Thesis (M.A. (Drama)) - Rhodes University, 2009. / A half-thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Drama.

The ideal city project was a performance that presented the design for an ideal city with stories about how that imaginary city failed. The design was represented as a 4’0” x 4’0” wood and Styrofoam sculpture. Upon seeing this design, seven writers created scenes and monologues outlining the destruction of the city. The flaws they discovered were not designed into the city intentionally. In fact, the writers pointed to several different sources for the downfall ranging from issues with its layout to socio-political breakdowns. At the end of the performance the audience was left with the ruins of something that was once so full of hope. This piece was intended to serve as a reminder that cities are not predetermined utopias, but continually changing and evolving environments created by those who live in them. Even the best examples eventually fail or evolve into something different. However, this does not mean we stop trying to create better places to live. George Bernard Shaw said “A reasonable man adapts himself to his environment. An unreasonable man persists in attempting to adapt his environment to suit himself. Therefore, all progress depends on the unreasonable man.” Theater performances provide an excellent way to explore ideas and create dialogue about what these better places look like and how they function. / text

A partir del examen de su producción, desde sus comienzos en 1973 y hasta el año 2008, se propondrán los modos en que Cohen articula teóricamente los contactos interartísticos, los procedimientos con los que la música ingresa en su literatura y un itinerario narrativo/musical que comienza con su primer libro de cuentos, <i>Lo que queda</i> (1973), cobra fuerza y mayor expansión en 1984 con <i>El país de la dama eléctrica</i>, culmina en su novela <i>Impureza</i> (2007) y tiene su ápice en <i>El oído absoluto</i> de 1989. La crítica sobre el autor, si bien ha señalado —aunque excepcionalmente— la importancia de la música en algunas de sus novelas, no ha abordado el tema que aquí proponemos desde una perspectiva general que tenga en cuenta tanto las diversas instancias de la presencia musical en toda su obra narrativa, como las relaciones entre producción crítica y ficcional. Tampoco ha precisado los mecanismos y las motivaciones posibles de su inscripción.

