Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This thesis explores the profound influence of twentieth-century philosophy, and in particular the writings of phenomenologist Jan Patočka, on Wajdi Mouawad. While Mouawad's literary and dramatic sources have been widely discussed in recent scholarship, his philosophical sources have remained under-explored. Seeking to rectify this critical lacuna, the thesis addresses the key concepts Mouawad draws from the writings of Patočka including the central role of 'trace'. Through its investigation of Mouawad's engagement with Patočka, this thesis delineates Mouawad's philosophical and ethical aims. The thesis first considers the multiplicity of self in Mouawad's work, and its relationship to Patočka's 'shakenness' and 'care for the soul'. Chapter 1 investigates how an internal confrontation provoked by trace leads to a search for meaning as 'the soul discovers itself'. It analyses Mouawad's first play, Willy Protagoras enfermé dans les toilettes, and the more recent Seuls, to address the evolution of Mouawad's notion of self. Chapter 2 explores the significance of temporal awareness and time, as Patočka's three movements of human existence drive Mouawad's protagonists in their experience of shakenness. The plays discussed are Littoral, in which Mouawad first essayed non-linear time structures, and Incendies, which utilises a complex temporal oscillation. Chapter 3 turns to space as what arises through the individual's relationship to the world, focusing on Forêts and Ciels, two of Mouawad's most spatially complex productions. Chapter 4 examines two of Mouawad's recent plays, Temps and Sœurs, in its investigation of the role of testimony in developing the solidarity that emerges through the encounter with the other. The thesis then concludes with a discussion of how, and to what extent, Mouawad tackles his ambitions, particularly in their relation to trace.

In this paper I wish to trace some connections between Donald Davidson's work (1917-2003) and two major representatives of the classical pragmatist movement: Charles S. Peirce (1839-1914) and William James (1842-1910). I will start with a basic characterization of classical pragmatism; then, I shall examine certain conceptions in Peirce's and James' pragmatism, in order to establish affinities with Davidson´s thought. Finally, and bearing in mind the previous con-nections, I will reflect briefly on the relevance –often unrecognized- of classical pragmatist ideas in the context of contemporary philosophi-cal discussions.

Submitted by Isaias Eliseu da Silva (isaiaseliseu@gmail.com) on 2018-06-27T00:05:27Z No. of bitstreams: 1 Tese - versão final.pdf: 1821366 bytes, checksum: eecccdd06a461f99da7ed34d47dee510 (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-28T13:35:01Z (GMT) No. of bitstreams: 1 silva_ie_dr_arafcl.pdf: 1767890 bytes, checksum: 3eac585db880bca16eae48f7dab0a7c1 (MD5) / Made available in DSpace on 2018-06-28T13:35:01Z (GMT). No. of bitstreams: 1 silva_ie_dr_arafcl.pdf: 1767890 bytes, checksum: 3eac585db880bca16eae48f7dab0a7c1 (MD5) Previous issue date: 2018-05-30 / Ecos de Mrs. Dalloway, de Virginia Woolf, reverberam no romance Saturday, de Ian McEwan, publicado oitenta anos após o primeiro, e esta tese propõe uma análise sobre os textos ficcionais referidos a fim de expor a medida em que, dadas as semelhanças entre uma narrativa e outra, diferem-se o contexto histórico, as preocupações das personagens e as técnicas narrativas utilizadas no romance de Woolf e no de McEwan. Ambos os romances ambientam-se em Londres, têm o enredo circunscrito no limite de um dia e utilizam-se de acontecimentos históricos como pano de fundo para as narrativas. Mrs. Dalloway é motivado pelos efeitos provocados pela Primeira Guerra Mundial sobre a sociedade inglesa no início do século XX e Saturday baseia-se nas consequências dos ataques terroristas de 2001 às torres do World Trade Center nos Estados Unidos para apresentar uma narrativa que trata do modo de vida contemporâneo em uma metrópole europeia. Busca-se apontar as categorias do moderno em Mrs. Dalloway e do contemporâneo em Saturday, a partir de um referencial teórico que inclui Calinescu e Berman sobre a modernidade, Bell e Innes sobre o Modernismo, Elias e Schollhammer sobre a literatura contemporânea e Lyotard e Bauman sobre os fundamentos do presente histórico. / Echoes of Mrs. Dalloway, by Virginia Woolf, reverberate in Saturday, a novel by Ian McEwan, published eighty years after the first one, and this thesis proposes an analysis on the referred fictional texts to show to what extent, given the similarities between one narrative and the other, the historical context, the characters’ worries, and the narrative techniques are different in Woolf’s and McEwan’s novels. Both stories are set in London, have their plots circumscribed into the limit of a day, and take historical facts as the background for their narratives. Mrs. Dalloway is motivated by the effects of World War I on the English society in the beginning of the 20th century, and Saturday is based on the consequences of the terrorist attacks in 2001 on the World Trade Center towers in The United States to present a narrative that deals with the contemporary way of life in a European metropolis. The aim of the research is to point out the categories of the modern in Mrs. Dalloway and of the contemporary in Saturday, from a theoretical reference that includes Calinescu and Berman about modernity, Bell and Innes about Modernism, Elias and Schollhammer about contemporary literature, Lyotard and Bauman about the basis of the historical present.

