success, to transform the political revolution in a national revolution, according to the expression of Nievo. Manzoni standardizes de model of the representation of the rebel crowds, which will be followed by Nievo, with some important variations. Therefore, the influence of Zola adds to the Manzoni's one. It will dominate, on the one hand, the idea of a rational crowd, that is a potential revolutionary subject (the , scapigliati, Valera, De Amicis, etc), on the other hand the one of the pessimism and of the predetermined destiny of the masses (Verga). Finally, Gabriele D'Annunzio, in his novels and short stories, fluctuates between the fascination for the savage side of the crowds and his aristocratic contempt.

Emile Zola é conhecido por sua carreira como romancista, mas sua iniciação como escritor deu-se também como crítico de arte entre as décadas de 1860 a 1896, anos nos quais o escritor frequentou os ateliês de célebres pintores, cafés e os Salões. A partir da análise dos artigos de jornal presente na compilação Escritos sobre a arte, o trabalho tem por objetivo mostrar como a relação com os pintores impressionistas leva Zola a utilizar os procedimentos picturais desse movimento para descrever os quadros expostos nos Salões de 1866 a 1880. Na primeira parte do trabalho, será apresentado um panorama dos Salões e a gênese desse gênero novo por Denis Diderot, as questões levantadas por Charles Baudelaire em seus escritos sobre a arte e a influência de ambas as críticas para a construção do método de análise de Zola. A segunda parte do trabalho visa apresentar as questões levantadas pelo crítico no que diz respeito à escolha do júri que selecionava as obras, o momento artístico e sua teoria estética. A questão principal deste trabalho será discutida detalhadamente na terceira parte deste trabalho, em que o objetivo principal será identificar os procedimentos pictóricos impressionistas nas análises de Zola e os desdobramentos dessas técnicas na produção da sua crítica de arte. / Émile Zola is known for his novelist career, but his initiation happened as an art critic between the years 1860 and 1896, in which he attended renowned painters\' studios, cafés and the Salons. Starting from the analysis on newspapers articles, found in the compilation Writings on Art, this dissertation intends to show how Zolas relation with Impressionist painters made him use this movement\'s pictorial proceedings in order to analyze the pictures exposed in 1866 and 1880 Salons and create narratives from such descriptions. In the first part, an overview about these Salons shall be introduced, as well as this new genre\'s genesis by Denis Diderot, the matters discussed by Charles Baudelaire in his writings on art, and the weight of both these critical modes to Zola\'s own analysis method. The second part aims to introduce the issues he raised concerning the choosing of the jury responsible for selecting works, the artistic moment, and his aesthetic theory. This researchs main point shall be discussed minutely in the third part, whose main goal is to identify the Impressionists pictorial procedures in Zolas analysis and this techniques deployment in his making of critics on art.