ABSTRACT This dissertation, “The Past is Perfect”: Leonard Cohen’s Philosophy of Time, analyzes the concept of time and aspects of temporality in Leonard Cohen’s poetry and prose, both published and unpublished. Through imagination and memory, Cohen continuously explores his past as a man, a member of a family, and a representative of a culture. The complex interconnection of individual and collective pasts constitutes the core of Cohen’s philosophy informed by his Jewish heritage, while its artistic expression is indebted to the literary past. The poet/novelist/songwriter was famously designated as “the father of melancholy”; it is his focus on the past that makes his works appear pessimistic. Cohen pays less attention to the other two temporal aspects, present and future, which are seen in a generally negative light until his most recent publication. The study suggests that although Cohen’s attitude to the past has not changed radically from Let Us Compare Mythologies (1956) to Book of Longing (2006), his views have changed from bitterness prompted by time’s destructive force to acceptance of its work and the assertion of the power of poetry/art to withstand it; there is neither discontent with the present nor prediction of a catastrophic future. Time remains a metaphysical category and subject to mythologizing, temporal linearity often being disregarded. Although Cohen’s spiritual search has extended throughout his life, his essential outlook on time and the past is already expressed in the early books; his latest publications combine new pieces and selections from previous books of poetry and prose works, confirming the continuity of ideas and general consistency of his vision.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 196-207). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Ch. 1: Introduction: A Destruction without Adequate Precedent. Ch. 2: Rupture and the Holy Ideal: Redemption in the Hebrew Bible. Ch. 3: Giving the Sense: The Rise of Commentary. Ch. 4: Rabbi Eliezer’s Silence. Ch. 5: Gold and Glass: Ethical Rupture in Mystical Union? Ch. 6: Our Impossible Victory.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Neste trabalho, um estudo da influencia da seleÃÃo de variantes sobre a cristalografia apÃs a transformaÃÃo martensÃtica no Maraging foi feito. O estudo cobriu a transformaÃÃo sob deformaÃÃo elÃstica e tambÃm sob deformaÃÃo plÃstica. No aÃo Maraging, austenita se transforma em martensita eu uma temperatura em torno de 200ÂC, nÃo importando a velocidade de resfriamento. Para simular a transformaÃÃo durante a deformaÃÃo elÃstica, ensaios de traÃÃo foram feitos em um forno acoplado a uma mÃquina de ensaios universais com uma tensÃo aplicada abaixo do limite de escoamento do material. A amostra foi aquecida atà 850ÂC, o forno foi aberto e a amostra resfriada ao ar sob tensÃo constante. Para estudar a influencia da deformaÃÃo plÃstica antes da deformaÃÃo, amostras foram deformadas plasticamente na temperatura acima da Ms (temperatura de inÃcio da martensita), a forÃa externa atuando sobre a amostra foi removida e o material sofreu a transformaÃÃo martensÃtica por resfriamento ao ar. Figuras de pÃlos foram medidas por EBSD (Electron Back-Scatter Diffraction) em ambas as condiÃÃes e comparadas com as figuras de pÃlos calculadas assumindo os modelos de Patel-Cohen e Taylor-Bishop-Hill. A orientaÃÃo da austenita mÃe foi obtida por envelhecimento na temperatura de 650ÂC e pelo uso de grÃos austenÃticos reconstruÃdos matematicamente. Os resultados mostraram que o modelo de Patel-Cohen foi mais adequado para a deformaÃÃo elÃstica enquanto que Taylor-Bishop-Hill foi melhor para a deformaÃÃo plÃstica. / In this work a study of the influence of variant selection on the crystallography after martensitic transformation in Maraging was studied. The study covered both the transformation under elastic deformation and also during plastic deformation. In Maraging steel, austenite becomes martensite at a temperature around 200oC regardless of the cooling speed. To simulate the transformation during elastic deformation, a tensile test was performed in a furnace attached to a universal testing machine with an applied stress below the yield strength of the material. The specimen was heated to 850o C, the furnace was opened and the sample cooled in air under a constant stress. To study the influence of plastic deformation before transformation, samples were plastically deformed in a temperature above Ms (martensite start temperature), the external force acting on the sample was removed and the material was allowed to transform into martensite by cooling in air. Pole figures were measured by EBSD (Electron Back-Scatter Diffraction) in both conditions and compared with calculated pole figures assuming Patel-Cohen model and Taylor-Bishop-Hill model. The orientation of the parent austenite was obtained either by reversing the austenite by heating at 650  C and by using the mathematically reconstructed austenite grains. Results showed that Patel-Cohen model were more suitable to elastic deformation while Taylor-Bishop-Hill model was more appropriated to plastic deformation.

Orientador: Regina Aparecida Polo Muller / Acompanha Anexo B (Video de 35min - Ka: hipermidia sobre a obra de Velimir Khlebnikov) / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T00:42:46Z (GMT). No. of bitstreams: 1 Borovik_SamiradeSouzaBrandao_M.pdf: 173146443 bytes, checksum: 70cb438b5d05d04d50bc1783a33667e4 (MD5) Previous issue date: 2005 / Resumo: Esta pesquisa é a descrição do processo iniciático em performance e xamanismo na criação do espetáculo Ka ¿ Cena Zaum de Vélimir Khlébnikov, do ponto de vista da atuação. Encenado por Renato Cohen no ano de 1998, como conclusão do curso de graduação em Artes Cênicas da Unicamp, o espetáculo teve um rico processo de preparação dos atores pela via ritual e performática. Os workshops de criação, os ensaios do grupo e as apresentações públicas são analisados a partir de registros pessoais (caderno de anotações) e visuais (fotografias e filmagens de ensaios e apresentações). A reflexão sobre o treinamento ritual é feita a partir da descrição dos encontros com o xamã Lynn Mário e das cenas que surgiram sob essa influência. A condução do encenador é também analisada, assim como as cenas e os locais de apresentação. Alguns temas surgiram do envolvimento com a pesquisa como a criação a partir da Body Art, do Treino e do Fluxo na interpretação. A orientação da pesquisa teve início em 2002 com Renato Cohen, que por ocasião de sua morte passou a ser orientada pela Profª Dra. Regina Polo Müller / Abstract: This research is the description of the initiation process in performance and shamanism in the play Ka ¿ Cena Zaum de Vélimir Khlébnikov, according to the actor's point of view. Staged by Renato Cohen in 1998, as conclusion to my graduation course in Drama Studies at Unicamp, the play was rich in the process of actor training in ritual and performance. The group workshops, rehearsals and public shows are analysed from personal and audiovisual records, as well as the ritual experiences and according to the way Cohen used to lead the group. The reflection of the ritual training is done through the description of the encounters with the shaman Lynn Mário and the scenes that emerged as a consequence of this experience. Some themes came up during this research such as Body Art, Training and Flow in contemporary acting. This academic orientation was started in 2002 by Renato Cohen and after his death was later continued by Regina Müller / Mestrado / Mestre em Artes

