Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-26T13:09:37Z No. of bitstreams: 1 marcelogulaopimentel.pdf: 4121758 bytes, checksum: 9fc871e04dce7183f9b0078fcceb7359 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T11:02:39Z (GMT) No. of bitstreams: 1 marcelogulaopimentel.pdf: 4121758 bytes, checksum: 9fc871e04dce7183f9b0078fcceb7359 (MD5) / Made available in DSpace on 2016-01-27T11:02:39Z (GMT). No. of bitstreams: 1 marcelogulaopimentel.pdf: 4121758 bytes, checksum: 9fc871e04dce7183f9b0078fcceb7359 (MD5) Previous issue date: 2014-02-25 / Contexto: Ao longo do século XIX, investigações sobre a natureza de fenômenos psíquicos/espirituais como transes e supostas aquisições de informações indisponíveis aos canais sensoriais normais geraram grande debate, mobilizando médicos, cientistas e intelectuais. O professor francês Allan Kardec (1804-1869) foi um dos primeiros pesquisadores a propor uma investigação científica dos fenômenos mediúnicos, tornando-se um influente intelectual na Europa durante a segunda metade daquele século e no Brasil a partir do século XX. Todavia, seu método de investigação é amplamente desconhecido ou mal interpretado. Objetivos: Identificar e analisar o método de investigação empregado por Allan Kardec em suas investigações das experiências mediúnicas. Método: A pesquisa se concentrou na leitura e na análise, no idioma original, de toda obra publicada por Kardec: seus livros e os doze volumes da Revue Spirite: Journal d'Études Psychologiques. Foram obtidos e analisados documentos originais inéditos de Kardec. Fontes secundárias foram utilizadas como ferramentas de interpretação e de contextualização do trabalho de Kardec. Resultados: Kardec levantou e testou diversas hipóteses para explicar os fenômenos mediúnicos: fraude, alucinação, forças físicas, sonambulismo, inconsciente, clarividênica, transferência de pensamentos (telepatia) e espíritos desencarnados. Concluiu que todas estas hipóteses eram necessárias para explicar a totalidade das experiências chamadas de mediúnicas. Todavia, por concentrar sua atenção naquelas experiências que ele considerava envolver a comunicação de personalidades desencarnadas (espíritos), buscou desenvolver um método para obter informações úteis e confiáveis sobre a dimensão espiritual do universo. O objetivo de Kardec era naturalizar o domínio espiritual, fazendo dele um objeto de investigação racional e empírica para identificar as leis naturais que regeriam as supostas relações entre espíritos desencarnados e a humanidade encarnada. Por meio do estudo dos processos de investigação e de elaboração das teorias de Allan Kardec para os casos específicos das chamadas sensações dos espíritos logo após o desencarne e para o caso da possessão, percebe-se a busca de uma ampla e diversificada base empírica, bem como a construção progressiva e a reformulação de teorias explicativas. Conclusão: As investigações sobre os fenômenos psíquicos e mediúnicos preenchem uma importante lacuna, ainda negligenciada, da história da ciência e da medicina. Allan Kardec foi um dos pioneiros desses estudos ao propor a naturalização da dimensão espiritual e sua subsequente investigação empírica e racional. Uma melhor compreensão de seus métodos pode expandir nosso conhecimento sobre as relações entre ciência e espiritualidade no século XIX, bem como oferecer contribuições para os estudos atuais sobre o tema. / Background: During the nineteenth century, investigations on the nature of psychic / spiritual phenomena such as trances and supposed acquisition of information not available through conventional sensory channels generated intense debates which mobilized physicians, scientists and intellectuals. French educator Allan Kardec (1804-1869) was one of the first researchers to propose a scientific investigation on psychic phenomena, thus becoming an influential scholar in Europe during the second half of that century and in Brazil in the twentieth century. However, his method of investigation is largely unknown or misunderstood. Objectives: To identify and analyze the method employed by Allan Kardec in his investigations on psychic experiences. Method: Our research focused on the reading and analysis of his complete works – books and twelve volumes of the Revue Spirite: Journal d'Études Psychologiques – all of them examined in the original language. We have also obtained and analyzed unpublished and original documents which belonged to Kardec. Secondary sources were used as tools for interpretation and contextualization of his works. Results: Kardec formulated and tested several hypotheses in order to explain mediumistic phenomena, among them, fraud, hallucinations, physical forces, somnambulism, unconscious clairvoyance, thought transfer (telepathy) and disembodied spirits. He concluded that all of them were necessary to explain the totality of experiences called mediumistic. However, by concentrating his attention on those experiences that he considered involving the communication of disembodied personalities (spirits), he sought to develop a method to obtain useful and reliable information about the spiritual dimension of the universe. Kardec’s goal was to naturalize the spirit realm, regarding it as an object of rational and empirical scrutiny in order to identify natural laws that would govern relations between alleged disembodied spirits and the embodied humanity. Through the examination of his research processes and the development of his theories such as on the sensations of the spirits soon after disembodiment as well as on possession, we have come to realize that his work was grounded on a broad and diverse empirical basis and that the formulation and reformulation of his explanatory theories were continuous and progressive. Conclusion: Investigations on psychic and mediumistic phenomena fill an important gap, still neglected, in the history of science and medicine. Kardec was one of the pioneers of these studies when he proposed the naturalization of a spiritual dimension and its subsequent empirical and rational inquiry. A better understanding of his methods may expand our knowledge about the relationship between science and spirituality in the nineteenth century as well as provide input to current studies on the subject.

