Texte remanié de: Diss.--Technische Universität Berlin, 1981. / Bibliogr. p. 212-219.

Thesis (Ph. D.)--University of Chicago, Dept. of Comparative Literature, 2001. / Includes bibliographical references. Also available on the Internet.

Freie Univ., Diss.--Berlin, 2006.

Diss. : Literaturw. : Bonn : 1990. / Originally presented as the author's thesis (doctoral--Universität Bonn, 1990). Bibliogr. p. 313-329.

Ce mémoire est composé de trois parties distinctes. La première partie consiste en un recueil de fragments, L'Œil de la libellule. Constitué de réflexions, d'aphorismes, de poèmes, de micro-fictions et autres textes brefs, ce recueil explore par facettes des questionnements existentiels, en lien notamment avec la nature humaine, la mémoire, la perception du monde, les relations amoureuses et familiales, la solitude et l'écriture. La seconde partie est un essai critique portant sur les liens unissant écriture fragmentaire, mémoire, mort et survie dans Le Cœur secret de l'horloge d'Elias Canetti. Plus précisément, je discuterai de la stratégie employée par l'auteur pour, d'une part, s'assurer la postérité littéraire, et d'autre part, atteindre l'immortalité par la métamorphose. La troisième partie est un court essai portant sur la notion de doute sous-jacente à l'écriture fragmentaire. J'y effectuerai un retour sur ma propre démarche et y tracerai quelques liens avec l'œuvre de Canetti et d'autres auteurs de fragments.

Made available in DSpace on 2016-04-28T20:38:00Z (GMT). No. of bitstreams: 1 Fabiano Massarro Salvador.pdf: 1293848 bytes, checksum: 395d3d892b74d358404a6d6b5413bfaa (MD5) Previous issue date: 2011-12-02 / The questioning which takes course throughout the pages of this work is: What could there be of such great impact in Auto-de-Fé? In the process of the present work, Elias Canetti‟s novel provoked many doubts, reflections and problems; we realized that this author‟s work is involved by many problematics. In order to analyze his work, it was necessary to trail another path besides that of Psychoanalysis. The undertaking, in this sense, was made up of the historical analysis of different cultural periods, specially German ones. I thus ventured into the origin of the German Romantic Period, its history and main artists. Analyzing this movement, I noticed that it is very interesting and rich, principally for having been a time that served as stimulus to Freud. Even so, I realized that the journey would be incomplete if I focused only on Romantism. The questions of beautiful and sublime give space to other themes, more subjective ones, which are strange to the being. I believed it would be important to establish an interface with the Expressionist Movement, in which madness and the esthetics concerning the body would be quite different. The body, in the Expressionist movement, brought forth the marks of a shattered subjectivity. These choices were made with an aim to promote a wide reflection about the historical context in which Auto-de-Fé was imagined and developed by Canetti. This work was created when the austro-germanic culture was, in a certain way, expiring. The lights of the Austro-Hungarian Empire were beginning to die out, the Weimar Republic was a caricature of power encarnation. The growing antissemitism in Eastern European countries, with the uprising of the German National Socialist Party, already antecipating the sinister aspects to come, the Viennese nihilism showing that the Austrian society was sunk in obsolete values concerning man, art and society, and also the gathering of important arts names at this notable period. This and other factors led us to the conclusion that tha analysis of madness, of which Peter Kien will be a victim in Auto-de-Fé, is a sad metaphor of what was to come. Understanding the nearly prophetical aspect of Canetti‟s words would only be possible if we had as a guide the pages of German cultural history, a culture marked by the sign of dualism / O questionamento que irá se desenrolar nas páginas deste trabalho é: O que haveria de tão impactante na obra Auto-de-Fé? No decurso da confecção do trabalho, o romance de Elias Canetti suscitou muitas dúvidas, reflexões e problemas, e percebemos que as problemáticas que envolvem essa obra são inúmeras. Para analisarmos a obra de Elias Canetti, fez-se necessário percorrer outro caminho que não somente o da psicanálise. A empreitada, neste aspecto, foi sendo construída por meio de análises históricas de diferentes períodos culturais, predominantemente germânicos. Para tanto me detive nas raízes do Movimento Romântico Alemão, sua história e seus principais nomes. Analisando este movimento, notei como ele era interessante e rico, sobretudo por ser uma época que serviu de estímulo a Freud. Mesmo assim, percebi que o caminho ficaria incompleto se permanecesse somente no âmbito do Romantismo. As questões acerca do belo e sublime vão dando espaço para outras temáticas, questões mais subjetivas, estranhas ao ser. Acreditei que seria importante fazer uma interface com o Movimento Expressionista, onde a loucura e a estética acerca do corpo seriam bastante distintas. O corpo no Expressionismo traria as marcas de uma subjetividade em cacos. Essas escolhas foram feitas com o intuito de promover uma reflexão ampla acerca do contexto histórico em que a obra foi pensada e confeccionada por Canetti. Auto-de-Fé foi construída num contexto em que a cultura austrogermânica estava de alguma maneira fenecendo. As luzes do Império Austro-Húngaro começavam a bruxulear, a República de Weimar era uma caricatura da encarnação dos poderes. O antissemitismo crescente nos países do leste europeu, com a ascensão do Partido Nacional Socialista Alemão, já antecipando aspectos sinistros, o niilismo vienense mostrando como a sociedade austríaca estava imersa em valores obsoletos no que dizia respeito ao homem, arte e sociedade, e também a aglomeração de nomes desta notável época no que concerne as artes. Estes e outros fatores levaram-nos à conclusão de que a análise da loucura da qual Peter Kien será vítima em Auto-de-Fé é uma metáfora triste daquilo que estava por vir. Entender o caráter quase profético das palavras de Elias Canetti só seria possível, tendo como eixo norteador as páginas da história da cultura germânica, uma cultura marcada pelo signo da dualidade

