This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.

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In this study, I challenge previous assumptions on Thucydides’ silence on gender in the History in order to understand this erasure as a central component of the historian’s attempt at asserting authorial control over a narrative of crisis. My project investigates the gendered strategies employed by Attic tragedy and historiography to represent defiant speakers – characters who challenge traditional speech, like Antigone or the Corcyreans, or those who speak ambiguously, like Cassandra and Alcibiades – in the context of 5th century Athens. Rather than offering a historical reconstruction of the relationship between Thucydidean historiography and drama, my project presents a theoretical reorientation of how the two genres can and should be read in parallel. Methodologically, I integrate close readings with the insights afforded by Anne Carson’s creative engagements with antiquity in order to analyze how gender structures the meaning-making systems in these narratives. Following a chronotropic trajectory, this dissertation investigates how gender refracts through the ways in which the tragedians and Thucydides represent issues of time, space and place, and perception; it then ends by returning to time to offer a critical re-evaluation of the receptions and afterlives of Greek tragedy and history. Ultimately, this study offers a methodology that helps us model a parallel reading of Attic tragedy and Thucydidean historiography; not in order to “test out” the historicity of tragedy against Thucydides’ account, but rather to use tragedy to fill the gap of gender in the History. Probing this dialogue – a dialogue informed as much by silence and omission as by contact and shared vocabulary – among ancient and modern, tragic and historiographic, originary and receptive models of literary entanglement challenges us to rethink the political potential of transgressive speakers within canonical narratives, and to reflect on the role that gender has in shaping these discursive tensions.

With evidence ranging from visual representations by scanning tunneling microscopes to the fluid and dynamic language of poetry, my research shows that we are shifting from a culture primarily based on ‘sight’ to one that is involved with ‘touch,’ metaphorically and literally speaking. Recent developments in theory and technology, especially quantum physics and post-structuralism, have redefined representation to encompass the necessary reflex of the representer. To be sure, my research has also found feminist and postcolonial criticisms to echo this theory: both have sought to challenge representations due to the objectivity normally attributed to the representer, the Cartesian logic of which quantum theory has destabilized. Thus, by reading poetry with a quantum theoretical lens, specifically the works of Gertrude Stein, Marianne Moore, Anne Carson, and Theresa Hak Kyung Cha, I show how ‘touch’ plays into our language, consequently affecting how we think through language. / Master of Arts / This is an essay on language – how we read language, where we go with language, and how language affects the way we think. Because poetry is an activity that first realizes the limits of language and then attempts to go beyond those limits, reading and writing poetically teaches us to use language to think in a different manner, what I propose to be by <i>touch</i>: a quantum manner. With respect to the field of Linguistics, I want to clarify that I am not saying our thoughts are wholly limited and determined by our language – the space of our minds are quite far-reaching, and it is quite possible to think whatever we want. What I am saying, however, is that language <i>habituates</i> how we think, and poetry reveals these habits in an attempt to break from them. Marilynne Robinson calls these habits our “little island of the articulable, which we tend to mistake for reality itself” (21). Thus I explore attempts at breaking linguistic, hence cognitive, habits with poetry through the writings of Anne Carson and Theresa Hak Kyung Cha. I use feminist, post-colonial, and post-structural theories to formulate a methodology that shows how we <i>touch</i> language and understanding through poetry, at the same time enacting this poetic through my own writing

