Subtext är en sanning gömd under ytan, som avslöjar en handling eller ords sanna mening. Hur kan en adaptionsprocess påverka subtexten då en bok tolkas om till film? Syftet med denna uppsats är att applicera en komparativ adaptionsanalys för att svara på frågan kring hur subtexten i en bok påverkas av att adapteras till film. Två kapitel och dess respektive filmscener analyseras därmed för att därefter peka ut dess subtext, detta från boken Dream Story och dess filmatisering Eyes Wide Shut. Skillnaderna i hur subtexten förmedlats pekas sedan ut i resultatet, där slutsatser kring adaptionsprocessen av subtext görs. Subtexten analyseras med hjälp av Linda Segers bok Writing Subtext: What Lies Beneath, vilket understöds med Thomas Denks teorier kring komparativa analyser i Komparativ metod – förståelse genom jämförelse. Resultatet har då pekat på att subtexten påverkats av att gå från en litterär till visuell tolkning, där mediespecifika detaljer påverkat berättandet. Dock har samma subtext i stor grad framförts i filmen, det har endast handlat om mediespecifika tolkningar.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

Orientador: Luiz Roberto Monzan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T19:32:17Z (GMT). No. of bitstreams: 1 Germer_GuilhermeMarconi_M.pdf: 1635494 bytes, checksum: 6abc36184c5edf1a2a22448d88eb02ac (MD5) Previous issue date: 2010 / Resumo: Nossa dissertação tem por objetivo analisar e interpretar o esclarecimento de Arthur Schopenhauer (1788-1860) dos conceitos do belo (schön) e do bom (gut) (moral, virtude). Segundo o filósofo, ambos não são verdadeiramente ensináveis, isto é, não se deve esperar que as estéticas desde Aristóteles tornem os seus pupilos artistas geniais, tampouco como se pode ansiar que os discursos morais tragam o caráter genuinamente ético. Pelo contrário, o pensador propõe à filosofia a tarefa puramente teórica e contemplativa, a saber, a de não prescrever regras ao espírito, mas descrever abstratamente o que de fato ocorre no belo e no bom, por meio de uma interpretação e explicitação cuja matéria e limite é "este mundo efetivo da cognoscibilidade, no qual estamos e que está em nós". Ambos os esclarecimentos são apresentados em seu essencial pelo filósofo, respectivamente, no Livro III e no Livro IV de Die Welt als Wille und Vorstellung (O Mundo como Vontade e como Representação) - ambos os quais compõem, portanto, a bibliografia básica de nossa investigação. Resumidamente, Schopenhauer defende que o belo consiste, pelo lado objetivo, nas Idéias eternas (ewigen Ideen) de Platão, os arquétipos dos fenômenos relativos e fugazes do princípio de razão suficiente e a "objetidade mais adequada possível da coisa em si" (die möglichst adäquate Objetität des... Dinges an sich), e pelo subjetivo, no puro sujeito do conhecimento destituído de Vontade (reines, willenloses Subjekt der Erkenntnis). Quanto ao bom, o filósofo identifica-o ao conceito da compaixão (Mitleid), cujo grau negativo é a justiça (Gerechtigkeit), no qual ela apenas obstrui a injustiça (Unrecht), e o positivo a caridade (Menschenliebe), no qual ela "não apenas me impede de causar dano a outrem, mas também me impele a ajudá-lo". Por fim, nós também comentamos os seguintes temas capitais do pensamento schopenhaueriano: o idealismo, a polêmica com Kant, o princípio de razão suficiente, a Vontade como coisa em si, senhora do intelecto, impulso cego e auto-discórdia, o pessimismo e a autonegação e afirmação da Vontade de viver / Abstract: Our work aims to analyze and interpret the clarification of Arthur Schopenhauer (1788-1860) of the concepts of the beautiful (schön) and the good (gut) (moral virtue). According to the philosopher, both are not really teachable, that is, one should not expect that Aristotle's aesthetics will make his pupils into brilliant artists, nor can one aspire that moral speeches have a genuinely ethical character. Rather, the thinker assigns to philosophy a purely theoretical and contemplative task, that is, not to prescribe rules to the spirit, but to abstractly describe what actually occurs in the beautiful and good, through an interpretation and explicitness the subject matter and limit of which is "this actual world of what is knowable, in which we are and which is in us." Both explanations are given in their essentials by the philosopher, respectively, in Book III and Book IV of Die Welt als Wille und Vorstellung (The World as Will and Representation) - both of which make up the basic bibliography of our research. In short, Schopenhauer argues that, on the objective side, beauty consists of Plato's eternal Ideas (Ideen ewigen), archetypes of the fleeting phenomena of the principle of sufficient reason and " the best possible objectity of the thing in itself" (die möglichst adequate Objetität des ... Ding an sich), and on the subjective side, the pure subject of knowledge without will (reines, willenloses Subjekt der Erkenntnis). As for the good, the philosopher identifies it with the concept of compassion (Mitleid), the negative side of which is justice (Gerechtigkeit), negative in that it only blocks injustice (Unrecht), with charity (Menschenliebe) being the positive side, in that it "not only prevents me from causing harm to others but also compels me to help them". Finally, we also comment on the following main themes of Schopenhauer's thought: idealism, the controversy with Kant, the principle of sufficient reason, the will as thing in itself and master of the intellect, blind impulse and self-discord, pessimism and selfnegation and affirmation of the will to live / Mestrado / Metafisica do Belo e dos Costumes / Mestre em Filosofia

