The rapid settlement of North America in the seventeenth century was motivated by the dream of success— a dream which the numerous possibilities of that virgin land inspired. The new land of America suggested the possible achievement of a heaven upon earth: the realization of the Utopian myth of timeless perfection. Throughout the subsequent growth of the Republic, this American dream, because of its tremendous strength and of its powerful influence as myth, completely captivated the imagination of the Americans. Consequently, a unique pattern of thought evolved in America; one that has given form and significance to the political, cultural, social, and religious life of the nation; one, in fact, that has moulded the entire history of the United States of America. In this thesis, The American Nightmare, I have attempted to illustrate the effect of the American dream on American literature, particularly on the work of F. Scott Fitzgerald and of James Baldwin. To do this successfully, however, I found it necessary to define the American dream: to trace its origins and subsequent development. Moreover, I have suggested that the American dream, once a vital force because it was relevant to the facts of life in America (or apparently so), has, in the twentieth century, become a nightmare, dedicated to illusion and hypocrisy. Indeed, the literature of the chosen writers reflects not only their preoccupation with the American dream and its influence, but also their desire to reveal and to analyse the apparent failure of this dream and the disillusionment, the despiritualisation, and the inhumanity which the quest for success has engendered in America. The society depicted in the novels I have selected for discussion is a bewildered one--an "incoherent" one. The authors themselves, despite their insight into the problems of American life, are indeed victims of the Medusa-like American dream. The thesis is divided into four sections. Section One, "The American Dream," discussing the settlement of America in the seventeenth century, examines the origins of the dream. Moreover, it traces the development and increasing secularization of the dream in the eighteenth century, witnesses the westward expansion of American settlement and its effect upon the nineteenth century vision of America's future, and, finally, reveals the failure of the dream and the subsequent fear, disillusion and bewilderment in twentieth century America. In short, this section shows how the American dream, once a vital force in American life, has now become a "nightmare"—a mirage which frequently lures many to self-destruction. Sections Two and Three treat specific works of Fitzgerald (This Side of Paradise and The Great Gatsby) and of Baldwin (Giovanni's Room and Another Country) respectively in the light of the American dream. The thesis concludes with a brief survey of the lives of the two writers, and an evaluation of the effect of the American dream upon their careers. / Arts, Faculty of / English, Department of / Graduate

Uppsatsen jämför en teistisk-metafysisk och en existentiell trosförståelse när det gäller deras förklaringar till att en människa har att förhålla sig till vissa värden som objektivt givna, och vad som krävs av en människa för att få tillgång till denna kunskap. Som representant för det teistisk-metafysiska perspektivet används Francis A. Schaeffer och för det existentiella Paul Tillich.

Orientador: Mário Luiz Frungillo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-18T18:10:27Z (GMT). No. of bitstreams: 1 Barbosa_RoselideFatimaDiasAlmeida_D.pdf: 4105305 bytes, checksum: bd5c0560a8d3dcc9c2ecbb8af8376434 (MD5) Previous issue date: 2011 / Resumo: Partindo de um breve percurso histórico da relação entre poesia e pintura, prefigurada pela expressão de Horácio ut pictura poesis, este trabalho visa fazer um estudo sobre os textos em torno da pintura na obra de Francis Ponge. Escolhi esse poeta francês porque durante sua vida se relacionou e escreveu sobre artistas plásticos. A intenção foi estudar quais os recursos e marcadores textuais nos textos de Ponge revelam elementos pictóricos no campo lexical (palavras e expressões específicas), no campo gráfico (escolhas tipográficas), no campo onomástico (nomes de quadros, de artistas), nos procedimentos da escrita, em suma, de que forma isso se constrói literariamente no lápis de Ponge. Nossa hipótese é a de que Ponge se coloca como pintor, tenta observar e sentir como um pintor para escrever seus textos. De sua paleta de palavras saem todas as nuances da natureza. Para mostrar como esse no-lugar-do-pintor/escultor se dá em Ponge, apontamos semelhanças no olhar e no modo de trabalho em vários temas, como no excepcional exemplo de La Mounine, que se apresenta como mímesis de trabalho impressionista pelo olhar e escolha lexical. As análises, em seu conjunto, revelam que Ponge é mais que espectador do mundo das artes plásticas, ele é artista plástico que se faz escritor / Abstract: This thesis starts from a historical sketch of the inter-relation between painting and writing outlined by Horatio?s expression ut pictura poesis. Its main goal is to study Francis Ponge?s texts on Art because this French poet had a life-long relationship with plastic artists, witnessed in his work. Our intention is to present Ponge?s textual resources which reveal pictorial marks in the lexical domain (words and expressions), in the orthographical domain (typographic choices), in the onomastic domain (pictures? titles, artists names), as well as in the writing techniques used. To sum up, how the Plastic Arts are worked out by his pencil. Our hypothesis is centered in the idea that Ponge sees himself as a painter. In the idea that he tries to observe and apprehend the world as a painter before the texts he writes. From his palette of words all Nature?s details come out. To show how this in-the-place-of-a-painter takes place in Ponge, we show similarities of sight and in the way the work is done in several themes shared by the artists and Ponge. La Mounine is an exquisite example of this, which stands for a mimesis of an impressionist work, given the lexical choices and the way the author observes the landscape. All the analyses presented reveal that Ponge is more than an eyewitness in the Arts? world; he is a plastic artist who became a writer / Doutorado / Literatura Geral e Comparada / Doutor em Teoria e História Literária