L’archive erronée dans l’œuvre d’Anne Carson enquête sur les effets que peuvent entraîner l’archive classique sur la poésie d’Anne Carson et révèle que le travail de cette dernière est issu de l’espace situé entre la critique et la créativité, ce qui génère ce qu’on appellera une « poétique de l’erreur ». La poésie de Carson se démarque par sa prédilection pour les accidents, les imperfections et les impondérables de la transmission. La présente dissertation émerge des attitudes critiques ambivalentes face à la dualité de l’identité de Carson, autant poète qu’universitaire, et leur offrira une réponse. Alors que l’objectif traditionnel du philologue classique est de reconstruire le sens du texte « original », l’approche poétique de Carson sape en douce les prétentions universitaires d’exactitude, de précision et de totalisation. La rencontre de Carson avec l’archive classique embrasse plutôt les bourdes, les mauvaises lectures et les erreurs de traduction inhérentes à la transmission et à la réception de traductions classiques. La poésie de Carson est ludique, sexuée et politique. Sa manière de jouer avec l’épave du passé classique torpille la patri-archive, telle que critiquée par Derrida dans Mal d’Archive ; c’est-à-dire cette archive considérée comme un point d’origine stable grâce auquel s’orienter. De plus, en remettant en question la notion de l’archive classique en tant qu’origine de la civilisation occidentale, Carson offre simultanément une critique de l’humanisme, en particulier au plan de la stabilité, du caractère mesurable et de l’autonomie de « l’homme ». L’archive, pour Carson, est ouverte, en cours et incomplète ; les manques linguistiques, chronologiques et affectifs de l’archive classique représentent ainsi des sources d’inspiration poétique. La présente dissertation étudie quatre dimensions de l’archive classique : la critique, la saphique, l’élégiaque et l’érotique. Grâce à ces coordonnées, on y établit le statut fragmentaire et fissuré du passé classique, tel que conçu par Carson. Si le fondement classique sur lequel la culture occidentale a été conçue est fissuré, qu’en est-il de la stabilité, des frontières et des catégories que sont le genre, la langue et le texte ? L’ouverture de l’archive critique de manière implicite les désirs de totalité associés au corps du texte, à la narration, à la traduction et à l’érotisme. En offrant une recension exhaustive de sa poétique, L’archive erronée dans l’œuvre d’Anne Carson tente d’analyser l’accueil hostile qu’elle a subi, contribue à renforcer la documentation sans cesse croissante dont elle fait l’objet et anticipe sa transmutation actuelle de médium et de genre, sa migration de la page à la scène. / The Erring Archive in Anne Carson investigates the responsiveness of Anne Carson’s poetry to the classical archive and argues that Carson works from within the space between the critical and the creative, generating what I call a “poetics of error.” Carson’s poetics is distinguished by a predilection for accidents, imperfections, and the contingencies of transmission. My dissertation also responds to and emerges from the ambivalent critical attitudes to Carson’s dual identity as both a scholar and a poet. While the traditional aim of the classical philologist is to reconstruct the meaning of the “original” text, Carson’s poetic approach self-consciously undermines scholarly pretensions to accuracy, precision, and totalization. Rather, Carson’s encounter with the classical archive embraces the mistakes, misreadings, and mistranslation inherent in classical transmission and reception. Carsonian poetics is ludic, gendered, and political. Her play with the wreckage of the classical past undermines the patri-archive, as critiqued by Derrida in Archive Fever; that is, an archive that is considered to be a stable, governing point of origin. Furthermore, by challenging the notion of the classical archive as the origin of Western civilization, Carson simultaneously offers a critique of Humanism, particularly the stability, measurability, and autonomy of “Man.” The archive, for Carson, is open, ongoing, and incomplete; the linguistic, temporal, and affective gaps of the classical archive are thus opportunities for poetic production. My dissertation examines four dimensions of the classical archive: the critical, the sapphic, the elegiac, and the erotic. By means of these coordinates, I establish the fragmentary and ruptured status of the classical past, as conceived by Carson. If the classical bedrock upon which Western culture has been conceived is fractured, what does this mean for the stability, borders, and categories of genre, language, and the text? The openness of the archive implicitly critiques related desires of totality associated with the textual body, narrative, translation, and Eros. The Erring Archive in Anne Carson is keen to analyze Carson’s own vexed reception and contributes to growing Carsonian scholarship, as it provides a comprehensive entry into her poetics and anticipates her current generic and media shift from the page to the stage.