xxi, 437f. ; 26cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, 1973

Informal analysis of authenticated key establishment (ake) protocols was commonly accepted as the valid argument for their security in the past. Although it can provide some confidence in protocol correctness, experience has shown time and again that ake protocols are likely to contain flaws even after an informal analysis is completed. Therefore, it has become increasingly common to expect a formal analysis, and preferably a mathematical proof, of any published ake protocol in order to obtain increased confidence in its security. In this research we use an appropriate model for analysing ake protocols based on its features and properties. The model allows us to design ake protocols modularly and reuse existing protocol components. We provide a detailed description of its formalisation, operations and usage. This description also includes ways of extracting new protocol components from existing ake protocols. Following the description of the model, we propose a new unauthenticated key establishment protocol for two-party communications. By composing this protocol with authentication protocols, we can construct several new secure ake protocols. These new protocols are compared with existing protocols for their computational efficiency. The comparison shows that our new proven secure protocols are as efficient as the existing protocols with an informal security analysis. We then propose a three-party key establishment protocol which involves a trusted server and two users. We also propose a non-interactive authentication protocol and discuss it and a variant of it. These components are used to construct a secure three-party ake protocol that supports a privacy framework. This framework allows users to remain anonymous while conducting electronic transactions with an independent service provider. A new password-based authentication protocol is proposed to address the problem of authentication using passwords. This protocol carries a proof of security and satisfies a slightly relaxed definition of security. We demonstrate its application by composing it with existing key establishment protocols. To maximise its use, we modified a two-party key establishment protocol to become three-party server based. By using the server for authentication, two users within a common network domain can establish a secure session key. Only a small number of ake protocols are demonstrated in this thesis. There exist many more provably secure ake protocols that can be constructed using the protocol components presented by applying the approach of "mix and match". That is, each new component results in a number of new ake protocols depending on the number of existing components.

