Syftet med denna uppsats är att undersöka hur karaktärerna Tintomara från Drottningens juvelsmycke och Eli från Låt den rätte komma in har skrivits fram i sin respektive samtid med synen på androgynen i fokus. Genom detta vill jag ta reda på om det går att läsa Eli som en modern Tintomara. Detta sker genom en komperativ läsning av de två verken genom ett genusteoretiskt och queerteoretiskt perspektiv. Slutsatsen blir att det går att läsa Eli som en modern Tintomara, då de har mer likheter än skillnader. Den avslutande diskussionen tar också upp att deras berättelser förmodligen skulle sett ut på ett annorlunda vis om de skrivits fram i vår samtid, fast trots det går det att lägga märke till mer nutida transerfarenheter i äldre skönlitteratur.

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Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique. / This master’s thesis is a study of the whole series Aux Abattoirs de la Villette, photographed by Eli Lotar in 1929. It demonstrates how the thirty-four prints were merged into Georges Bataille’s philosophy by the art historians of the 1990’s who based their interpretations upon the text « Abattoir ». This was published under the heading Dictionnaire critique inside Documents magazine. The series is taken apart from Bataille’s purpose in light of Lotar’s preoccupations and of the other editions of the photographs during the inter-war period. The first chapter insists on Eli Lotar’s photographic education preceding his visit to La Villette’s site in context with the slaughterhouse’s topic in the art Avant-garde. Then, it evaluates Aux Abattoirs de la Villette’s critical review based on Bataille’s conceptions of formless and sacrifices. The second chapter analyses the authorship conferred to the photomontages carried out by E.L.T. Mesens in Variétés (1930), who accentuates the similarities between the photographic and the slaughter cutting operations, and by Carlo Rim in Vu (1931), who reveals the human dimension of La Villette’s industry. The third chapter focuses on Lotar’s social preoccupations by according an importance to his collaborations with Germaine Krull and Joris Ivens. Finally, the series is addressed in an "intermediatic" perspective to emphasize the photographic point of view by comparing it with the painting Abattoir by André Masson, the poem Porte Brancion by Raymond Queneau and the film Le sang des bêtes by George Franju.

Eli Lotar décède en 1969 à Paris après avoir poursuivi une longue et difficile carrière de photographe et de cinéaste. Alors qu’il fait partie des pionniers de la Nouvelle Vision photographique française aux côtés de Germaine Krull, il faut attendre 1993 pour qu’une première exposition monographique posthume lui soit consacrée par le musée national d’art moderne-Centre Pompidou. Entre temps, son documentaire Aubervilliers (1945) et son travail de directeur de la photographie auprès de Luis Buñuel et d’Alberto Cavalcanti lui ont assuré une solide réputation dans les milieux cinéphiles après la Seconde Guerre mondiale.Son identité de photographe moderne prend quant à elle plus de temps à se forger. En parallèle de cette réévaluation initiée à la fin des années 1970, dans le champ des études sur le surréalisme la série des Abattoirs de la Villette qu’il publiait dans la revue Documents (1929) lui permet de faire son entrée dans le panthéon visuel du mouvement d’avant-garde.Le surréalisme, le cinéma d’avant-garde, la Nouvelle Vision : Lotar a livré dans chacun de ces champs des images emblématiques tout en demeurant, encore aujourd’hui, une figure opaque et complexe. À partir de sources inédites, cette étude se propose d’envisager son parcours d’une part dans le réseau élargi des avant-gardes parisiennes et européennes, d’autre part à l’aune de sa deuxième identité, celle de cinéaste et de cinéphile. Sujet marginal dans le champ des études de l’entre-deux-guerres photographique française, ces rapports de la photo et du cinéma fondent, en partie, le nouveau paradigme visuel moderniste de l’époque dont Eli Lotar serait l’une des figures exemplaires à Paris. / Eli Lotar passed away in Paris in 1969 after a long but low-key career as a photographer and filmmaker. While one of the pioneers of the New Vision in France alongside Germaine Krull, one has to wait year 1993 for a first solo show to be devoted by the Centre Pompidou. Meanwhile, his documentary Aubervilliers (1945) and his work as director of photography with Luis Buñuel and Alberto Cavalcanti ensured him a solid reputation in cinephile circles after the Second World War.His identity as a modern photographer, on the other hand, takes more time to take shape. In parallel with this revaluation initiated in the late 1970s, in the field of studies on surrealism, the series of the Abattoirs de la Villette he published in the review Documents (1929) allows him to become one of the icons of the avant-garde.Surrealism, avant-garde cinema, New Vision: Lotar delivered in each of these fields iconic images while he remains an opaque and complex figure. From unpublished sources, this study proposes to consider his career the one hand into the expanded network of Parisian and European avant-garde, the other in the light of its second identity as a filmmaker and cinephile. Peripheral subject in the field of studies of inter-war French photography, links between photography and cinema partly establish the new modernist visual paradigm of the era whose Eli Lotar would be one of the exemplary figures in Paris.

Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique. / This master’s thesis is a study of the whole series Aux Abattoirs de la Villette, photographed by Eli Lotar in 1929. It demonstrates how the thirty-four prints were merged into Georges Bataille’s philosophy by the art historians of the 1990’s who based their interpretations upon the text « Abattoir ». This was published under the heading Dictionnaire critique inside Documents magazine. The series is taken apart from Bataille’s purpose in light of Lotar’s preoccupations and of the other editions of the photographs during the inter-war period. The first chapter insists on Eli Lotar’s photographic education preceding his visit to La Villette’s site in context with the slaughterhouse’s topic in the art Avant-garde. Then, it evaluates Aux Abattoirs de la Villette’s critical review based on Bataille’s conceptions of formless and sacrifices. The second chapter analyses the authorship conferred to the photomontages carried out by E.L.T. Mesens in Variétés (1930), who accentuates the similarities between the photographic and the slaughter cutting operations, and by Carlo Rim in Vu (1931), who reveals the human dimension of La Villette’s industry. The third chapter focuses on Lotar’s social preoccupations by according an importance to his collaborations with Germaine Krull and Joris Ivens. Finally, the series is addressed in an "intermediatic" perspective to emphasize the photographic point of view by comparing it with the painting Abattoir by André Masson, the poem Porte Brancion by Raymond Queneau and the film Le sang des bêtes by George Franju.

Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2018-10-10T14:53:33Z No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-10T14:59:23Z (GMT) No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-10T14:59:23Z (GMT). No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following text is result of research involving the Oió Journal, published monthly in Goiânia between February 1957 and August 1958. It will be demonstrated that, around the Oió Journal, critics and writers met who introduced discussions involving the need to structure a literary field in Goiás. Part of these efforts, recorded in the self-titled "monthly of Goiás culture", appear to involve the professionalization of literary criticism and the prominence given to Bernardo Élis and Eli Brasiliense, most cited authors. Coordinated by the bookseller Olavo Tormin and his secretary Eliezer Penna, the Oió Journal gave an impetus to literary production in Goiás, which increased exponentially between the 50’s and 70’s. The texts published in this paper recorded the flourishing of Modernist Literature in the capital of Goiás, consolidated in the consecration of Bernardo Élis and Eli Brasiliense, in the maintenance of associations of letters, such as the Goian Academy of Letters and the Brazilian Association of Writers, and in the systematization of criticism professional. / O texto que segue é fruto de pesquisa que envolve o Jornal Oió, publicado mensalmente em Goiânia entre fevereiro de 1957 e agosto de 1958. Será demonstrado que, em torno do Jornal Oió, reuniram-se críticos e escritores que introduziram discussões envolvendo a necessidade de estruturação de um campo literário em Goiás. Parte destes esforços, registrados no autointitulado “mensário da cultura goiana”, aparecem envolvendo profissionalização da crítica literária e no destaque dado a Bernardo Élis e Eli Brasiliense, autores mais citados. Coordenado pelo livreiro Olavo Tormin e seu secretário Eliezer Penna, o Jornal Oió impulsionou a produção literária em Goiás, que aumentou exponencialmente entre as décadas de 50 e 70. Os textos veiculados neste suporte registraram o florescer da Literatura modernista na capital goiana, sedimentada na consagração de Bernardo Élis e Eli Brasiliense, na manutenção de associações de letras, como a Academia Goiana de Letras e a Associação Brasileira de Escritores, e na sistematização da crítica profissional.