Le béton se présente comme un matériau constitué de granulats, jouant le rôle d'inclusions, enchâssés dans une matrice correspondant à la pâte de ciment hydraté. A l'échelle de la pâte, l'hydratation du ciment génère un milieu multiphasique, constitué d'un squelette solide et de pores remplis ou partiellement remplis d'eau selon leur taille. Le composant principal du squelette solide est le gel de C-S-H, les autres composants étant de nature cristalline. La qualification de gel du composant C-S-H est liée à sa nanostructure dont la schématisation la plus admise consiste en une phase aqueuse adsorbée, en sandwich avec des feuillets solides de nature cristalline. Il est bien admis que la structure du C-S-H est à l'origine de son comportement viscoélastique et donc de celui du béton. Ce comportement viscoélastique peut s'expliquer par un réarrangement de sa nanostructure sous l'effet des contraintes mécaniques appliquées à l'échelle macroscopique. La modélisation macroscopique du fluage du béton ne permet pas d'expliquer la variabilité du fluage d'une formulation de béton à une autre. En effet, les paramètres des modèles macroscopiques ne peuvent être identifiés que par l'analyse de résultats expérimentaux obtenus par des essais réalisés sur des éprouvettes de béton. Ces paramètres ne sont valables que pour une formulation donnée. L'identification de ces paramètres conduit donc à des programmes expérimentaux très coûteux et ne fournit pas suffisamment d'informations sur la sensibilité des paramètres macroscopiques à la variabilité des caractéristiques mécaniques et morphologies des constituants. Dans ce travail, on suppose qu'il existe une échelle microscopique à laquelle les mécanismes moteurs du fluage ne sont pas impactés par la formulation du béton. A cette échelle, celle du C-S-H, les propriétés viscoélastiques peuvent être considérées avoir un caractère intrinsèque. L'influence de la formulation ne concerne alors que les concentrations des différents hydrates. Trois approches, analytiques, semi-analytiques et numériques sont alors proposées pour estimer, par une homogénéisation multi-échelle, les propriétés viscoélastiques macroscopiques du béton à partir des propriétés de ses constituants ainsi qu'à partir de sa microstructure. Ces approches sont basées sur l'extension des schémas d'homogénéisation élastique au cas viscoélastique au moyen du principe de correspondance qui utilise la transformée de Laplace-Carson. Les propriétés effectives sont alors déterminées directement dans l'espace de Carson. Par la suite, celles dans l'espace temporel sont obtenues par la transformée inverse. Les approches proposées apportent des solutions aussi bien dans un cadre général que sous certaines hypothèses restrictives : coefficient de Poisson viscoélastique microscopique ou macroscopique constant, module de compressibilité constant. Sur le plan théorique, deux schémas d'homogénéisation ont été étudiés : le schéma de Mori-Tanaka, basé sur le problème de l'inclusion d'Eshelby, et le schéma auto-cohérente généralisé basé sur la neutralité énergique de l'inclusion. Les résultats obtenus montrent que sous ces hypothèses restrictives, le spectre macroscopique se présente comme une famille de sous ensembles de temps caractéristiques bornés par les temps caractéristiques microscopiques. Par ailleurs, les propriétés thermodynamiques, de croissance monotone et de concavité, des fonctions de retard macroscopiques ne sont préservées par l'homogénéisation que sous certaines conditions de compatibilité des spectres microscopiques. Sur le plan pratique, les méthodes développées ont été appliquées pour construire la complaisance de fluage propre macroscopique du béton en connaissant les données communes de toutes sortes de bétons et celles correspondant à une formulation donnée. Les résultats expérimentaux disponibles sont alors exploités pour analyser le caractère intrinsèque des propriétés viscoélastiques à l'origine du fluage du béton / Concrete can be considered as a multiscale heterogeneous material in which elastic inclusions, i.e., aggregates, are embedded in a viscoelastic matrix which corresponds to the hardened cement paste. At the cement paste scale, the hydration process leads to a partially saturated porous multiphase medium whose solid skeleton is mainly constituted of the C-S-H gel, the other hydrates being crystalline solids. The gel-like properties of the C-S-H are essentially related