Les cycles romanesques sont ces œuvres formées par la réunion de plusieurs récits autonomes : sommes “à la Balzac”, suites, séries, trilogies, etc. Il s’agit d’un type spécifique de “transtextualité” (Genette), où s’exprime un désir ambigu de totalisation, qui affirme à la fois l’ouverture et la clôture du texte. Selon une démarche de poétique historique, nous analysons les formes de ces cycles, tout en les inscrivant dans l’histoire de long terme du genre romanesque. D’où un corpus large, s’étendant du XIXe siècle à nos jours : La Comédie humaine de Balzac, le Manuscrit trouvé à Saragosse de Potocki, les trilogies de Dumas, Les Rougon-Macquart, les Trois Villes et les Quatre Evangiles de Zola, le Cycle du Hussard de Giono, les cycles de science-fiction d’Asimov, et les romans « post-exotiques » de Volodine. L’examen des procédés de connexion entre les récits montre que le cycle n’est pas fondé sur la cohérence du monde qu’il représente, mais sur la cohésion des textes qu’il rassemble. Chaque cycle est une totalisation singulière de textes, traversée de tensions et de dysfonctionnements.Mais ces œuvres sont autant de réponses à une question qui subsiste pendant ces deux siècles : comment retrouver une totalité épique adéquate au monde moderne né de la Révolution ? Les cycles romanesques réactivent la « racine épique » du roman (Bakhtine). Cette visée épique, et ses transformations, sont un aspect de ce que serait une histoire de l’idée de totalité en littérature. / Novel cycles are the works formed by the reunion of several independent stories : balzacian cycles, sequels, series, trilogies, etc. In this specific type of “transtextuality” (Genette), an ambiguous desire for totalization appears, tending simultaneously towards the openness and the closure of the text. A historical poetics approach allows to analyze the cycle’s forms by connecting them to the long-term history of the novel as a genre. Hence the wide corpus studied, spanning from 19th century to our days : Balzac’s Comédie humaine, Potocki’s Manuscrit trouvé à Saragosse, several trilogies by Dumas, Zola’s Les Rougon-Macquart, Trois Villes and Quatre Evangiles, Giono’s Cycle du Hussard, Asimov’s science-fiction cycles,and Volodine’s « post-exotic » novels. A study of the connecting devices that tie novels together shows that the cycle does not rely on the consistency of the world that it represents, but on the cohesion of the texts it is made of. Each cycle is a unique totalization of texts, where tensions and dysfunctions abound.Still, in the long-term history of the novel, these works can be seen as many different answers to the same question : how is it possible to bring back an epic totality that would fit the modern world, born from the French Revolution ? Novel cycles reactivate the “epic root” of the novel (Bakhtin). This epic root, and its transformations, are a part of a more general history of the idea of totality in literature.

No description available.

The challenges facing the health system in South Africa are likely to impact on life-long adherence for patients in the context of the rollout of ART. Smaller ART programs have been able to demonstrate good adherence rates, but the question remains if this can be achieved by large public sector ART programs. Most adherence researchers share the basic understanding that patients are adherent when they take their medications as prescribed by the health provider. An approach to adherence that combines both clinical and social knowledge—a biosocial approach— is likely to move us to a better understanding of adherence and how to improve adherence to ART. This study on social support and ART adherence aims to gather and document information that could be used to improve services and program strategies for strengthening and maintaining adherence at ART rollout sites in Gauteng. The two study sites Carletonville Hospital and Zola Clinic were chosen randomly from all second-generation rollout sites in the Province. Data were collected from a total of 359 respondents, 164 in Carletonville and 195 in Zola. The response rate was 98.3%. The results showed that the majority of the respondents were female (72.1%) and about 44.9% were within the age group 30-39 years. In terms of educational attainment, most respondents (70.1%) had received secondary education and 2.5% had not attended school. Based on assets quintiles scores of 1-5, with 5 being the highest score, about one-third of the respondents scored 1, and only 7% scored 5. Compared with Carletonville, respondents from Zola were more educated and better resourced. At the facilities, treatment preparation and support and adherence assessment procedures are routine features of the ART program and entail pre and post test counseling, group education and adherence counseling and serve as mechanisms for adherence support. This is enhanced by routine follow-up appointments where ART patients are provided information on side effects of ARVs, effectiveness of treatment, CD4 cell and viral load counts and referral to services not provided at the facility. Additionally, support groups accessed by patients undertake a range of educational activities on staying healthy, viral load and CD4 cell counts and ARVs. Although respondents were largely positive about their interactions with health providers and the support they provided, some expressed concern about health workers being too busy to address their problems, not treating patients with enough respect and sometimes patients leaving without receiving treatment because staff were either absent or late or queues were too long. The HIV disclosure rate was high (95.5%). However, respondents were more likely to disclosure to a family member, but less likely to a friend, neighbor or religious leader. Selfreported adherence and viral load adherence rates were high (97.6% and 76.6% respectively) but CD4 adherence was lower at 51.0%. The study did not document a convincing association between social support and ART adherence. Only two variables (receiving food supplements and age groups) were significantly associated with CD4 and viral load adherence. Given the limitations of the study, a longitudinal study is needed in these sites to better understand the predictors of short and long-term adherence and to explore ways to better measure the relevance, content and quality of the social support services being utilized by ART patients at facility and community levels. Interventions and policies are needed to respond to the concerns identified from the study regarding inadequate attention and respect by health providers, absence or lateness of doctors and pharmacists and challenges pertaining to access to food, income and disability grants.