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-10-11T19:37:53Z No. of bitstreams: 2 Dissertação - Céline Marie Agnès Clément - 2016.pdf: 963458 bytes, checksum: 521922a3d06c6db633c6649f337630f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2016-10-14T19:50:47Z (GMT) No. of bitstreams: 2 Dissertação - Céline Marie Agnès Clément - 2016.pdf: 963458 bytes, checksum: 521922a3d06c6db633c6649f337630f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-10-14T19:50:47Z (GMT). No. of bitstreams: 2 Dissertação - Céline Marie Agnès Clément - 2016.pdf: 963458 bytes, checksum: 521922a3d06c6db633c6649f337630f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Ce travail se propose d‟analyser deux lectures considérées comme radicalement opposées de la Critique de la Raison Pure de Kant, et ce notamment à partir de deux livres principaux : la Théorie kantienne de l’expérience de Hermann Cohen, et Kant et le probléme de la Métaphysique de Martin Heidegger. Notre objectif est de montrer comment la lecture de Heidegger s‟est construite contre celle de Cohen, laquelle elle-même est une réponse au psychologisme régnant à la fin du 19ème siècle, tout en tentant d‟éclairer certains points de convergence des deux lectures, comme par exemple la radicalisation du transcendantalisme chez les deux auteurs. Ressort donc un probléme herméneutique lié à l‟utilisation d‟un texte classique par un philosophe en vue de justifier ses propres théses, probléme auquel Cassirer se consacrera en montrant que même si l‟interprétation néokantienne est orientée, celle de Heidegger est « arbitraire » et « manipulatrice » selon les termes propres de l‟adversaire de Heidegger au débat de Davos, débat sur lequel nous nous appuierons pour mieux comprendre la position cassirerienne relativement tant à Cohen qu‟à l‟interprétation heidegerienne de la Critique. / Com o presente trabalho propomos analisar duas leituras consideradas como radicalmente opostas da Crítica da razão pura, de Immanuel Kant. Para tal, privilegiaremos dois livros, a saber: Teoria kantiana da experiência (1871), de Hermann Cohen e Kant e o problema da metafísica (1929), de Martin Heidegger. Nosso objetivo é mostrar de que modo a leitura de Heidegger construiu-se contra a de Cohen que, por sua vez, já é ela mesma um resposta ao psicologismo reinante no século XIX. Além disso, tentaremos esclarecer certos pontos de convergência entre ambos autores, como, por exemplo, a radicalização do transcendentalismo. Sobressai, portanto, um problema hermenêutico ligado à utilização de um texto clássico por um filósofo a fim de justificar suas próprias teses, problema sobre o qual Erns Cassirer se debruça mostrando que, por mais que a interpretação neokantiana seja orientada, a de Heidegger é “arbitrária” e “manipuladora”, segundo os próprios termos deste que foi o adversário de Heidegger durante os debates de Davos, de 1929, debate sobre o qual nos apoiaremos para melhor compreender a posição cassireriana em relação tanto a Cohen quanto à interpretação heideggeriana da Crítica.