LANDSCAPES FROM THE ROAD In this paper I will discuss the images from Landscapes From The Road and how they function within a canon of landscape. I will discuss these images in relation to traditional romantic and pastoral constructs of landscape as well as the ways in which the images formulate landscape as uniquely and materialistically contemporary. I will discuss landscape as a concept related to the contemplation of the Sublime, renewed individuality, and its contemporary treatment as a location of transactional and material interest. I will contextualize the images of Landscapes From the Road as representing a more inclusive definition of nature wherein certain contradictions arise. These contradictions primarily involve a conflict between ideations of an originary or primal landscape and that of a landscape defined by human processes of habitation. In my photographs and in this paper I present the idea of landscape as inclusive of both halves of this equation. I offer a holistic landscape that engages on an ontic and transcendental level as well as on a material level in which the landscape becomes the sight of ambiguities intrinsic to and inseparable from the process of human habitation.

A collection of poetry.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-07-29Bitstream added on 2014-06-13T18:07:13Z : No. of bitstreams: 1 maciel_mas_dr_assis.pdf: 1650766 bytes, checksum: e8765694e0af76232dc640bba73ef18f (MD5) / Dentro da área de concentração “Literatura e Vida Social”, sob o prisma da linha de pesquisa “Poéticas do texto literário: cultura e representação (PTL)”, pretende este trabalho, antes, tomando-se como base o romance póstumo El color del verano (1991), do escritor cubano exilado Reinaldo Arenas (1943-1990), analisar a(s) construção(ões) identitária(s) homoerótica(s) masculina(s). Partimos, para tanto, nesse percurso, de teóricos como Jacob Stockinger (1978) e David William Foster (2000), dentre outros, cujos textos apontam na direção de uma ars poetica homotextual consciente, sobretudo, a partir da segunda metade do século XX, diferente do pensamento de muitos para os quais se trata tão somente de um leitmotiv e esteja mais para o conteúdo e menos para a forma. A pesquisa, por fim, não deixa de vislumbrar, outrossim, os mecanismos narrativos que estruturam a referida obra do autor holguineiro, dentre eles, destacamos a intertextualidade, isto é, o diálogo com outros textos e autores alheios, a intratextualidade, ou seja, o diálogo constante consigo mesmo e com seus próprios textos bem como, também, por derradeiro, a extratextualidade, isto é, o diálogo constante e as referências, dentro do texto, à cultura e história cubanas e latinoamericanas / In the area of concentration “Literature and Social Life”, under the aspect of the line of search “Poetics of the literary text: culture and representation (PLT)”, intends this work, before, having as a base the posthumous novel El color del verano (1991), by the exilian cuban writer Reinaldo Arenas (1943-1990), to analyze the male homoerotic identity construction. We started, therefore, in this trajectory, of theorists as Jacob Stockinger (1978) and David William Foster (2000), among others, which texts point to the direction of a conscious homotextual ars poetica, specially, from the second half of the twentieth century, against of the thoughts of many people who things this is just a leitmovit and is more to the content than to the form. So, this search discerns indistinctly, besides, the narrative mechanisms which structure this narrated work of the holguinerian author, among them, we detach the intertextuality, that is, the dialogue with other foreign texts and authors, the intratextuality, that is, the constant dialogue with themselves and with their own texts, as well as conclusive, the extratextuality, that is, the constant dialogue and the references, inside the text, to the culture and Cuban and Latin-American history.