Considéré par la plupart de la critique comme une littérature putride (cf. ULBACH, 1868) ou ignominieuse (cf. VERISSIMO, 1894), accusé de confondre naïvement la science et la littérature, ainsi que de rendre le langage littéraire scientifique, et surtout au Brésil, en outre, remis en question en tant que plagiat ou importation dune mode étrangère, le naturalisme a été relégué aux marges de lhistoriographie littéraire. Prenant comme point de départ ce panorama critique, la thèse propose une réévaluation critique et historiographique de lesthétique naturaliste, commençant par décrire et analyser son origine au cours de lhistoire à partir de la constitution du réalisme moderne dans les oeuvres de Stendhal et de Balzac (cf. AUERBACH, 2004). On se concentre notamment sur la lente affirmation des termes réalisme et naturalisme et sur limportance de la contribution de différents romanciers français au processus de consolidation de lesthétique réaliste et de son prolongement dans le naturalisme. On discute également le projet esthétique proposé par Zola, de même quon déconstruit des mythes corroborés par lhistoriographie littéraire à propos de la théorie et du mouvement naturalistes. Enfin, en établissant les rapports entre lidéologie esthétique naturaliste et lidéal républicain, on discute lacclimatation des principes esthétiques naturalistes au Brésil, dans loeuvre de celui qui a été son principal représentant, Aluísio Azevedo. A partir dune étude comparative entre le naturalisme en France et au Brésil, on cherche, en effet, à contribuer au processus de révision critique et historiographique dune période littéraire énormément productive dans les deux pays, malgré la tendance à sa dévalorisation généralement observée dans les manifestations de la critique du XXe siècle / Considerado pela maioria da crítica como uma literatura pútrida (cf. ULBACH, 1868) ou torpe (cf. VERÍSSIMO, 1894), acusado de confundir ingenuamente ciência e literatura, bem como de cientizar a linguagem literária, e em particular no Brasil, além disso, questionado por plágio ou importação de uma moda estrangeira, o naturalismo foi relegado às margens da historiografia literária. Assumindo como ponto de partida esse panorama crítico, a tese propõe uma reavaliação crítica e historiográfica da estética naturalista, começando por descrever e analisar sua origem no decurso da história, a partir do advento do realismo moderno nas obras de Stendhal e de Balzac (cf. AUERBACH, 2004). Enfoca a lenta afirmação dos termos realismo e naturalismo, bem como a importância da contribuição de diferentes romancistas franceses no processo de consolidação da estética realista e de seu prolongamento no naturalismo. Discute-se também o projeto estético proposto por Zola, assim como se desconstroem mitos corroborados pela historiografia literária a respeito da teoria e do movimento naturalistas. Por fim, correlacionando a estética naturalista com o ideal republicano, aborda-se a aclimatação dos princípios naturalistas no Brasil, na obra daquele que foi seu principal representante, Aluísio Azevedo. A partir de uma abordagem comparativa entre o naturalismo na França e no Brasil, busca-se, em síntese, contribuir para o processo de revisão crítica e historiográfica de um período literário muito produtivo nos dois países, não obstante a tendência para sua desvalorização em geral observada nas manifestações da crítica novecentista

No description available.

No description available.

Akademisk avhandling : Humanistika fakultetens : Åbo : 2004. / Bibliogr. p. 207-221. Index.

Zugl.: Berlin, Freie Univ., Diss., 2007