Texte remanié de: Th.--Géogr.--University of California, 1924. / Notes bibliogr. Index.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1957. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 277-289).

Department de Francais de L'universite du Witwatersrand 1990 Degree awarded with distinction March 1991.

No description available.

Th. Ph. D.--Department of History of Art and Architecture--Brown university, 1995. / Bibliogr. p. 344-358.

No description available.

Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the shadow of Blavet, whose prowess as a flutist bolstered his reputation as a composer, or that his music was never quite the right style for the time; in any case, although his name was not unknown, he never gained the fame that earned a contemporary biographer. As a result, no autographs and very little biographical data have been found, although one or more printed copies of all his known works, except two, are to be found in various libraries, principally the Bibliotheque National in Paris.

Texte remanié de: Th. univ.--Hist.--Rennes 2, 2000. / En appendice, choix de documents. Bibliogr. p. 372-378. Index.

La Fille de Christophe Colomb (Paris: Gallirnard, 1969) is a novel written by Rejean Ducharme in rhyming verse resembling an epic poem In this thesis, it will be shown that the form of the novel serves to emphasize the contestation of History evident in the novel's content. While this novel is certainly unusual in Ducharme's work it fits into the ambiant literary discourse of Quebec in the 1960's, where the theories of decolonisation influenced writers and critics alike. In particular, History was seen to be imposed on Quebec from the outside; Quebec must necessarily reject this History and begin to make its own. This underlying assumption for the analysis proposed in this thesis will be demonstrated in Chapter One through reflections by Ducharme's contemporaries, existing criticism of La Fille de' Christophe Colomb, and by current theories of postcolonial writing. In Chapter Two, the epic form of the novel will be studied in detail. On the surface, the author appears to respect the "rules" of the genre, but a close reading of the text will show that this respect is only superficial, and that the rules are subverted to create tension between literary norms and Ducharme's writing. It is the narrative structure of the novel, however, that proves to be the most subversive deviation from the norms of the epic poem: although the majority of the novel is narrated in the third person, a substantial fragmentation of the narrative voice occurs which will be demonstrated in Chapter Three. The net impact of this fragmentation is to produce a conflict between the codes of the epic poem and the novel. At the end of the analysis of the relationship between literary form and contestation of History in La Fille de Christophe Colomb, it will be shown that the form, as an element separate from the content, conveys a problematic relationship between this text and History. The novel contributes to the contestation of History as practised in the literature of Quebec in the 1960's by subverting the literary code, thereby linking literary history to History as colonizing factors that are questioned in this novel.

Submitted by Cleyton da Silva Oliveira null (cleytonslive@gmail.com) on 2018-03-16T01:40:28Z No. of bitstreams: 1 dissertação.pdf: 620583 bytes, checksum: 7d22949575fcbf694bd8e64136d0b950 (MD5) / Approved for entry into archive by Jacqueline de Almeida null (jacquie@franca.unesp.br) on 2018-03-19T12:08:55Z (GMT) No. of bitstreams: 1 repositoriocleyton19março.pdf: 620583 bytes, checksum: 7d22949575fcbf694bd8e64136d0b950 (MD5) / Made available in DSpace on 2018-03-19T12:08:55Z (GMT). No. of bitstreams: 1 repositoriocleyton19março.pdf: 620583 bytes, checksum: 7d22949575fcbf694bd8e64136d0b950 (MD5) Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A reorganização do capital implicou em uma série de mudanças na própria relação com o trabalho. Um dos elementos centrais dessas mudanças são as novas formas de mobilização das capacidades cognitivas e afetivas da força de trabalho instauradas pelo toyotismo, gerando novas formas de sofrimento. Em seus estudos sobre essas novas formas de sofrimento, Christophe Dejours elabora um diagnóstico complexo, que tem como uma de suas categorias centrais a ideia do zelo. Identificou-se que o zelo se liga, por um lado, ao medo, que permite incorporá-lo de modo mais eficaz ao processo de produção e, por outro, ao reconhecimento, que permite a quem se dedica ao trabalho que se reconcilie com o sofrimento. Nesse sentido, a proposta desta pesquisa é a de compreender a elaboração do conceito de zelo na obra de Christophe Dejours, avaliando as possibilidades e os limites deste conceito. Entendemos que esse sofrimento é explorado pelos novos mecanismos de gestão neoliberal como instrumento de mobilização do zelo, conduzindo quem se dedica ao trabalho a consentir com as exigências crescentes em termos de produtividade e desempenho, bem como sua participação em tarefas reprováveis em termos morais. / The reorganization of capital implied a series of changes in the relationship with labor itself. One of the central elements of these changes is the new forms of mobilization of the cognitive and affective capacities of the work force established by toyotism, generating new forms of suffering. In his studies about these new forms of suffering, Christophe Dejours elaborates a complex diagnosis, which has as one of its central categories the idea of zeal. It has been identified that zeal is linked, on the one hand, to fear, which allows it to be incorporated more effectively into the production process and, on the other hand, to recognition, which allows those who work to reconcile with the suffering. Therein, the proposal of this research is to understand the elaboration of the concept of zeal in the work of Christophe Dejours, evaluating the possibilities and the limits of this concept. We understand that this suffering is exploited by the new mechanisms of neoliberal management as an instrument of mobilization of zeal, leading those engaged in the work to consent to the increasing demands in terms of productivity and performance, as well as their participation in objectionable tasks in moral terms.