Orientador: Oswaldo Giacoia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T01:23:16Z (GMT). No. of bitstreams: 1 Bassoli_SelmaAparecida_M.pdf: 270977 bytes, checksum: 441067c587503bb1b552422662bbc150 (MD5) Previous issue date: 2005 / Resumo: Aplicamos o conceito matemático de grandeza negativa como um recurso que elucida aspectos da filosofia moral de Schopenhauer. Uma grandeza é negativa relativamente à outra, na medida em que só pode ser reunida a ela por oposição, quando uma suprime da outra o equivalente a si mesma. Utilizamos esse conceito para tratar da oposição entre as motivações, com o objetivo de evidenciar que um motivo leva à ação conforme suprime a influência, sobre o caráter, do motivo oposto. Também fizemos uso desse conceito para esclarecer a oposição entre a afirmação e a negação da vontade. Partindo da distinção entre nihil negativum e nihil privativum, adotada por Schopenhauer para tratar do nada que resulta da negação da vontade, mostramos que a vontade se nega à proporção que suprime o seu modo de afirmação anterior / Abstract: We apply the mathematic concept of negative magnitude as a resource that elucidates Schopenhauer¿s aspects of moral philosophy. A magnitude is negative related to another as long it can be joint to it in opposition, when one suppresses the equivalent of itself from the other. We use this concept to deal with the opposition between the motivations, in order to realize that a motive leads to the action as it suppresses the opposite motive influence, on the character. We made use of this concept to elucidate the opposition between the affirmation and denial of will as well. Starting from the distinction between nihil negativum and nihil privativum, adopted by Schopenhauer to deal with nil resulted from the denial of will, we demonstrate that will is denied as it suppresses its previous affirmation mode / Mestrado / Mestre em Filosofia

Orientador: Oswaldo Giacoia Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T03:52:39Z (GMT). No. of bitstreams: 1 Rodrigues_EliVagnerFrancisco_D.pdf: 821071 bytes, checksum: c5bfe2d7d917ca8672d8c563ef2ce90d (MD5) Previous issue date: 2008 / Resumo: O tema desse trabalho baseia-se na hipótese de que a filosofia de Schopenhauer pode ser caracterizada como um pensamento niilista. Procura-se explicitar como a crítica de Nietzsche à moral da compaixão de Schopenhauer encontra sua inserção e ganha densidade teórica no contexto de suas análises do niilismo da fraqueza, traço destacado por Nietzsche como característica da decadência cultural européia. Examina-se também o problema do nada na filosofia de Schopenhauer, com o propósito de situá-lo em relação à temática do niilismo, bem como para tentar evidenciar o sentido em que a ética do filósofo de Frankfurt configura uma soteriologia. As bases para tal interpretação repousam nas seguintes características dessa filosofia: o apontamento de uma ausência de finalidade (negação do finalismo, "ateleologia") para a vontade e, conseqüentemente, a ausência de um telos inteligível para o mundo, a postura pessimista baseada na metafísica da vontade, e na soteriologia defendida pelo filósofo na sua doutrina da negação da vontade, que aponta para o estatuto do nada, alvo da vontade na ética da compaixão. Essa caracterização, a nosso ver, está relacionada com a recepção, interpretação e crítica nietzscheana da filosofia de Schopenhauer, sobretudo na caracterização que Nietzsche faz do niilismo da fraqueza. / Abstract: The theme of this work is based upon the hypothesis that the Schopenhauer's philosophy could be characterized as a nihilist thought. We try to explain away how the criticisms made by Nietzsche to the morals of compassion of Schopenhauer finds place, and obtain some theoretical density, in the context of his analysis of the nihilism of weakness, which Nietzsche points as the main characteristic of the European cultural decadency. The problem of the nothingness is as well under examination, with the purpose of put it in relation to the broad thematic of nihilism, and to show the sense in which the ethics of the philosopher from Frankfurt frames a soteriology. The basis for this interpretation lay on the following characteristics: to point out to an absence of finality (a finalism negation, a-teleology) to the will and, consequently, to the absence of an intelligible telos to the world, the pessimist attitude based on the metaphysic of the will, and on the soteriology, defended by the philosopher himself in his doctrine of a negation of the will, which, by its turn, points out to the nothingness status, the will's target in the morals of compassion. This characterization, as we see it, is related to the reception, to the interpretation and to the nietzschean criticism of Schopenhauer's philosophy, chiefly on the characterization that Nietzsche made of the nihilism of the weakness. / Doutorado / Filosofia / Doutor em Filosofia

