I denna uppsats analyseras Markus Suzaks Jokern och Jeanette Wintersons Fyrväktaren utifrån Northrop Fryes arketypanalys. Inledningsvis görs separata analyser av de båda verken som sedan får ligga till grund för att jämföra de återkommande dragen som kunnat identifieras i de skilda texterna. Syftet är att utreda metodens användbarhet som analysverktyg med målet att avgöra om den kan användas för att främja textnära tolkningar och elevers litterära kompetens i litteraturundervisningen i gymnasieskolan. Resultatet visar att metoden kan användas för att göra textnära litteraturanalyser. Man kan även observera att karaktärer som i berättandet fyller liknande funktioner återkommer i båda verken trots att de skiljer sig åt både till form och innehåll. Analysen visar dock att denna form av arketypanalys inte kan betraktas som en komplett metod dåden inte berör alla aspekter av texten, vilket tyder på att metoden med fördel kan kompletteras med andra litteraturvetenskapliga metoder.

Made available in DSpace on 2015-05-14T12:42:56Z (GMT). No. of bitstreams: 1 ArquivoTotalDanubia.pdf: 19849864 bytes, checksum: 4281768dd94785a5db204c5a1ed54a48 (MD5) Previous issue date: 2013-08-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the discourse of gender horoscope on different media, especially in women's magazines, noting the marks of change and permanence socio-historical and discursive sustained over time. The investigation will be made from the genre published in magazines, especially in facing the female audience in almanacs and Internet. To achieve this scope, we launched a analytical look on our subject from theoretical alliances, which are: a Discourse Theory of Traditions and Linguistic Change, Theory of the Imaginary, the theory of discourse analysis and cultural studies, from of theoretical studies as Eugenio Coseriu, Johannes Kabatek, Gilbert Durand, Mircea Eliade, CarlJung, Michel Foucault, Michel Pecheux, Eni Orlandi, Stuart Hall, Zygmunt Bauman, among others, seeking thereby to account for the discursive constructions, imagistic, symbolic and mythical traditions that relate to that underlie gender horoscope as well as the update of this discourse in other genres. Regarding methodological aspects, it is a qualitative research, literature and exploratory, aiming to provide greater awareness of the problem in order to make it explicit. From the analysis we can see that the discourse is marked by horoscope-discursive traditions imagery from the recurrence of linguistic and extralinguistic elements. It also apeared that the discourse of contemporary gender horoscope in magazines is eminently feminine. / Esta pesquisa tem como objetivo analisar o discurso do gênero horóscopo em diferentes suportes, em especial, em revistas femininas, atentando para as marcas de mudança e de permanência sócio-histórico-discursivas sofridas ao longo do tempo. A investigação foi feita a partir do gênero publicado em revistas, principalmente nas voltadas para o público feminino, em almanaques e Internet. Para alcançar tal escopo, lançamos um olhar analítico sobre nosso objeto de estudo a partir de alianças teóricas, quais sejam: a Teoria das Tradições Discursivas e Mudanças Linguísticas, a Teoria do Imaginário, a Teoria da Análise do Discurso e os estudos culturais, a partir dos estudos de teóricos como Eugenio Coseriu, Johannes Kabatek, Gilbert Durand, Mircea Eliade, Carl Jung, Michel Foucault, Michel Pêcheux, Eni Orlandi, Stuart Hall, Zygmunt Bauman, entre outros, procurando, com isso, dar conta das construções sociais, históricas, discursivas, imagéticas, simbólicas e míticas que dizem respeito às tradições que dão base ao gênero horóscopo, bem como a atualização desse discurso em outros gêneros discursivos. Quanto aos aspectos metodológicos, trata-se de uma pesquisa qualitativa, bibliográfica e exploratória, visando proporcionar maior familiaridade com o problema a fim de torná-lo explícito. A partir das análises, conseguimos observar que o discurso do horóscopo é marcado por tradições imagético-discursivas, com base na recorrência de elementos linguísticos e extralinguísticos. Também foi possível constatar que o discurso do gênero horóscopo nas revistas contemporâneas é eminentemente feminino.

