This thesis intends to demonstrate that the idea of the end is a crucial motive of Geoffrey Hill’s poetry. It analyses the verbal and formal means by which Hill attempts to have his poems arrive at ends. The ends are, chiefly, the reconciliation of antagonists in word or thought; and the perfect articulation of the poem. The acknowledgement of failure to achieve such ends provides its own impetus to Hill’s work. The thesis examines in detail Hill’s puns, word-games, rhymes, syntaxes, and genres — their local reconciliations and entrenched contrarieties — and claims for them a significant place in the study of Hill’s poetry, particularly with regard to its sustained concern with ends and endings. Little has been written to date about Hill’s entire poetic corpus as represented in Broken Hierarchies (2013), due to the recentness of the work. This thesis draws from the earliest to the latest of Hill’s poetic writings; and makes extensive use of archival material. It steps beyond the ‘historical drama’ of language depicted in Matthew Sperling’s Visionary Philology (2014) and Alex Pestell’s Geoffrey Hill: The Drama of Reason (2016) and asserts that the drama in Hill’s poetry, seeking to transcend history, is constantly related to its end: not only its termination in time but its consummating purpose.

As Elizabeth Burns’s paradoxical phrase ‘the thin universe’ suggests, the home is a place of both limitations and possibilities. Domestic life has been regarded by some as a spirit-sapping hindrance to creativity, recalling Cyril Connolly’s famous declaration that: ‘There is no more sombre enemy of good art than the pram in the hall.’ This thesis examines the ways in which Burns, Herd and Jamie demonstrate how domestic life, for all its restrictions, can prove to be the ally of art. The home is a repository for childhood memories – shown in my analysis of Burns’s ‘Rummers and Ladels’ and Jamie’s ‘Forget It’ – and it is during this formative period that our ambivalent relationship with the home begins. The desire for comfort and safety can be felt alongside the tug towards the outdoor world of adventure and independence, a push-pull longing found in Herd’s ‘Big Girls’. Herd carries this longing into adulthood in ‘A Letter From Anna’, as does Burns in ‘Woman Reading a Letter, 1662’, and Jamie in ‘Royal Family Doulton’. Section one is my examination of this complicated sensation. The darkness that can make the home a hell features in Burns’s ‘Poem of the Alcoholic’s Wife’, Herd’s ‘Soap Queen’ and Jamie’s ‘Wee Wifey’. Contrastingly, the blissful events that take place there are evoked in Burns’s ‘The Curtain’, Herd’s ‘Rosery’ and Jamie’s ‘Thaw’. In section two I seek to prove that such extreme events, from the abuse suffered at the hands of an unfeeling mother to the delights of new parenthood, prove that the home cannot be dismissed as sequestered or mundane. And yet, dismissed it has been. Why bother depicting one’s ‘wretched vegetable home existence’, as Wyndham Lewis wrote, when one could ‘give expression to the more energetic part of that City man’s life’? Burns bemoans this attitude in ‘Work and Art/We are building a civilization’, and the idea that ‘home crafts’ like embroidery cannot be miraculous in themselves is dispelled by Herd’s ‘The Siege’ and Jamie’s ‘St Bride’s’. The celebration of the domestic interior found in paintings by, for example, David Hockney and Gwen John is similarly seen in the poetry of Burns (‘Annunciation’), Herd (‘Memoirs’) and Jamie (‘Song of Sunday’). Section three aims to show how the Bugaboo in the hall can be the ally of art, and – ‘thin’ though it may sometimes feel – the home is a universe in which infinite poetic possibilities exist.

The image of the Camorra in contemporary Neapolitan prose The Camorra or "the System", as lots of residents of Naples call it, is a criminal organization that has intensified its activities since the 1980s and today it affects all aspects of lives of people living in Campania. This thesis focuses on the impact of the Camorra on lives and work of contemporary Neapolitan writers, or more precisely, it describes the way the theme of the Neapolitan mafia is represented in their books. The authors of the analyzed texts are Peppe Lanzetta, Giuseppe Ferrandino, Andrej Longo, Giuseppe Montesano, Simone Di Meo, Roberto Saviano and Valeria Parrella. For the purpose of this thesis, we have chosen the works that are interesting in terms of genre adaptation of the topic and in terms of the characteristics of the main characters of each story. Following the behaviour of the main characters, we observe the direct impact of the Camorra on life in Naples and its influence on the mentality of its inhabitants. We aim to define the conditions under which the people ruled by the Camorra are forced to live and at the same time, we analyze how they face up to this destiny: whether they persist and hope for change or resign and leave their hometown to try their luck elsewhere, mostly in northern Italy. Addressing each...

