Thesis (M.A.)--University of Wisconsin--Madison, 1981. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 119).

Th. 3e cycle--Litt. fr. et comp.--Rennes 2, 1985.

From Introduction: This thesis then is a detailed study of Lessing's novels in an attempt to show her development as a writer. Her short stories are handled briefly in connection with her novels. For, although the short stories are among her finest work, focus on the novels is sufficient to show her growth as a writer. Hers is the small individual struggle to overcome the limitations of both her content and her form. To overcome the limitations of her content means expanding her own consciousness and re-forming life itself. Only when she is free and the world is free can she overcome the limitations of her content. Then, of course, she need no longer and can no longer write. The task seems as impossible as that of the dung beetles, but she nevertheless continues. Like the sacred beetles with "the sun between their feet" she carries on rolling the muck of the world into symbols of the truth.

This study of six novels by three post-World War II British novelists deals with the philosophical and pragmatic aspects of intimate relationship. Raymond Williams, in The English Novel from Dickens to Lawrence, establishes that novelists were among the first to recognise the destruction of the old community by industrialism. Without an alternate conception of community, industrial capitalism imposes itself directly upon the individual, and thus sets harsh limits upon the relationships he or she can create. One result is the alienation that Karl Marx described as inherent in the marketplaceosociety underpinning Victorian culture; or, in another idiom, the possessive individualism perceived by C.B. MacPherson. The increasing commercialism of society—the propensity, as Adam Smith phrased it, to truck and barter—has encouraged possessiveness, and has debased and alienated the most intimate aspects of human existence, especially sex and love. Sex is a central expression of the essence of life, and hence sexual relationships are adversely affected when they are alienated from love and community. As in the commercial transaction, intimacy in these six novels is vulnerable to the manipulation and the exploitation of one person by another, because there is no willingness to become involved in a reciprocal relationship. This commentary on the novels of John Fowles, Doris Lessing, and David Storey suggests some tentative conclusions about intimacy in the latter part of the 20th century. The working class novels generally emphasise traditional relationships; and tell us that individuals who try to discard them (as with Clegg in The Collector, and Machin in This Sporting Life), will lose £or never win) those whom they love. The emphasis upon money alienates them from their basic community, and destroys their integrity. There is no intimacy divorced from the primary social relationship. Middle class protagonists move away from community as they become dominant in a marketplace society. Their success transforms- them into alienated and possessive individualists; and their belated attempt to restore a sense of intimacy is an effort—perhaps tragic—to become whole in a fragmented world. But the relationships occur in a vacuum. Either they fail, as in The Golden Notebook, or the individuals reject intimacy, and flee forward from community into a super-individualism as with Martha Quest in The Four-Gated City. These novels tell us nothing of a social movement that will give the individual a sense of purpose or meaning: hence the individuals remain isolated, and seem to lose substance. When Leonard Radcliffe, for example (Radcliffe), murders his community out of his need for an absolute, he precipitates his own death. Again, Charles Smithson and Sarah Woodruff in The French Lieutenant1s Woman lose their vitality and sexual commitment because Sarah is more concerned to preserve her individuality. These examples serve to show that temporary and partial relationships are lethal to the spirit. The loss of intimacy is the result, in the end, of the loss of the moral sense. The displacement of the religious impulse to wholeness (the "disappearance of God") leaves one with the hollow victories of possessive individualism in a fragmented society. / Arts, Faculty of / English, Department of / Graduate

Note:

