La tesis estudia la historia de Argentina en relación con la obra de Ernesto Sábato. El trabajo intenta a través de la historia del país sudamericano y la lectura de la obra de Sábato llegar a conclusiones que permitan explicar los hechos sucedidos en diciembre del 2001 en Argentina. Para ello, la tesis lleva a cabo un estudio mítico de la historia de Argentina en el que destaca el realizado sobre la figura del emigrante, héroe de las novelas de Sábato, a quien se compara con Caín. Por tanto, Caín, Abel y el Dios judío, Yahvé, serán los personajes fundamentales estudiados en esta tesis para comprender el destino de la Argentina y de la obra de Sábato desde un punto de vista mítico, místico, simbólico y religioso. / The thesis studies the history of Argentina in relation to the work of Ernesto Sábato. The work tries, though the history of the south american country and the reading of the work of Sábato, to search conclusions that allow to explain the facts happened in December of 2001 in Argentina. For it, the thesis carries out a mythical study of the history of Argentina in which it emphasizes the made one on the figure of the emigrant, hero of novels of Sábato, to that it compares with Caín. Therefore, Caín, Abel and the Jewish God Yahvé, will be the fundamental personages studied in this one thesis to understand the destiny of the Argentina and the work of Sábato from a mythical, symbolic and religious point of view.

Summary The architectonics of the Biblical horizon allow to perceive, and highlight the ideological and semantical poetical kernel of the XXth century 6th decade poets’ generation. While highlighting the peculiarity of the Biblical horizon and revealing the semantical kernels of writers’ apprehension and poetical worldview, the theoretical hermeneutical principle of text reading is chosen. A reference is made to the perspective of Ricoeuras, which formulates the tradition of hermeneutical symbol and metaphor apprehension. The Biblical horizon is perceived according to the three poetical traditions of the Scripture re-creating. That would be: the structure of views proning to the logycs of rebellion and myth, the poetical principle of sensual and perceptual relation to the things, the intelectual novation of the biblical religious architectonics. The creation of these poets, representing diverse poetical traditions, idividually transform (Platelis, Kajokas, Gailius, Cieškaitė) or deform (Patackas) the notional field of the Scripture. In Patackas and Platelis poetry, representing the verse of death or reflection, for pointing out the Biblical horizon is important the mythopoetical cogitation which brings forward the dominant of rebellion, related to the sociocultural apprehension and revealing the Biblical typology of banishment from the paradise. Patackas poetry points out the perspective of the profanic paradygme, demythologization of the biblical images, semantical... [to full text]

This thesis examines the beginning of Victoria, British Columbia’s, women’s movement, stretching its ‘start’ date to the late 1850s while arguing that, to some extent, the local movement criss-crossed racial, ethnic, religious, and gender boundaries. It also highlights how the people involved with the women’s movement in Victoria challenged traditional beliefs, like separate sphere ideology, about women’s position in society and contributed to the introduction of new more egalitarian views of women in a process that continues to the present day. Chapter One challenges current understandings of First Wave Feminism, stretching its limitations regarding time and persons involved with social reform and women’s rights goals, while showing that the issue of ‘suffrage’ alone did not make a ‘women’s movement’. Chapter 2 focuses on how the local ‘women’s movement’ coalesced and expanded in the late 1890s to embrace various social reform causes and demands for women’s rights and recognition, it reflected a unique spirit that emanated from Victorian traditionalism, skewed gender ratios, and a frontier mentality. Chapter 3 argues that an examination of Victoria’s movement, like any other ‘women’s movement’, must take into consideration the ethnic and racialized ‘other’, in this thesis the Indigenous, African Canadian, and Chinese. The Conclusion discusses areas for future research, deeper research questions, and raises the question about whether the women’s movement in Victoria was successful. / Graduate / 0334 / 0733 / 0631 / mlihmels@shaw.ca