No description available.

No description available.

This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or ‘differential presence’ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of ‘failure’, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and ‘the people to come’. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses the destratified voice in a pursuit of differential presence – as a nonrepresentative encounter with difference that forces new thoughts upon us. Chapter Three defines differential presence in relation to Deleuze’s concepts of affect and becoming-imperceptible and Kaprow’s concepts of ‘experienced insight’, nonart, ‘becoming “the whole”’, and attention. The chapter argues that Kaprow and Deleuze share a concern to theorize the practice of participating in actuality beyond the subject/object distinction, in a manner that promotes an ethico-political sense of taking part in “the whole”. Finally, Chapter Four focuses on the temporal aspect of differential presence, arguing that through slowness, waiting, repetition and imitation, Goat Island’s performance work acknowledges and responds to ‘the need to open ourselves affectively to the actuality of others’ (Mullarkey 2003: 488).

This thesis seeks to account for Edgar Allan Poe's reception as an "American" author. Historically, it took time for Poe to become recognized as an American author rather than as an author who happened to also be American. This thesis argues that one major reason for this problem is that the American influences of his work are largely coded, but that Poe nevertheless was writing for an American audience and that his work did develop in response to national influences.

Although one of the best-known cases of intercultural literary partnership, Charles Baudelaire's translations of Edgar Allan Poe's works have been little analysed with a methodology appropriate to Translation Studies. Relying on a functionally target-oriented approach to translation and an empirical methodology, the present thesis undertakes this analysis. Positioning the prospective function(s) of the translations as intended by the translator within their historical context, Chapter One explores the para-discourse of the translator and its contemporary reception. Beyond the Romantic critical tradition of the whole project, Baudelaire's introductory writings on Poe appear to target in a propagandist way the literary elite of the time. On the contrary, the selection and organization of the five volumes of translations for publication suggest primarily a popularising strategy intended to capture, through the fictional genre, the attention of the growing mass audience of the Second Empire. In Chapters Two and Three, traditional appraisals of the translations in terms of quality assessment are questioned in favour of an explanation of interpretative frameworks and translation strategies as seen through the analyses of two translated tales and of textual variables throughout the corpus. Baudelaire's biographical interpretation of the narrative voice combines with clear strategies to normalize the stylistic authority of the texts and to increase their dramatic and expressive impact, offering in the end a less rhetorical, but aesthetically more Romantic and narratively more Realist reading of Poe's fantastic tales. Baudelaire would thus have managed to reconcile at a textual level the ambiguities of his para-discourse in terms of targeted readership as seen in Chapter One. It is finally argued that beyond the constraints of the receiving system and the strategies of the translator to accommodate these, the French image of Poe as produced by Baudelaire owes much to a French resistance to the narrative ambiguity and style that Poe's writing represents. Confirming or challenging existing criticism on the Poe-Baudelaire case, the present thesis thus hopes to contribute, not only to our relatively limited knowledge of mid-nineteenth-century French translation, but also to our understanding of French short fiction and its conflicting stakes in terms of aesthetics and readership.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-02-27T13:35:40Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-05-06T13:13:34Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) / Made available in DSpace on 2014-05-06T13:13:34Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Tese_CorpoAlmaCosmos.pdf: 5300608 bytes, checksum: 14577384c1d637b14d3e11352c57f2e5 (MD5) Previous issue date: 2011 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objeto deste estudo é compreender e destacar o papel do corpo no campo religioso investindo em uma análise da corporeidade espírita kardecista brasileira a partir de suas representações sociais e imaginário. O esforço analítico e a distribuição dos capítulos estão baseados no esquema macro/microcósmico de “Cosmos-casa-corpo”. O primeiro capítulo situa a construção do Espiritismo Kardecista por seu codificador, o intelectual francês Hippolyte Rivail, conhecido por seu codinome, Allan Kardec (Paris, 1804-1869) e suas pretensões de unificar “ciência, filosofia e religião”, produzindo um Cosmos. O segundo capítulo apresenta o centro espírita, espaço sagrado de seu universo ritual. O terceiro capítulo está centrado no referencial semântico “corpo”, que surge como instrumento heurístico e recorte de análise. Analisando as concepções e imaginário sobre o corpo no Espiritismo Kardecista, o trabalho propõe que as relações entre o mundo espiritual, o centro espírita e corpo são determinantes para a compreensão da pessoa espírita. / The object of this study is to understand and highlight the role of the body in religious field by investing in an analysis of brazilian kardecist spiritual embodiment, which is constructed by social representations and imaginary. The analytical effort and the distribution of the chapters are based on the schema macro/microscopic – “Cosmos-house-body”. The first part deals with the construction of kardecism by its encoder, the French intellectual Hippolyte Rivail, known as Alan Kardec (Paris, 1804-1869), and its pretensions to unify “science, philosophy and religion”, producing a Cosmos. The second part presents the Spiritist Centre as a sacred space of its ritual universe. The third and last part is focused on the “body”, as semantic referential, which appears too as heuristic tool for analysis. Analyzing the conceptions and imaginary over the body in Kardecism, this work proposes that relations between the spiritual world, the Spiritist Centre and the body are crucial for understanding the spiritist person.