O gênero Doris está representado no Brasil por quatro espécies: Doris verrucosa, Doris bovena, Doris ilo e Doris kyolis, a maioria delas com um histórico taxonômico confuso. Através da revisão taxonômica do gênero Doris, do estudo da anatomia comparada entre as espécies e com dados da literatura foi possível separar D. verrucosa em duas espécies, mantendo D. verrucosa como a espécie com distribuição para a Europa e Mar Mediterrâneo e Doris januarii, um sinônimo revalidado, com distribuição para a costa Atlântica brasileira. Também foi possível confirmar e completar as informações sobre a anatomia de D. bovena, D. ilo e D. kyolis. As principais características anatômicas que corroboram a distinção entre as espécies estudadas foram encontradas no odontóforo, rádula, sistema reprodutor e sistema nervoso / The genus Doris in Brazilian shelf is represented by four species: Doris verrucosa, Doris bovena, Doris ilo e Doris kyolis. This species have a misunderstood taxonomy. In this study was carried out a taxonomy revision, utilizing comparative anatomy and previous literature data. As a result, was possible to separate D. verrucosa in two species, maintaining D. verrucosa with distribution to Europe and Mediterranean Sea, whereas Doris januarii, a revalidated synonym, is restricted in Brazilian Atlantic coast. In addition, anatomical data complementary validates the species status of D. bovena, D. ilo e D. kyolis. The distinctive anatomical characteristics that justify the separation among these species are found in the following structures: odontophore, radula, reproductive system and nervous system.

O gênero Doris está representado no Brasil por quatro espécies: Doris verrucosa, Doris bovena, Doris ilo e Doris kyolis, a maioria delas com um histórico taxonômico confuso. Através da revisão taxonômica do gênero Doris, do estudo da anatomia comparada entre as espécies e com dados da literatura foi possível separar D. verrucosa em duas espécies, mantendo D. verrucosa como a espécie com distribuição para a Europa e Mar Mediterrâneo e Doris januarii, um sinônimo revalidado, com distribuição para a costa Atlântica brasileira. Também foi possível confirmar e completar as informações sobre a anatomia de D. bovena, D. ilo e D. kyolis. As principais características anatômicas que corroboram a distinção entre as espécies estudadas foram encontradas no odontóforo, rádula, sistema reprodutor e sistema nervoso / The genus Doris in Brazilian shelf is represented by four species: Doris verrucosa, Doris bovena, Doris ilo e Doris kyolis. This species have a misunderstood taxonomy. In this study was carried out a taxonomy revision, utilizing comparative anatomy and previous literature data. As a result, was possible to separate D. verrucosa in two species, maintaining D. verrucosa with distribution to Europe and Mediterranean Sea, whereas Doris januarii, a revalidated synonym, is restricted in Brazilian Atlantic coast. In addition, anatomical data complementary validates the species status of D. bovena, D. ilo e D. kyolis. The distinctive anatomical characteristics that justify the separation among these species are found in the following structures: odontophore, radula, reproductive system and nervous system.

Syftet med uppsatsen är att göra en övergripande studie av nutida svenskspråkiga bilderböcker, exemplifierad genom Pija Lindenbaum och en genuin bilderbok av henne: Doris drar (2015). Uppsatsen diskuterar kring hur den nutida bilderboken har sin kontext i flera konstnärliga uttryck och successivt blivit alltmer estetiskt kvalificerad. Bilderboks-skaparna som debuterade under 1980- och 1990-talen, däribland Lindenbaum, fo-kuserade på nutida bildskapande, ord och bild i samverkan, barnrättsperspektivet, nedtonandet av pedagogiken samt ett kommersiellt tänkande. Barnlitteraturens grundmönster är handlingsförloppet: hem – uppbrott hemifrån – äventyr – hemkomst. Igenkänning, mönster och åtstramning är centralt. Detta är karakteristiskt för Lindenbaum och Doris drar. Den ingår i en följd av bilderböcker från 2000-talet där Lindenbaum utvecklat en egen stil i bild, text och upplägg. Det är psykologiska små dramer fyllda av hu-mor och fantasin är surrealistisk. Barnets perspektiv är uttalat i ord och bild. Barn-språkstexterna är dramatiska. Tilltalet är dubbelt. Doris är en nutida version av den klassiska sagohjälten.