Cartografia figurada Atlas e Caderno de Campo é o resultado da pesquisa de Mestrado que tem por objeto a produção artística de Guilherme Teixeira entre os anos de 1999 e 2010. O projeto artístico equivalente a uma dissertação de mestrado apresenta-se em duas partes: Atlas e Caderno de Campo. O Atlas é um pôster em que estão reproduzidos 58 trabalhos, oferecendo ao leitor uma visão panorâmica da produção estudada. Cerca de uma centena de outras imagens estão impressas em cartões, organizados em seis bolsos transparentes. Caderno de Campo reúne textos, em forma de comentários, relacionados aos trabalhos e projetos apresentados no Atlas. / Figurative Cartography Atlas and Field Notebook is the result of the Master research focused in the artistic production of Guilherme Teixeira between 1999 and 2010. This artistic project equivalent to a dissertation is made up of two parts: Atlas and Field Notebook. Atlas is a poster that shows pictures of 58 artworks disposed in a panoramic view. The reader can handle about a hundred images, available in six transparent pockets. Field Notebook shows texts, as personal annotations, related to the works and projects printed in the Atlas.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-22T18:42:39Z No. of bitstreams: 1 AdrianoDamiaoKilala.pdf: 3538881 bytes, checksum: b3000fe11ca5d621a6f0d31af9b4677e (MD5) / Made available in DSpace on 2017-05-22T18:42:39Z (GMT). No. of bitstreams: 1 AdrianoDamiaoKilala.pdf: 3538881 bytes, checksum: b3000fe11ca5d621a6f0d31af9b4677e (MD5) Previous issue date: 2016-03-21 / The configuration of African societies has changed considerably after the great European maritime expansion. The Kingdom of Congo was no exception; its territory became the scene of an intense process of exchange between the local culture and Western culture through Portugal for about five centuries. The Christian religion was from the beginning one of the main cultural tools used in this clash which consequently changed the religious picture in the kingdom of Congo. Its implementation process had three different responses by native population: Some accepted, other rejected and appeared too an intermediate group who adapted elements from both cultures. This third reaction corresponds to the religious movement Kingunza, which advocates: a) dialogue with Western culture; b) protection of African heritage and c) spiritual, political and economic freedom Africa. The Kingunza today manifests itself in different branches, one of them is Kingunza / dmna religion. Our research will focus on the presence of this church in Angola; presenting its historical background; the internal configuration and its permanence dynamics in the strong field of ideological and religious disputes of contemporary Angolan society. / A configuração das sociedades africanas mudou consideravelmente após a grande expansão marítima européia. O Reino do Congo não foi exceção, seu território se tornou palco de um intenso processo de trocas entre a cultura local e a cultura ocidental através de Portugal por cerca de cinco séculos. A religião cristã foi desde o início uma das principais ferramentas culturais adotadas nesse embate o que consequente alterou o quadro religioso no Reino do Congo. Seu processo de implementação gerou três diferentes reações por parte da população congolesa: uma de aceitação, outra de rejeição e ainda uma intermediária de adaptação constituída por elementos de ambas as culturas. Essa terceira reação corresponde ao movimento religioso Kingunza, o qual defende: a) o diálogo com a cultura ocidental; b) salvaguarda das heranças africanas e c) liberdade espiritual, política e econômica total de África. O Kingunza hoje se manifesta em ramificações diferentes, sendo uma delas a religião Kingunza/dmna. Nossa pesquisa incidirá na presença dessa religião em Angola; apresentamos seu percurso histórico; sua configuração interna e a sua dinâmica de permanência no intenso campo de disputas ideológico-religiosas da sociedade angolana contemporânea.