to the existence of strongly adsorbed structural water in the interlayer nanospace. It is well admitted that this feature is the microscopic origin of the creep mechanism of C-S-H and therefore of concrete at the macroscale. This viscoelastic behavior can be explained by a rearrangement of the nanostructure of the C-S-H component due to a macroscopically applied loading. Therefore, the macroscopic modeling of concrete creep does not allow explaining the variability of creep with respect to the concrete mix. Indeed, the identi?cation of the viscoelastic parameters of macroscopic models requires performing creep tests at the concrete scale. Thus, the validity of the identi?ed parameters is limited to the concrete mix under consideration and the identi?cation process does not permit to carry out the influence of the microstructure and the mechanical constituent properties on the macroscopic creep. In this work, we assume that there exists a microscopic scale at which the driving creep mechanisms are not affected by the concrete mix. At this scale, the C-S-H one, the viscoelastic properties can be considered to be intrinsic. The concrete mix will essentially influence the volume fraction of the hydrates. Analytical, semi-analytical and numerical approaches are developed in order to derive, by multi-scale homogenization, the macroscopic viscoelastic properties of concrete on the basis of the knowledge of the microscopic properties, of the constituents together with the knowledge of the mix-dependent microstructure. These approaches consist in extending results of elastic homogenization schemes to viscoelasticity with the help of the correspondence principle using the Laplace-Carson transform. Therefore, the effective properties are obtained in a straightforward manner in the Carson transform space, which requires the transform inversion in order to determine the time evolution of these properties. The proposed models permit to answer to this requirement, both under some restrictive assumptions (constant Poisson's ratio at either microscopic or macroscopic scale, constant bulk microscopic modulus) and in a general way. At the theoretical level, two homogenization schemes are investigated : the Mori-Tanaka scheme based on the Eshelby solution and the Generalized Self Consistent scheme, based on the energetic neutrality condition of the inclusion. The obtained results show that under the aforementioned restrictive conditions, the macroscopic creep spectrum presents as a family of sets of retardation times which are bounded by two successive microscopic characteristic times. Furthermore, the monotonically increasing and concavity features of the macroscopic creep compliance, which derive from thermodynamic considerations, are not always preserved, except if some compatibility conditions are ful?lled by the microscopic spectrums. From the practical point of view, these methods developed are used to establish the complaisance creep function of concrete from the knowledge of the common data of all types of concrete, as well as the other parameters that characterize a given formulation. Hence, by a back-analysis of creep tests obtained on cement paste or on concrete, the intrinsic basic creep properties of the gel C-S-H are estimated

Made available in DSpace on 2016-04-26T18:18:34Z (GMT). No. of bitstreams: 1 Tarcisio de Sa Cardoso.pdf: 5324585 bytes, checksum: 0a2380896645c26954804659ea1cba01 (MD5) Previous issue date: 2010-05-14 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research seeks to understand the mechanisms of non-representational contemporary graphic design. The expression "non-representative" is intended to connote some kind of sign that is characterized by polysemy. In print, this aspect has insisted to emerge in many different manifestations. Despite its recurrence, this type of sign has not received the deserved attention by the scientific community, especially in regarding to the theory of signs an instrument that seems privileged to explain the functions of language presented there. Called unreadable and dysfunctional, the graphic design of David Carson, Neville Brody, Edward Fella, April Greiman and many others are still currently subject of contents. To be more specific, we may say that all post-ulmian vanguard from around the world, questions the rationality of an area so close to the arts, and represents a kind of counterpoint to the canonical approach, which