This project began in Dr. Anthony Magistrale’s graduate seminar focused on the works of Edgar Allan Poe. It is the result of our common interests in Poe’s textual canon, and furthermore in the nineteenth- and twentieth-century illustrative works that were inspired by it. After performing significant research, the conclusion was reached that despite the extensive collection of visual works, catalogued by Burton Pollin, little work had been done that actually explored the relationship between these works and the text. I found myself asking what role this canon of illustrations played in shaping the public understanding of and reception towards the Poe tales that are so widely known today. “A Par/ergon for Poe: Arthur Rackham and the Fin de Siècle Illustrators” is intended as an introduction for further study on the extent of influence that nineteenth- and twentieth- century artists had in promoting and supplementing Poe’s work. Given that the earliest prominent illustrator of the canon, Édouard Manet, began illustrating “The Raven” at the request of Charles Baudelaire, Poe’s first translator and the man who communicated Poe’s work to the world, the fin de siècle illustrations were produced concurrently to Poe’s burgeoning popularity. In the first chapter, I engage in a literary history of the fin de siècle artistic movements and major figures and their exposure to Poe, including Manet, Gustave Dore, and the Symbolists, Aubrey Beardsley, Harry Clarke, and the Decadents, and finally, Arthur Rackham and the Modernists. I track Poe’s influence after his death, exploring the question of why such prominent artists were interested in representing Poe’s work, specifically, in the first place. Subsequently, this thesis also discovers what elements of their work and aesthetics could be seen as representative of Poe’s. Then, using Jacques Derrida’s ekphrastic theory of the parergon/ergon supplementary relationship, I deconstruct the textual “lack” in Poe’s tales as that which sets up an availability to the illustration. Through this “lack,” the supplemental illustration can insert itself and exert its own power, altering the way the text is received based on the style and time of its reception. My second chapter turns to Poe’s tales and the subsequent illustrations by Rackham. I place particular emphasis on texts and images of “The Cask of Amontillado” and “The Fall of the House of Usher,” with supplementary references to “Hop-Frog,” “Ligeia,” “The Domain of Arnheim,” and “Landor’s Cottage.” I use textual analysis and visual case studies to demonstrate the way in which the illustrations fill the “lack” present in their respective texts, and build out precisely where this lack can be seen. I explore the way the images both mimic and change the reader’s relationship with the tales and characters, altering the reader’s response and thus, the overarching canonical interpretation. By doing this, my project demonstrates how strong of an impact Arthur Rackham and the fin de siècle illustrators made on the public perception of and reception to the tales of Edgar Allan Poe.

No description available.

This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.