Disease subtyping has been a critical aim of precision and personalized medicine. With the potential to improve patient outcomes, unsupervised and semi-supervised methods for determining phenotypes of subtypes have emerged with a recent focus on matrix and tensor factorization. However, interpretability of proposed models is debatable. Principal component analysis (PCA), a traditional method of dimensionality reduction, does not impose non-negativity constraints. Thus coefficients of the principal components are, in cases, difficult to translate to real physical units. Non-negative matrix factorization (NMF) constrains the factorization to positive numbers such that representative types resulting from the factorization are additive. Archetypal analysis (AA) extends this idea and seeks to identify pure types, archetypes, at the extremes of the data from which all other data can be expressed as a convex combination, or by proportion, of the archetypes. Using AA, this study sought to evaluate the sufficiency of AKI staging criteria through unsupervised subtyping. Archetype analysis failed to find a direct 1:1 mapping of archetypes to physician staging and also did not provide additional insight into patient outcomes. Several factors of the analysis such as quality of the data source and the difficulty in selecting features contributed to the outcome. Additionally, after performing feature selection with lasso across data subsets, it was determined that current staging criteria is sufficient to determine patient phenotype with serum creatinine at time of diagnosis to be a necessary factor.

No description available.

[ES] Este proyecto busca conocer los orígenes y el desarrollo del Goddess Art, un tipo de arte basado en el arquetipo de la Gran Madre, estudiado por autores como Carl Gustav Jung o Erich Neumann, y que floreció de mano de diferentes artistas ligadas al movimiento feminista de segunda ola durante las décadas de los sesenta y setenta, principalmente en los Estados Unidos de América. Sus características de ser un arte principalmente desarrollado por mujeres, estar asociado al movimiento feminista-esencialista, y su cercanía con el movimiento de espiritualidad feminista le valió un gran descrédito, tanto por parte de un mundo del arte de marcado carácter androcéntrico, como por la rama política del movimiento feminista. A través de un análisis del contexto histórico trazamos paralelismos con diferentes sucesos y movimientos, que fueron clave para su surgimiento, como el interés del feminismo de rescatar a la mujer en la historia (Herstory), un incremento de la violencia en las calles, una mayor libertad sexual, un revival espiritual, el movimiento antiguerra, un creciente interés proteccionista hacia la naturaleza, o la conformación de la contracultura, entre otros. Este análisis sirve como base para un estudio posterior en el que observamos cómo el Goddess Art recogió los principales intereses de algunas de las artistas vinculadas al movimiento feminista-esencialista, que encontraron en el arquetipo de la Diosa la inspiración para manifestar sus inquietudes, y para desarrollar imágenes de poder en las que otras mujeres pudiesen verse reflejadas. A lo largo de los diferentes apartados se explora la obra de varias artistas, algunas de ellas de gran reconocimiento internacional, y otras menos conocidas, con el objetivo de dar visibilidad a las múltiples aportaciones que se dieron en esta época. A través de nuestra investigación hemos tratado de recuperar y unificar muchas de las obras realizadas en estos años, así como de mostrar su impacto posterior, exponiendo cómo hoy en día este tema se encuentra de gran actualidad, ya que varias de las artistas que lo abordaron en un primer momento han recuperado sus obras, confiriéndoles una gran relevancia dentro de sus exhibiciones retrospectivas realizadas en los últimos años, así como también es un tema que algunos artistas emergentes han recuperado, lo que muestra su gran actualidad. De este modo, este proyecto busca difundir el Goddess Art, y promover su conocimiento en nuestro país, contribuyendo a abordar facetas más desconocidas de artistas de gran prestigio, así como ayudar a revelar la obra de quienes no han gozado de tanto reconocimiento. / [CA] Este projecte busca conéixer els orígens i el desenvolupament del Goddess Art, un tipus d'art basat en l'arquetip de la Gran Mare, estudiat per autors com Carl Gustav Jung o Erich Neumann, i que va florir de mà de diferents artistes lligades al moviment feminista de segona ona durant les dècades dels seixanta i setanta, principalment als Estats Units d'Amèrica. Les seues característiques de ser un art principalment desenvolupat per dones, estar associat al moviment feminista-essencialista, i la seua proximitat amb el moviment d'espiritualitat feminista li va valdre un gran descrèdit, tant per part d'un món de l'art de marcat caràcter