This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortj e’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.

7 Abstract The aim of this thesis is to clear up the role of human in Schopenhauer's philosophical thinking. This goal could have been achieved only by clarifying the world's metaphysical substance. This substance proved to be the cruel will that manifests itself through the platonic ideas. It was shown that each human being is part of this eternal substance. Intellect, as explained in the thesis, is primarily mere instrument of the will designed to deliver motives. For this reason, the majority of people in different ways continually keep satisfying thein needs, therefore almost everyone enjoys the opinion of will affirmation. People constantly succumb to disilusion, which proved to be egoism. Therefore, what appears to be the greatest good for most of us is actually only good for the evil substance. Blind will plays with us so fraudulent and truly perverse game that most of us can never win. However, I have pointed out that there were some individuals who had been endowed by excessively developed intellect power. Only this paradoxically almost unnaturally developed power of intellect can lead to knowledge that the blind will in its game with people plays unfairly. I also presented three groups of people who are capable of that kind of knowledge. The first group are genius people who can plunge into a...

Orientador: Adriana Giarola Kayama / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T07:29:05Z (GMT). No. of bitstreams: 1 Santos_MauroCamilodeChantal_D.pdf: 18620579 bytes, checksum: d02b267139891b2d70b334d0ef0baf2a (MD5) Previous issue date: 2013 / Resumo: A ópera A Ceia dos Cardeais, de Arthur Iberê de Lemos (1901 ¿ 1967) teve sua estréia em Belo Horizonte, em 1963. O texto poético da ópera utiliza quase a totalidade do texto da obra homônima do escritor português Julio Dantas, se caracterizando como um estudo reflexivo sobre a brevidade da vida, sobre o amor e a essência leve e frágil da existência. A partir do estudo da ópera em questão, esta pesquisa intenta resgatar o nome do compositor, prolífico em criações musicais, especialmente na formação para canto e piano, e ainda resgatar a ópera A Ceia dos Cardeais, para que ela esteja disponível para estudos e performance / Abstract: The opera A Ceia dos Cardeais, composed by Arthur Iberê de Lemos (1901 ¿ 1967) premiered in Belo Horizonte, Brazil, in 1963. The poetic text is almost entirely taken from the homonymous literary work of the Portuguese author Julio Dantas. The literary content is characterized as reflexive study of the life¿s brevity, of love, and light and fragile essence of existence. From the study of A Ceia dos Cardeais, this research intends to revive the name of an artist who was very fruitful as a composer, in particular as an art song composer, as well as make his opera A Ceia dos Cardeais available for a performance / Doutorado / Praticas Interpretativas / Doutor em Música

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Cette thèse a pour objectif de montrer que les paquets de représentations cohomologiques d’un groupe réductif classique quasi déployé, défini sur R, construits par J. Arthur coïncident avec les paquets précédemments définis de manière plus élémentaire et plus explicite par Adams et Johnson... / The aim of this thesis is to prove that the packets of cohomological representation of quasi-split classical groups, defined over R, by Arthur coincide with the packets defined previously in a more elementary way by Adams and Johnson...