La présente thèse étudie l’hypersexualisation des jeunes filles en tant que phénomène culturel contemporain. En mettant à profit une approche conceptuelle psychanalytique et féministe, la thèse tente de comprendre le rôle joué par le regard, le désir et le fantasme dans ce phénomène. S’éloignant volontairement des discours critiques existant sur le sujet, l’objectif est de voir comment le cinéma peut mener son spectateur à confronter les dimensions plus radicales (incestueuse, pédophile et œdipienne) de l’image d’une jeune fille hypersexualisée. Le parcours argumentaire se divise en trois parties. La première partie effectue un inventaire sommaire des études portant sur l’hypersexualisation des jeunes filles. Tout en constatant l’actuelle pornographisation du paysage médiatique contemporain, le lecteur est amené à prendre connaissance de la nature alarmiste et foncièrement iconophobe de ces discours critiques, qui accordent peu d’attention à la dimension fantasmatique du phénomène. Une rétrospective des réflexions féministes sur le regard et le désir vient ensuite orienter le parcours vers les enjeux liés à la représentation médiatique de la féminité, ainsi que son lien avec le regard et le désir cinématographiques. La deuxième partie s’attarde aux discours féministes portant sur la représentation de la Femme en tant que signe. Constatant les limites de la traditionnelle dichotomie ange/putain, un modèle permettant de penser la féminité médiatique en termes archétypaux est proposé. Après avoir démontré l’opérativité analytique de ce modèle à travers la lecture du film 3 Women (Altman 1977), une analyse approfondie du film The Virgin Suicides (Coppola 1999) permet d’isoler une mise en image des envers problématiques de la féminité fantasmée. La troisième partie de la thèse introduit le paradigme lacanien contemporain propre aux études cinématographiques, afin de mener le lecteur à considérer sous un autre jour les questions du regard, du désir et du fantasme. La jeune fille hypersexualisée est alors abordée comme une version contemporaine et inversée du fantasme originaire œdipien. Par les analyses des films American Beauty (Mendes 1999) et Exotica (Egoyan 1994), le cinéma se révèle comme un discours culturel possédant la capacité de mener son spectateur vers une traversée du fantasme de la jeune fille hypersexualisée. / This thesis studies the sexualization of young girls as a contemporary cultural phenomenon. Through a feminist and psychoanalytical approach, the thesis attempts to isolate the functioning of the gaze, desire and fantasy within this phenomenon. Through a voluntary dissociation from existing critical discourses dealing with this topic, the main objective is to understand how cinema can bring its spectator to confront the radical dimensions (incestuous, pedophiliac and Œdipal) associated with the image of a sexualized girlhood. The thesis is divided into three parts. Part one begins with a brief inventory of existing literature on the sexualization of girlhood. While ascertaining the pornographication of contemporary mediascapes, the reader is brought to grasp the alarmist and iconophobic nature of existing critical discourses dealing with this phenomenon. Indeed, it is shown how they pay very little attention to the fantasmatic nature of the sexualized young girl. A feminist retrospective on the topics of desire and the gaze then orients the discussion towards issues related to media representations of femininity. Part two begins by focusing on feminist studies of Woman as sign. Following the highlighting of the conceptual limits associated with the typical angel/whore dichotomy, an archetypal model aimed at rethinking media representations of femininity is proposed. After demonstrating the analytical operability of this model through the study of Robert Altman’s 3 Women (1977), an extensive analysis of Sofia Coppola’s The Virgin Suicides (1999) allows the exploration of cinema’s ability to represent the problematical undersides of the fantasy of femininity. Part three focuses on contemporary Lacanian film studies in order to bring the reader to consider a more radical approach to questions pertaining to the gaze, desire and fantasy. The sexualized young girl is then studied as a contemporary, inverted version of the primal Œdipal fantasy. Through the analyses of Sam Mendes’ American Beauty (1999) and Atom Egoyan’s Exotica (1994), the cinema is revealed as a cultural discourse that holds the ability to bring its viewer to traverse the fantasy of sexualized girlhood. / Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de ses documents visuels et audio-visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

This dissertation examines the reconfiguration of the limits of representation in reference to the intermediary function of angels. The Modernist engagement with the figure of the angel entailed, primarily, a reconsideration of the problem of representation as well as an attempt to trace the contours of a poetics that plays itself outside the mimetic understanding of representation. My contention is that this transformation of literary referentiality was not simply a disengagement of art from reality but, rather, from the truthfalsity, reality-fiction, subject-object dichotomies. The angel, defined as the figure of passage par excellence, but also as the agency that induces the transformation of the visible in the invisible and vice versa, appears both as a model/archetype and as a guide towards the illumination of this intermediary aesthetic. Working with the joined perspectives from angelology, contemporary phenomenology, and poetics, this dissertation is an extended overview of the notion of intermediary spaces, as well as an attempt to probe the relevance of this concept for the field of literary studies. In the first case, this dissertation offers a theoretical background to the concept of intermediality, seen in its theological, phenomenological, aesthetic and ethical significances. In the second case, it presents the reader with a heuristic apparatus for approaching this problematic in the field of literary interpretation and provides examples of ways in which such an analysis can become relevant. The primary texts discussed here are all examples of attempts to redefine the notion of representation away from the truth-falsity or subject-object oppositions, as well as to create an aesthetic space with its own particularities, at the limit between visibility and invisibility, excessive presence and absence. Nicholas of Cusa’s “Preface” to The Vision of God proposes an ethics of reading defined by admiratio (the consubstantiation of immediacy and distance) under the aegis of the all-seeing icon of God. Louis Marin’s reading of the episode of the Resurrection reveals that history and narrative arise from the conjunction of the excessive absence of the empty tomb of Jesus and the excessive presence announcing the resurrection of Christ. Sohravardî’s “Recital of the Crimson Angel” is a presentation of the space-between of revelation, between cognitio matutina and cognitio vespertina. Walter Benjamin’s “Agesilaus Santander” restores the connections between the exoteric and the esoteric under the patient gaze of “Angelus Novus”. Paul Valéry’s Eupalinos, ou l’Architecte explores the aesthetic of “real appearance” in the space-between the image and the perceiving eye. Poe and Malamud’s short stories reveal the affinities between poetic language and angelophany. Elie Wiesel’s Les portes de la forêt expands the apophatic itinerary from the self to the radically other in a hermeneutical gesture which has the angel as its initial and final guide. Finally, Rafael Alberti’s Sobre los ángeles shows that the aphaeretic function of poetic language is very similar to the apophatic treatment of the world as representation; in this last sense too, the angels are indispensible guides.