androcèntric, com per la branca política del moviment feminista. A través d'una anàlisi del context històric tracem paral·lelismes amb diferents successos i moviments, que van ser clau per al seu sorgiment, com l'interés del feminisme de rescatar a la dona en la història (Herstory), un increment de la violència als carrers, una major llibertat sexual, un revival espiritual, el moviment antiguerra, un creixent interés proteccionista cap a la naturalesa, o la conformació de la contracultura, entre altres. Esta anàlisi serveix com a base per a un estudi posterior en el qual observem com el Goddess Art va recollir els principals interessos d'algunes de les artistes vinculades al moviment feminista-essencialista, que van trobar en l'arquetip de la Deessa la inspiració per a manifestar les seues inquietuds, i per a desenvolupar imatges de poder en les quals altres dones pogueren veure's reflectides. Al llarg dels diferents apartats s'explora l'obra de diverses artistes, algunes d'elles de gran reconeixement internacional, i altres menys conegudes, amb l'objectiu de donar visibilitat a les múltiples aportacions que es van donar en esta época. A través de la nostra investigació hem tractat de recuperar i unificar moltes de les obres realitzades en estos anys, així com de mostrar el seu impacte posterior, exposant com hui dia este tema es troba de gran actualitat, ja que diverses de les artistes que el van abordar en un primer moment han recuperat les seues obres, conferint-los una gran rellevància dins de les seues exhibicions retrospectives realitzades en els últims anys, així com també és un tema que alguns artistes emergents han recuperat, la qual cosa mostra la seua gran actualitat. D'aquesta manera, este projecte busca difondre el Goddess Art, i promoure el seu coneixement al nostre país, contribuint a abordar facetes més desconegudes d'artistes de gran prestigi, així com ajudar a revelar l'obra dels qui no han gaudit de tant de reconeixement. / [EN] This project seeks to know the origins and development of Goddess Art, a type of art based on the archetype of the Great Mother, studied by authors such as Carl Gustav Jung or Erich Neumann, and which flourished at the hands of different artists linked to the second wave of the feminist movement during the sixties and seventies, mainly in the United States of America. Its characteristics of being an art mainly developed by women, being associated with the feminist-essentialist movement, and its proximity with the feminist spirituality movement caused it a great discredit, both by an art world with a strong male-centered orientation, as well as by the political branch of the feminist movement. Through an analysis of the historical context, we draw parallelisms with different events and movements that were key to its emergence, such as feminism's interest in rescuing women from history (Herstory), an increase of violence in the streets, a greater sexual freedom, a spiritual revival, the anti-war movement, a growing interest in protecting nature, or the formation of the counterculture, among others. This analysis serves as the basis for a subsequent study in which we observe how Goddess Art gathered the main interests of some of the women artists linked to the feminist-essentialist movement, who found in the archetype of the Goddess the inspiration to express their concerns, and to develop images of power in which other women could see themselves reflected. Throughout the different sections we explore the work of several women artists, some of them highly recognized internationally, but also others who are less known, in order to give visibility to the multiple contributions that occurred in this era. Through our research we have tried to recover and unify many of the works made in these years, as well as to show its subsequent impact, exposing that nowadays the Goddess archetype in art is of great relevance, as several of the artists who first addressed it have brought back their works in recent years, giving them a great emphasis in their retrospective exhibitions, as well as it is a theme that some emerging artists have recovered, which shows its significance in the present time. Therefore, this project seeks to promote Goddess Art, and to enhance its diffusion in our country, exploring an aspect that is not so widely studied in the work of prestigious artists, as well as helping to reveal the contributions of those who have not enjoyed so much recognition. / Menéndez Requeno, E. (2024). La representación de la Diosa en el arte feminista de los años sesenta y setenta en U.S.A.: Goddess Art [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203268

This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?

No description available.

Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéal. / The simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator.

No description available.