ix, 77 p. : ill. (some col.) / The contemporary artistic practice of Andrea Zittel incorporates a variety of working methods and mediums in making objects that slip easily from one context to another. Zittel's artworks, which range from textiles to found objects, domestic implements and architectural structures, are simultaneously featured in museum collections and used functionally in everyday life. Focusing on her artistic endeavors in New York in 1990s, this study investigates the slippery nature of Zittel's work through the lens of the equally slippery concept of technology. In order to interrogate such intersections, I will examine three of Zittel's projects: Repair Work (1991), A-Z Personal Uniforms (1991-present) and the A-Z Escape Vehicle (1996). These cases exemplify how Zittel's engagement with technology creates a dialogue between her work and artistic and historical movements of the past, while also engaging and critiquing contemporary culture. / Committee in charge: Albert Narath, Chairperson; Kate Mondloch, Member; Allison Carruth, Member

Most critical analyses of humor in postcolonial literary settings have focused on its power to critique and subvert dominant hegemonic systems in ways that tend to divide participants according to predictable dichotomies. Yet humor theorists have long recognized laughter's equivalent potential as a bonding mechanism. An examination of the rhetorical functions of humor in Andrea Levy'sSmall Islandreveals the extent to which these affiliative forms of humor can be successfully deployed across cultural divides within a migrant context, as well as the risks and limitations inherent to such an approach. Ultimately, the novel's gentle, inviting, and accessible humor provides the basis for a convincing, character-driven appeal to reduce racial prejudice.

STUDENT NO: 9811739R MASTERS HUMANITIES / ABSTRACT The objective of this paper is to investigate how linguistic variations in a literary text can be translated by analysing and comparing the strategies employed by two different French translators when dealing with the works of the Italian author, Andrea Camilleri. Much has been written about the possibility/ impossibility of translation itself, with many writers and critics taking opposing sides on the issue. The intention of this study is not to fuel or further this, in our view, sterile discussion. The point is that translations do exist and have existed for thousands of years: that is, texts in one (source) language have in some way been recreated and rewritten into another (target) language1. By contrast, what has been explored only superficially is how linguistic variations and dialects present in literary texts have been reproduced in the target language. Textual analyses relative to this study will be carried out on selected passages of two different novels (one for each translator). 1 The abbreviations SL and TL will be used to indicate ‘source language’ and ‘target language’ respectively, while ST and TT will be used to indicate ‘target text’ and ‘source text’.

Thesis. / Includes bibliographical references.

O trabalho analisa a construção da visualidade no filme Serras da Desordem (2006) de Andrea Tonacci. As questões que guiam a pesquisa cercam a construção da visualidade fílmica através da investigação da filmografia do diretor, seu histórico, seu repertório. Paralelamente, buscou-se também aproximar a pesquisa de uma abordagem do cinema como resultado de uma colaboração. Também é explorada uma certa produção do cinema contemporâneo que faz ressonância com Serras da Desordem. Assim, aproximamos a produção de Tonacci dos filmes do diretor Rithy Pahn, S-21:The Khmer Rouge Killing Machine (2003) e LImage Manquante (2013), e de Joshua Oppenheimer, The globalization tapes (2003) e The Act of Killing (2012). Em comum, os filmes apresentam uma posição de crítica pós-colonial, exploração das fronteiras cinematográficas, rememoração e reencenação do passado, entre outras características. Para realizar nossa análise utilizamos os conceitos e autores que trabalham a estética relacional, a crítica de arte através da psicanálise, as idéias do Tercer Cine, a análise fílmica contemporânea, o documentário como obra de arte contemporânea, e as discussões que cercam o realismo e o documentário. Por fim, apresentamos um ensaio fílmico de nosso autoria, que dialoga com os filmes analisados. / This work analises the building visual style of Andrea Tonaccis movie Serras da Desordem (2006). The guide lines of this research relates to the filmic visual construction and investigates the directors filmography, history and repertoire. Besides, pursued also approximate the research to an approach that watches cinema as a result of collaborations. Equally, is explored a certain contemporary cinema scene wich is related to Serras da Desordem. Therefore, we approximate Andrea Tonaccis film production to directors like Rithy Pahn, S-21: The Khmer Rouge Killing Machine (2003) and LImage Manquante (2013), and Joshua Oppenheimer, The globalization Tapes (2003) and The act of killing (2012). In common, the movies have a post-colonial criticism, the exploration of cinematographic borders, recollection and reenactment of the past. To build our analysis we made use of authors and concepts wich think relational aesthetics, art criticism, psychoanalysis, the ideas of Tercer Cine, the contemporary film analysis, documentary as contemporary art, and the discussions about realism and documentary. Finally, a film essay that dialogues with the analysed movies is presented by the author of this research.