Univ., Diss.--Kiel, 2002.

À la charnière entre deux siècles, Salomé fait office de lieu commun inévitable de la littérature et des arts. Cependant, aux côtés de la femme fatale, s'affirme la présence discrète mais tout aussi inévitable de la féminité fragile et bienveillante, formée sur le modèle de la princesse de conte et de l'héroïne de roman gothique, mais surtout sur celui de la vierge et martyre du roman édifiant, qu'il soit antiquisant ou contemporain. Parfois discrète jusqu'à l'illisibilité, cet archétype n'est légitimé dans sa fonction bienveillante que par un sacrifice. La signification religieuse du bouc émissaire reste à la fois lisible et efficace dans les structures narratives du roman, mais aussi dans le détail de l'écriture de ces personnages. Les figures mariales, magdaléennes ou féeriques sont soumises à la même épreuve de destruction, par laquelle l'édification qu'elles symbolisent se fait littéralement construction de sens, juxtaposition d'éléments esthétiques disparates mais efficaces par lesquels un personnage en vient à représenter allégoriquement la création artistique elle-même. En reliant le milieu du XIXe siècle aux années 1920 et en mettant les plus connus des héritiers de Baudelaire en perspective avec ceux dont le nom commence à peine à revenir à la postérité, l'enjeu de la recherche est d'établir dans quelle mesure ces représentations de la féminité bienveillante relèvent d'une permanence, d'un monument – au sens de monumentum – où la fin de siècle va non seulement contempler la mort d'une époque révolue, mais concentrer tout ce qui sert, à l'aube du XXe siècle, à théoriser l'art idéaliste. / At the crossroads between two centuries, Salome plays the part of a mandatory commonplace in art and literature. Nevertheless, next to the femme fatale and just as unavoidable, stands a fragile and benevolent form of feminity, molded in the cast of the fairytale princess and theGothic novel heroine, but inspired above all by the Virgin and Martyr of the edifying novel, be it antique or contemporary. As it might be discrete enough to become unreadable, this archetype's benevolence cannot be legitimated without a sacrifice. The religious meaning of the scapegoat remains just as obvious and as efficient in the novels' narrative structure, as well as in the detailsthrough which such characters are built. Marial, magdalenian and farylike characters must undergo the same destruction trial, through which their edifying meaning becomes a litteral building-up up meaning, by juxtaposing dissimilar and yet efficien aesthetic elements which turn the character into an allegory of artistic creation. By linking mid-19th century and the 1920es and by weaving a link between the most famous of Baudelaire's heirs and the ones whose name is just merging out of oblivion, the purpose of this study is to analyse how much these representations of benevolent femininity must be seen as a permanence, as a monument – or as a monumentum – where late-19th century will not only gaze a the death of a declining era, but concentrate all what will be used to theorize idealist artistic movements on the edge of the 20th century.

This research discusses the changing role of women in Spanish society during the nineteenth century through the works of Francisca Navarro and Joaquina Garcia Balmaseda. The thesis shows the break with the traditional image of the "angel del hogar" and the gradual incorporation of the social changes affecting women which were reflected in the female protagonists of the comedies written by such playwrights. By reading theoretical texts of the emerging feminist theory and through analysis of the main female characters, this study examines the changes regarding the established canon and its own evolution within the nineteenth century, from the works of a pioneer like Francisca Navarro in the first third of the century to those of Joaquina Gracia Balmaseda towards the end of it.

No description available.

Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.