Minimalism in contemporary memorial design has been criticised for being meaningless and inappropriate in creating powerful monuments (Long, 2007). However, abstraction in modern art and landscape design can appeal to the human 'subconscious', which inspires design and enriches the experience of viewers and visitors (Jellicoe, 1966, 1970, 1993). This study investigated the meanings and the values that contemporary memorials hold through theoretical and empirical study, by which means of 'collective identity', individual and community engagement are enriched. This notion of engagement in contemporary memorial was examined based on the psychological theories s of 'transaction' (Altman and Rogoff, 1987; Dewey and Bentley, 1949; Pepper, 1942, 1967) and 'personal projects' (Little, 1983). Some other notions, such as 'anti-memorial', 'personalisation' and 'mirroring', drawn from memorial design, environmental psychology and philosophy of art, were discussed in relation to the main theoretical background. Accordingly, this research drew a distinction between the classical memorial, where symbolic representation is viewed in isolation from the viewers and their internal cognition, and the contemporary memorial landscape with its potential for transaction and shared memory, in which a spectator becomes a participant. As memorial design is a complex and multi-layered process, a memorial project for Palestinian displacement was conducted as a complementary part to the main scientific research. It offered a complementary approach to the conventional scientific inquiry, where the research situation is not a problem to be solved, but an enquiry whose problematic situations are characterised by 'uncertainty', 'disorder' and 'indeterminacy' (Schon, 1983). The collection methods for qualitative and quantitative data were observation and behavioural mapping in conjunction with theory of 'affordances' and the 'personal projects' questionnaire of memorial users. Data was collected from three memorial landscapes in London: the Princess Diana Memorial Fountain (PDMF), the 7 July Memorial (7JM) and the John F. Kennedy Memorial (JFKM). They vary in scale, design approach and process. Applying these methods enabled the researcher to attain more insights into memorial behavioural settings and their possible affordances and transactional properties. Key results of the data analysis showed that PDMF had high levels of transaction and a cathartic nature through qualities of playfulness, bodily involvement and social value. While the success of this memorial mainly lay in its cathartic and grieving quality, the ceremonial phallic design of 7JM and the allegorical landscape of JFKM did prove to create successful and powerful memorials through both their didactic and cathartic dimensions. The text and lettering embossed on the design elements helped these to occur simultaneously. The intended outcome of this research was to contribute to the recent development of the way contemporary designers and artists should approach memorial design. This was in the form of design guidelines and statements, which allowed individuals and communities to gain access to what a memorial could symbolise. This could be achieved through memorial physical forms representing different meanings associated with the commemorated subject, and by addressing the memorial design process in relation to both users' perception and designer's intention.

This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 contemporary European film and philosophy. It argues that noise, defined predominantly as unpleasant or unidentifiable sound, has been harnessed by particular filmmakers as a means to tune our attention to different bodies sounding in our environment. Yet while the ear is an organ we perceive to be open, it could always be receiving more. This limit to our audition is a limit the filmmakers examined here productively engage with in ways that raise questions about the politics and ethics of listening to different bodies. The thesis takes Jean-Luc Nancy's articulation of the listening body, what he calls the corps sonore, to posit a theory of a 'cinematic corps sonore' where the boundaries between on-screen bodies, medium and spectator are dissolved in the mutual vibratory soundings that characterise the state of being 'all ears'. In doing so, the thesis offers a revision of the haptic framework that has dominated recent sensuous theories of film as well as applications of Nancy's thought to film in the inter-discipline of film philosophy. The analysis proceeds via close readings of individual films to consider how noise tunes us to different bodies and the specific issues raised in doing so in ways that resonate beyond the philosophical limits of Nancy's corps sonore. Chapter one examines the 'unlistenable' in the work of Catherine Breillat and Gaspar Noé. It revises accounts of the supposed 'unwatchability' of Breillat and Noé's cinema by examining their respective appeals to volume and frequency, revealing both the possibility of intimacy and the risk of vulnerability that the corps sonore poses. Chapter two takes the corps sonore to the question of national borders and social bodies by bringing post-colonial theorist Édouard Glissant's concept of the écho-monde to Tony Gatlif's Exils (2004) and Arnaud des Pallières' Adieu (2004). It argues that both filmmakers appeal to the migratory properties of noise to think through questions of identity, relation and the different degrees of belonging that sound inscribes. The final chapter asks whether cinema constitutes a site that allows for an amplification of the nonhuman. Attention is given both to the practice of Foley and to the use of Foley in Lars von Trier's Antichrist (2009) and Peter Strickland's Berberian Sound Studio (2012) to show how a non-coincidence between body and sound figures cinema as a place of resonance, animated by the scattered structure of dynamic relations between things that Foley brings about. Yet the chapter also casts doubt over the possibility of noise indicating something outside of human world-projection and as such, disrupts the otherwise increasingly prehensile attention that I argue filmmakers have been able to pay to the body through the auditory.