This thesis offers an archaeological and ethnographic examination of the coin-tree custom, which is essentially what its name suggests: the practice of inserting coins into trees. These trees are often in the form of logs or stumps, and they are commonly located beside well-traversed footpaths in rural/semi-rural areas. The custom can be traced back to the 1860s in Scotland, but has experienced a late 20th/early 21st-century renaissance, with clusters of coin-trees emerging across England, Wales, Scotland, Northern Ireland, and the Republic of Ireland. No previous academic attempt has been made to either catalogue these structures or contextualise the practice; it is the aim of this thesis, therefore, to do both. Proffering a catalogue of 197 individual coin-trees distributed across 34 sites (detailed in the appendices), this thesis draws on a wide range of resources in order to elucidate the custom: literary works, both historical and contemporary; the empirical data of the coin-trees themselves; and the ethnographic material of over 200 participant interviews. The history of the custom is traced, including a consideration of why it has experienced a recent resurgence – particularly at a time popularly conceived of as a ‘secular age’. The questions of how and why people participate are examined in detail, revealing a mutability to the ‘meaning’ of the custom, and a consideration of the future and heritage of the coin-tree structures themselves is also offered. The thesis closes with a suppositional vignette: what would an archaeologist find if she uncovered a coin-tree site in the future? How would she interpret the remains? And what does this reveal about archaeological methodologies, ritual interpretations, and the relationship between folklore and material culture?

[pas de résumé] / [no summary]

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T18:31:39Z : No. of bitstreams: 1 bitondi_mg_me_ia.pdf: 1405387 bytes, checksum: 7b0fc9065849cbcafb0af98028440654 (MD5) / Universidade Estadual Paulista (UNESP) / O presente trabalho de pesquisa teve como objetivo fornecer subsídios para o melhor entendimento do pensamento melódico na música contemporânea. Por meio da análise descritiva e comparativa da estruturação melódica de quatro importantes peças do repertório pós-1945, verificou-se a hipótese de que elas preservam caracteríticas de épocas anteriores, assim como apresentam semelhanças entre si, o que permite que sejam relacionadas estilisticamente. As peças escolhids foram: Madrigal I, de Henri Pousseur; In Freundschaft, de Karlheinz Stockhausen; Sequenza IXa, de Luciano Berio; e Dialogue de l'ombre double, de Pierre Boulez. Elas foram escolhidas pela sua relevância no repertório e pelo fato de terem sido compostas para instrumento monódico solo, formação que força o discurso musical a se focar em aspectos melódicos. Os métodos analíticos aqui presentes baseiam-se principalmente em modelos propostos por Schoenberg (1996), Toch(1994) e De la Motte (1993). Os resultados das análises demonstraram que grande parte da construção melódica das peças analisadas é composta por estruturas e procedimentos que já se faziam presentes no repertório tradicional modal ou tonal. Ao mesmo tempo, os resultados destacam contribuições criativas enriquecedoras por parte dos compositores na utilização destes mesmos procedimentos e estruturas. / The presente reseach aimed the better understanding of the melodic thinking in contemporary music. Through desciptive and comparative analysis of the melodic structure of four important plays of the post-1945 repertoire, it was verified the hypothesis that they preserve the characteristics of previous periods, as well as present similarities among each other, wich allows them to be styliscally related. The chosen works were: Madrigal I, of Henri Pousseur; In Freundschaft, of Karlheinz Stockhausen; Sequenza IXa, of Luciano Berio; and Dialogue de l'ombre double, of Pierre Boulez. They were chosen according to their relevance in the repertoire and because they were composed for solo monodic instrument a formation which induces the musical spreech to focus on melodic aspects. The analytical methods here presented are based mainly on propossed by Schoenberg (1996), Toch(1994) and De la Motte (1993). The results of the analysis demonstrated that most of the melodic construction of the pieces mentioned above is formed by structures and procedures that were already present in the traditional modal or tonal repertoire. At the same time, the results highligted enriching creative contributions by the composers in the use of these same procedures and structures.