Esta tese propõe um estudo sobre o interesse renovado da arte contemporânea em resgatar e reelaborar a discussão moderna sobre a relação existente entre arte e design. Tal aproximação se diferencia da proposta modernista anterior, já que responde ao singular contexto cultural, social e econômico no qual se desenvolve. Assim, nosso intuito é caracterizar e compreender tanto esse novo contexto quanto as principais questões em torno dessa reaproximação entre arte e design a partir da análise da produção de quatro artistas importantes no cenário contemporâneo: Vito Acconci (1940), Barbara Bloom (1951), Andrea Zittel (1965) e Ana Maria Tavares (1958). Interessa-nos abordar as táticas de intervenção artística dentro do discurso específico do design, que na sociedade regida pelo capitalismo avançado constitui-se como um importante sistema de produção e consumo de imagens, signos, objetos, ambientes e identidades coletivas e individuais. Ao passar por um processo de expansão e difusão, propagando-se e infiltrando-se em várias esferas da vida cotidiana, o campo do design se torna um ponto de partida para a produção de artistas que, através de táticas de ação disruptivas, buscam por possibilidades, mesmo que momentâneas, de intervir em um mundo cada vez mais desenhado e planejado em seus mínimos detalhes / This thesis proposes a study on the renewed interest of contemporary art in rescuing and re-shaping the modern discussion regarding the relationship between art and design. This approach differs from the previous modernist proposal, as it responds to the singular cultural, social and economic context in which it is developed. Therefore, our aim is to characterize and understand both this new context and the main issues concerning this rapprochement between art and design by analysing the production of four important artists in the contemporary scene: Vito Acconci (1940), Barbara Bloom (1951) Andrea Zittel (1965) and Ana Maria Tavares (1958). This research addresses the tactics of artistic intervention within the design discourse field which, in the society governed by advanced capitalism, constitutes one of the main systems of production and consumption of images, signs, objects, environments and individual and collective identities. By going through a process of expansion and diffusion, spreading and infiltrating into various spheres of everyday life, the field of design becomes a starting point for the production of artists who, through disruptive action tactics, seek opportunities, even if temporary, to intervene in a world increasingly designed and planned to the very last detail

Esta tese propõe um estudo sobre o interesse renovado da arte contemporânea em resgatar e reelaborar a discussão moderna sobre a relação existente entre arte e design. Tal aproximação se diferencia da proposta modernista anterior, já que responde ao singular contexto cultural, social e econômico no qual se desenvolve. Assim, nosso intuito é caracterizar e compreender tanto esse novo contexto quanto as principais questões em torno dessa reaproximação entre arte e design a partir da análise da produção de quatro artistas importantes no cenário contemporâneo: Vito Acconci (1940), Barbara Bloom (1951), Andrea Zittel (1965) e Ana Maria Tavares (1958). Interessa-nos abordar as táticas de intervenção artística dentro do discurso específico do design, que na sociedade regida pelo capitalismo avançado constitui-se como um importante sistema de produção e consumo de imagens, signos, objetos, ambientes e identidades coletivas e individuais. Ao passar por um processo de expansão e difusão, propagando-se e infiltrando-se em várias esferas da vida cotidiana, o campo do design se torna um ponto de partida para a produção de artistas que, através de táticas de ação disruptivas, buscam por possibilidades, mesmo que momentâneas, de intervir em um mundo cada vez mais desenhado e planejado em seus mínimos detalhes / This thesis proposes a study on the renewed interest of contemporary art in rescuing and re-shaping the modern discussion regarding the relationship between art and design. This approach differs from the previous modernist proposal, as it responds to the singular cultural, social and economic context in which it is developed. Therefore, our aim is to characterize and understand both this new context and the main issues concerning this rapprochement between art and design by analysing the production of four important artists in the contemporary scene: Vito Acconci (1940), Barbara Bloom (1951) Andrea Zittel (1965) and Ana Maria Tavares (1958). This research addresses the tactics of artistic intervention within the design discourse field which, in the society governed by advanced capitalism, constitutes one of the main systems of production and consumption of images, signs, objects, environments and individual and collective identities. By going through a process of expansion and diffusion, spreading and infiltrating into various spheres of everyday life, the field of design becomes a starting point for the production of artists who, through disruptive action tactics, seek opportunities, even if temporary, to intervene in a world increasingly designed and planned to the very last detail

Thesis (doctoral) - Ludwig-Maximilians-Universität München, 2003. / Includes bibliographical references.

This thesis examines Andrea Mantegna's painting of Judith and Holofernes in the context of attitudes towards women, material culture, and the Middle East during the Italian Renaissance.

The purpose of this study was to conduct a sociolinguistic analysis of the regional Italian of Sicily in Andrea Camilleri’s Un mese con Montalbano (A Month with Montalbano). The lexical portion of a model developed by Sgroi (1990) to examine the use of regional Italian in literature was applied to the thirty short stories in Camilleri’s text to isolate the components of this variety. The study also attempted to identify the socio-economic features of the characters who speak regional Italian, the contexts of use of this variety and what the regionalisms in the stories indicate about Italy and the speech of Italians. The model revealed that Camilleri utilizes three main types of language to regionalize his prose: Sicilian Italian regionalisms; phonological adaptations of Sicilian dialect terms; and, hyperfrequent Italian words. The regional terms comprise only 24.4% of the lexemes identified by the model, while 40.4% represent Italianizations of Sicilian dialect that may be artistic adaptations of the author. A surprising 33.4% of the terms are standard Italian words that appear to have been chosen by Camilleri due to their similarity to equivalent Sicilian dialect terms. With respect to the sociolinguistic aspects of the study, the findings were somewhat problematic owing to the nature of the mystery genre. Specifically, middle-aged policemen and police-related contexts of use are disproportionately represented in the stories. Nevertheless, it was determined that regional Italian is spoken by male and female characters who represent a wide range of ages and occupations. Furthermore, results illustrated that regionalisms are uttered most frequently in professional, public and formal contexts. The requisites of the mystery genre also affected the findings in regard to Camilleri’s portrayal of Italy and Italian speech. Much of the regional language used in the text exaggerates the criminal aspects of Italian society and the expressive quality of this variety. In a more realistic vein, however, many regionalisms emphasize the multi-cultural makeup of the country and the intangible facet of Italianness. In general, the textual analysis indicates that regional Italian is a complex variety which may enjoy a broader usage in contemporary Italy than the traditional dialects. / text