In the thesis at hand I will analyze to what extent Doris D??rrie constructed her story and film <em>Paradies</em> according to the structure of the quest. First of all, some background information will be provided concerning D??rrie's career. After that, a short summary of the important contributions that have been made in the area of the hero's journey and D??rrie's <em>Paradies</em> will be given. Following a depiction of the quest's mythological roots, the Jungian concept of the collective unconscious and its archetypes will be introduced. After that, Joseph Campbell's Monomyth will be explained step by step, for the structural analysis of the action will follow that pattern. The theoretical part will close with a description of the archetypal and mythological method that will be applied to the primary texts. In the practical analysis the theoretical foundation will be utilized to prove that D??rrie's texts are arranged according to the Monomyth. With the help of quotations from the primary works, it will be shown that the plot-device of the quest underlies the relevant story and its adaptation to the screen. <br /><br /> Furthermore, Jung's findings concerning the archetypes will be consulted to find out whether the characters the quester meets correspond to the archetypal roles that the classic seeker encounters. That is why the title includes the word <em>Motivik</em>. Besides that, a connection will be made between the seemingly inappropriate title Paradies and the quest-structure. First of all, the probable reason for D??rrie's choice concerning the title will be ascertained. Highly esteemed philosophers and authors have equated the fall of man with the birth of reason and curiosity. Eve's sin can be interpreted as the start of a quest. The aim of the latter is to return to the Garden of Eden. Furthermore, it will be shown that the hero meets the key archetypes of the shadow, anima and mother, which leads to the finding that the hero's external voyage is above all an internal one. Jakob or Viktor, respectively, is desperately searching for psychological equilibrium ? the archetypal self represented by Lotte. <br /><br /> The major outcome of this thesis will be that both versions of <em>Paradies</em> can be described as modern anti-quests. The reason for that lies in D??rrie's first following the classic pattern only to leave it prematurely in order to manoeuvre her characters into nemesis. Not only the male quest, which is analyzed in detail, but also the two searches of Lotte and Angelika end tragically. The only exception is Lotte's journey in the prose version, which D??rrie only provides incompletely.

No autorizada por la autora para ser publicada a texto completo en el repositorio institucional. / Magíster en artes con mención en teoría e historia del arte / La presente tesis trata sobre la problemática de la deslocalización de la violencia política presentes en la producción artístico-visual en dos de las artistas más influyentes en el devenir del arte político- crítico latinoamericano contemporáneo, la colombiana Doris Salcedo y la mexicana Teresa Margolles. Se trata de un análisis y diálogo entre sus obras trabajadas principalmente entre los años 2000 - 2012, las cuales tanto por su complejidad histórica como representacional desbordan los códigos heredados de la institución, logrando poner en cuestión lo que la realidad actual tiene de inédito, la cotidianeidad de la violencia, situación que surge precisamente como consecuencia de los fenómenos sociales y económicos de la mundialización y la globalización desarrollados e instalados a nivel internacional desde la segunda mitad del siglo XX hasta comienzos del siglo XXI los cuales denotan la inminente crisis de los Estados Nacionales Desde este contexto es que este análisis es abordado tanto desde el plano histórico cultural particular de Colombia y México como desde la proyección que como obras alcanzan estas en relación con el nuevo arte latinoamericano y su internacionalización , dentro de estos mismos puntos se buscará discutir y responder la forma en cómo el discurso artístico de corte político- crítico que ambas artistas exponen en sus obras transita y dialoga con y desde los nuevos espacios del arte, es decir, el espacio galerístico, museal y público en la escena internacional, propiciando con ello, cuestionar y expandir el problema de la violencia política local a nivel mundial, para el desarrollo de lo anterior se recurrirán a determinados conceptos filosóficos y sociológicos de Jacques Ranciére y de Roberto Esposito(autonomía del arte y arte político del primero) , (lo impolítico del segundo) como también antropológicos y sociológicos (violencia política, Julio Aróstegui narcoterrorismo entre otros) los cuales irán relacionados a la mirada de otros autores vinculados siempre desde la reflexión artística y social contemporánea.