Made available in DSpace on 2015-03-05T02:01:04Z (GMT). No. of bitstreams: 1 000466022-Texto+Completo-0.pdf: 947272 bytes, checksum: 43973a9095b0e86bd2781be452555114 (MD5) Previous issue date: 2014 / The meaning of “self-exile” that has been used in this work, constitutes itself in a kind of exile that is not chosen, neither imposed externally, because its occurrence is related to a structural injunction, from the psychism order. This way, the “psychic exile”, comdemns the person to a radical intimate weirdness feeling, where the world and the oneself unintelligibility prevails. From the psychoanalytic standpoint, this entity is called psychosis; from the current use of the language standpoint, it is called madness. Through a transversal cut in Elias Canetti biography, from the time the writer lived in and his relations to the German language, culture and literature, it is possible to identify in Peter Kien character and in the novel Auto de Fé, the points that support our hypothesis related to the “self exile”: that the use of the language that Canetti does, enables him to make a perfect representation of the psychic laceration that hits the novel protagonist, according to his relations to the world and to the other characters, as well as the subjective question fulfills the metaphor role of a world under fragmentation, not only from the one that was used as raw material for the work, also from the world today, that is nothing but the logical and direct consequence that was already announced at the beginning of the XX century. / O sentido de “exílio de si” que foi privilegiado neste trabalho se constitui em um tipo de exílio que não é escolhido e tampouco é imposto de fora, pois a sua ocorrência se relaciona com uma injunção estrutural, da ordem do psiquismo. Sendo assim, o “exílio psíquico” condena o sujeito a um sentimento de radical estranheza íntima onde o que prevalece é a ininteligibilidade do mundo e de si mesmo. Do ponto de vista da teoria psicanalítica, esta entidade é denominada de psicose; do ponto de vista do uso corrente da língua, é chamada de loucura. Através de um corte transversal que vai da biografia de Elias Canetti, da época em que o escritor viveu e de suas relações com a língua alemã e com a literatura, procuramos identificar no personagem Peter Kien e no romance Auto de Fé, os pontos que apoiam a nossa hipótese em relação ao “exílio de si”: que o uso que Canetti faz da linguagem propiciou-lhe fazer uma perfeita representação do esfacelamento psíquico que assola o protagonista do romance em suas relações com o mundo e com os outros personagens, assim como esta questão subjetiva cumpre o papel de metáfora de um mundo em fragmentação, não só daquele que lhe serviu de matéria-prima para a confecção da obra, como do mundo de hoje, que nada mais é do que a consequência lógica e direta do que já se anunciava no alvorecer do século XX.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-06-23T19:41:35Z No. of bitstreams: 1 WagnerGuedesKerller_DISSERT.pdf: 1155917 bytes, checksum: 73aa89b14759deb3d0ac64cfd4429d10 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-06-27T18:55:06Z (GMT) No. of bitstreams: 1 WagnerGuedesKerller_DISSERT.pdf: 1155917 bytes, checksum: 73aa89b14759deb3d0ac64cfd4429d10 (MD5) / Made available in DSpace on 2016-06-27T18:55:06Z (GMT). No. of bitstreams: 1 WagnerGuedesKerller_DISSERT.pdf: 1155917 bytes, checksum: 73aa89b14759deb3d0ac64cfd4429d10 (MD5) Previous issue date: 2015-05-29 / A proposta desta disserta??o ? analisar a obra dramat?rgica do autor b?lgaro Elias Canetti, composta pelas pe?as O Casamento, Com?dia da Vaidade e Os que t?m a hora marcada, procurando compreender como as teorias cr?ticas da contemporaneidade atuam em sua trilogia, buscando um di?logo com referenciais te?ricos que justifiquem sua aproxima??o ao p?s-modernismo. Entretecendo os apontamentos e o teatro de Canetti com os conceitos filos?ficos da ?est?tica negativa? de Adorno, percebe-se um espa?o para a reflex?o de teorias que se sucederam, como as rela??es de poder de Foucault, presentes em Microf?sica do poder e os discursos de resist?ncia e poder desenvolvidos por Deleuze e Guatarri em Mil Plat?s e O Anti-?dipo. Apesar de suas obras terem sido escritas entre 1932 e 1956, todas apresentam uma cr?tica exasperada ao modernismo e caracter?sticas que n?o auxiliaram o seu reconhecimento pela cr?tica da ?poca, o que fez com que a dramaturgia de Canetti fosse redescoberta ap?s o autor receber o Pr?mio Nobel em 1981. / The purpose of this dissertation is to analyse the dramaturgic work of the Bulgarian author Elias Canetti, composed by the plays The Wedding, Comedy of Vanity and Their Days are Numbered, seeking to comprehend how the contemporary critic theories act on his trilogy, making a dialogue with theoretical references which may justify its approaching to the postmodernism. In this perspective, the theories by Jean-Fran?ois Lyotard, Fredric Jameson and J?rgen Habermas contribute for a better comprehension of the postmodernity phenomenon. Undertaking Canetti?s notes and theatre with the philosophical concepts of Adorno?s negative aesthetics, we realise there is a space to reflect upon the theories which befell, like Foucault?s power relations in Micro-physics of Power and the discourses of resistance and deterritorialisation developed by Deleuze and Guattari in A Thousand Plateau and Anti-Oedipus. Even though Canetti?s plays were written between 1932 and 1956, all of them show a strong critic against modernism, and their characteristics did not help their recognition by the critics, which resulted in a rediscovery of Canetti?s plays after the author won the Nobel Prize in 1981.