from the Bauhaus and constructivism tries to articulate an exclusivist disciplinarity to the design. This objection became important especially in Europe (HOLLIS, 2001) and in the USA (MCCOY, 1990), in which new wave movement has its most characteristic representation. One of the theorists that works with the evolution of the modernist slogan form follows function, Bürdek presents the problem of function in a new outlook not anymore as an exclusively practical function, but mainly what he called a sign function. According to him, these are the most important functions for design (BÜRDEK, 2002). From this point of view, we intend to answer how these sign functions are articulated in visuality of post-modern design from the 1990s, to build communication processes that dialogue with the culture of information, or the culture in which the sign function overcome the function of use (BAUDRILLARD, 1995). Differently from the structuralist conception of the sign in Baudrillard it means by sign function, in this study, the processes that substantiate the sign according to Peirce's semiotics (on aspects of quality, existence and regularity). From this perspective, we will intend a deeping in trichotomies of visual language as presented in matrix theory of language-thought (SANTAELLA, 2005). These trichotomies will be essential to study the controversial expressions of contemporary graphic design, in order to identify what it is innovative, which is commonplace, which transcends the current publishing paradigm and what is considered, even today, polemic by the scientific community / Esta pesquisa busca entender os mecanismos não-representativos do projeto gráfico editorial contemporâneo. O neologismo &#8213;não-representativo&#8214; pretende conotar certo tipo de signo que se caracteriza pela polissemia. Na mídia impressa, esse aspecto tem insistido em despontar sob as mais variadas manifestações. Apesar de sua recorrência, esse tipo de signo não tem recebido a devida atenção por parte da comunidade científica, especialmente no que diz respeito à teoria dos signos instrumento que nos parece privilegiado para explicar as funções de linguagem ali presentes. Taxados de ilegíveis e disfuncionais, os projetos gráficos de David Carson, Neville Brody, Edward Fella, April Greiman e tantos outros são, ainda hoje, motivo de discórdia. Para ser mais específico, pode-se dizer que toda a vertente vanguardista pós-ulmiana de diversas partes do mundo questiona a racionalidade de uma área tão próxima das artes e representa uma espécie de contraponto à abordagem canônica, que desde o construtivismo e a Bauhaus tenta sistematizar uma disciplinaridade exclusivista para o design. Este contraponto ganha voz especialmente na Europa (HOLLIS, 2001) e nos EUA (MCCOY, 1990), em cujo movimento new wave tem sua representação mais característica. Um dos teóricos que trabalha com a evolução do lema modernista form follows function, Bürdek apresenta o problema da função sob um novo prisma, não mais como função exclusivamente prática, mas, principalmente, naquilo que denominou funções de signo. Segundo o autor, estas são as funções mais importantes para o design (BÜRDEK, 2002). A partir disto, busca-se responder como estas funções de signo se articulam na visualidade do projeto pós-moderno, a partir da década de 1990, para a construção de processos comunicativos que dialogam com a cultura da informação, ou com a cultura em que a função de signo supera a função de uso (BAUDRILLARD, 1995). Diferentemente da concepção estruturalista do signo em Baudrillard, entende-se por função de signo, neste estudo, os processos que fundamentam o signo segundo a semiótica peirceana (sob aspectos de qualidade, existência e regularidade). A partir dessa perspectiva, buscar-se-á um aprofundamento nas tricotomias da linguagem visual tal como apresentadas na teoria das matrizes da linguagem-pensamento (SANTAELLA, 2005). Estas tricotomias serão fundamentais para estudar as controversas expressões do design gráfico contemporâneo, com o objetivo de identificar o que nela é inovador, o que é lugar-comum, o que transcende o paradigma editorial vigente e o que nela é considerado, ainda hoje, polêmico pela comunidade científica

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Thesis (M.A.)--Miami University, Dept. of History, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], ii, 89 p. : maps. Includes bibliographical references (p. 70-89).