Notabilizada por atuação positivadora ou negativadora, desde os primórdios do homem, a morte assumiu papel fundamental. Seus ritos notadamente refletiram a compreensão humana a seu respeito, ora intimizando, ora afastando seus expedientes das relações tecidas na sociedade. Desde a origem, a Filosofia sempre procurou descobrir as implicações da morte para a vida humana. Na literatura, o tema é uma constante, muitas vezes determinando seus caminhos, suas tragédias e as soluções narrativas encontradas. Tomando como subsídios teóricos os trabalhos de Phillippe Ariès, Édouard Glissant, Michel Foucault e sobretudo Maurice Blanchot, esta dissertação busca compreender a presença da morte, em suas diversas acepções, na narrativa do escritor baiano Adonias Filho. Para isso, focaliza sua obra Memórias de Lázaro, que compõe o perséquito dos mortos (Os servos da morte, Memórias de Lázaro e Corpo Vivo), do escritor itajuipano. A proposta é que seja feito cotejo da obra do escritor mencionado com as tendências contemporâneas de escrita narrativa e com os estudiosos citados, entendida a morte como aporte essencial para a operação narrativa. / Death, exceeding positive or negative acting, since the dawn of man, takes on a fundamental role. Its rites reflected remarkably the human understanding concerning death and its artifices, some times closer, some times further away from interlinked relations into society. Since its inception, Philosophy has always looked for discovering the implications of death towards human life. In literature, the theme is a constant, often determining its paths, its tragedies and narrative solutions found. Using as theoretical support the work of Philippe Ariès, Édouard Glissant, and above all Michel Foucault and Maurice Blanchot, this dissertation tries to understand the presence of death, in its various meanings, in the narrative of Adonias Filho. For this, his work focuses Memórias de Lázaro, which forms the trilogy of the deads (Os servos da morte, Memórias de Lázaro and Corpo Vivo), by the itajuipan writer. The proposal is to make a comparison of the mentioned writers works and his contemporary trends of the narrative writing with the mentioned scholars, being understood death as the essential input for the narrative operation.

A presente dissertação investiga as possíveis irrupções do feminismo na cena contemporânea, com a finalidade de identificar no espetáculo Hysteria, do Grupo XIX de Teatro, procedimentos e propostas que coincidam com os modelos de teatros feministas. Ainda que a obra em questão não se intitule como tal, existe na criação da peça uma intuição feminista por parte do grupo? O que uma peça necessita apresentar para ser considerada feminista? \"Feminista\" é uma categoria suficientemente consistente para ser aplicada à arte? Visando responder a tais questões, o trabalho pretende se aproximar da teoria crítica feminista, estudos de gênero e sexualidade, e teorias teatrais. A dissertação está dividia em três capítulos: o primeiro, com recorte histórico, contextualiza brevemente o movimento feminista e sua relação com a arte; o segundo relaciona o espetáculo com alguns procedimentos e teorias teatrais aderentes à obra; e por fim, o terceiro capítulo traz questões relacionadas à sexualidade e questões feministas para culminar com análise do espetáculo e suas relações com o feminismo. / The present dissertation investigates the possible eruptions of feminism in the contemporary scene, with the purpose of identifying in the spectacle \"Hysteria\", from Grupo XIX de Teatro, procedures and proposals that coincide with the models of feminist theaters. Although the work in question is not titled as such, is there a feminist intuition on the part of the group in the creation of the play? What does a play need to present to be considered feminist? \"Feminist\" is a sufficiently consistent category to be applied to art? Aiming to answer such questions, the paper approaches feminist critical theory, gender and sexuality studies, and theatrical theories. The dissertation is divided into three chapters: the first one counts with a historical cut - it contextualizes briefly the feminist movement and its relation with art; the second makes a relation with the play and some theatrical procedures and theories; and finally, the third chapter brings issues related to sexuality and feminist questions to culminate with analysis of the play and its relations with feminism.

The Soviet Union had existed for 70 years and was labeled as the "evil empire". Its technological achievements and geographical discoveries are amazing. However, its dark aspects such as censorship, "purges", and freedom restrictions are shocking as well. The effects of its collapse in 1991 were felt throughout the world in many aspects of peoples' day-to-day lives. Nowadays, many average Russians feel tenderness and nostalgia for what they had back then. This thesis addresses the perception of the Soviet past by two contemporary Russian writers, Elena Chizhova and Elena Katishonok. Despite the common tendency to idealize the Soviet epoch, the authors represent it as a period that is not worthy of nostalgia. The thesis explores the world picture created in both novels by means of the analysis of such themes as the space structure, death, and memory that recur and function on different levels of the target texts.