Modern solid state chemistry is inconceivable without theoretical treatment of solids thanks to the availability of efficient and accurate computational methods. Being developed mainly by physicist's community and deeply rooted in the formalism of reciprocal space, they often lack connections to familiar chemical concepts, indispensable for the chemical understanding of matter. Quantum chemical topology approach is a powerful theory able to efficiently recover chemical entities from the abstract description of a system given by its density matrices. It can be used to partition any many-electron system into the atoms, using the topology of electron density or for instance into atomic shells, using the topology of ELI-D field. Various characteristics of interactions between these chemical building blocks can be obtained applying bonding indicators, e.g. from the analysis of domain-averaged properties. Quantum chemical topology methods have been extended in the current work for the applications on the diversity of theoretical methods widely used for the description of solids nowadays – from the mean field Kohn-Sham density functional theory to the reduced one-electron density matrices functional theory or from the scalar-relativistic methods to the many-component formalisms employing spinor wavefunctions. It has been shown, that they provide chemically meaningful description of the bonding which is universally applicable to any class of extended systems, be it ionic insulator, covalent solid or metal. It has been shown, that the relativistic effects on the chemical bonding can be easily revealed using extensions of bonding indicators developed in the current work. Classical chemical concepts like Zintl-Klemm concept can be easily recovered with these descriptions. Intimate connection between the class of the material and the degree of chemical bonding delocalization has been also established. All these methods have been successfully applied to the various classes of solids and delivered novel insights on their crystal structure, properties, solid state transitions and reactivity.

This essay, through Julia Kristeva’s theory of abjection, seeks to shift the focus from the society that abjects towards the abjected through a generous reading of two contemporary Swedish queer novels, Du är rötterna som sover vid mina fötter och håller jorden på plats by Eli Levén and Ett så starkt ljus by Lyra Ekström Lindbäck. I discuss how the queer subject relates to different types of borders that Kristeva posits, such as the bodily border, the border of the I, and a moral or societal border. I find that the queer subject has a different relationship to these borders, and view and experience them in ways different than Kristeva suggests. Furthermore, I analyse how the queer subject experiences being made abject. I find that this experience can both be harmful and be somewhat self-sustaining in maintaining societal norms, but also that it can be a way for the queer subject to further position itself as different from a heteronormative society, a position that is truer to who the queer subject feels they are. Through José Esteban Muñoz’ Cruising Utopia I discuss how there are potentialities with being queer, or queer being, such as an expanded worldview and an outstretched concept of possible ways of being and living. The broader aim of this essay is to test Kristeva’s claim that literature is a place for a person to approach the abject, and to examine if literature also has a possibility of portraying an abject position, being a place where the abject itself can examine abjection and being made abject. My conclusion is that this is the case, and furthermore that literature also is a place for the abject to examine potentialities beyond the heteronormative sphere.

In this thesis, I will examine the connected representations of religion and gender in the context of contemporary American telefantasy (a term for science fiction, fantasy, and horror television genres) programs that include characters who experience fantastic visions that can be explained as originating from either divine or medically materialist origins. The fantastic mode, facilitated by telefantasy’s non-verisimilitudinous genre, presents these visions in a liminal space in which religious and gender representations can potentially subvert or challenge patriarchal and hegemonic representational norms. I analyze Battlestar Galactica (Sci-Fi 2003-2009), Eli Stone (ABC 2008-2009), and Wonderfalls (FOX 2004) for their formal presentation of visions, representations of visionary characters, and the religious representations that form the context for the visions and visionaries. I focus on visionary characters that are directly implicated by the television text as being potential prophets: Laura Roslin and Gaius Baltar on Battlestar Galactica, Eli Stone on Eli Stone, and Jaye Tyler on Wonderfalls. Though each visionary character explores the possibility of subverting patriarchal religious norms, Roslin, Baltar, and Stone’s prophetic roles ultimately privilege patriarchal readings of their narratives, but Jaye, by avoiding the language-symbol systems of traditional religions, maintains the fantastic liminal space and thus the potential for subversion, even if it is only a possibility in the narrative. This thesis seeks to contribute to the scholarship of religious representations in fictional television, with a special emphasis on telefantasy. / text

David Kroll, Director of the Preservation Studio at RATIO Architects, Inc. in Indianapolis, approached me in September of 2007 about a project. The Eli Lilly Farm in Carmel, Indiana was in danger of demolition. The property was sold to a development company who was proposing an idea for over 1000 homes as a part of a "Master Planned Community" to be built on 335 acres of land. One of the stipulations of this sale was that the Conner Prairie Living History Museum had first right of refusal on any of the buildings from the property. The idea had been brought up to relocate a couple of the buildings on the farm to save them from demolition. I decided to document the farm so that future generations could know what used to exist there. That idea developed into my current topic: "A Study of the Relocation of the Eli Lilly Farm Office with adaptive use Options and Rehabilitation Recommendations." / Department of Architecture