Among slaughterhouses and suffragists—writers of the American Modernist movement were called to the creative task of reimagining boundaries between human and nonhuman while also extending this conversation onto the site of “New Women.” The threat to “civilized man” by “primal nonhuman animal” becomes tied up with the threat of an independent “wild” woman to a system which traditionally depends upon her domestication. Female animality in modernist texts thus emerges as a symbol of both masculine anxiety and feminine liberation. When women begin to challenge traditional institutions which would see her survive exclusively by contract to a male “keeper,” men become increasingly desperate to establish an apex social, economic, and political position. As such, female animality in these texts is designed to reinforce or resist standard constructs of human/nonhuman and masculine/feminine, yet both assert the feminine-animal-character as a hybrid commodity bred for patriarchal consumption. Despite the heteronormative compulsion to sketch woman as an elusive animal to be hunted (courtship), caged (marriage), and kept (children)—there is also an advantage in recognizing one’s place in such a “jungle,” as scholars have often described progressive-era America. By examining the intersection of animality and feminist theory within modernist literature, it becomes clear that the category of nonhuman animal is one historically manipulated through patriarchal systems to delegate women’s bodies as a site of oppression and subordination. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

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The graduation theses are focused on reconstruction of the small hydro-electric power station Harta. Design of detailed runner blading based on the parameters of the given location is part of the reconstruction. Model of the duplex Francis turbine for cast manufacturing is result of the graduation theses. Numerical description of the model was carried out using SolidWorks software.

Research has been conducted on Francis Poulenc and his prominent 20th century sonata for brass instruments. Poulenc and members of the French compositional collaboration known as Les Six have all been subjects of research. Francis Poulenc's Sonata for Horn Trumpet and Trombone is a crucial piece in the development of brass chamber music during the 20th century. As one of the first works written for modern brass instruments, it demonstrates a highly crafted compositional style representative of Poulenc's early period. Research includes background and historical significance of the Sonata, analysis of form and compositional techniques, biographical information on Francis Poulenc and the members of Les Six and a section on implications for the performance of the work. This study is necessary due to the lack of research available for the piece especially considering its relevance to the development of brass chamber music. This study explores the compositional style of Francis Poulenc and his contribution to the brass ensemble repertoire.

Although recent scholars have attempted to recuperate the cultural and literary value of Francis Quarles' Emblemes, traditional emblematic interpretations categorize the images as merely illustrations of the poetic utterance. The investment of this paper shifts critical attention away from the content of Quarles' text as the only source of meaning and argues that meaning is contingent on the interpretation of both word and image. In order for the images of the text to have full consideration, I have stepped away from the traditional emblem metaphor of body and soul in favor of an incarnational metaphor that joins image and word in a hypostatic union of interpretation.

À la mémoire de Serge Prokofieff står högst upp på första sidan av Oboesonaten, FP 185 av Francis Poulenc. Stycket komponerades år 1962 och är Poulencs sista komposition, som han aldrig har fått möjligheten att höra innan han dog samma år. Under åren har Poulenc tillägnat sina verk till många vänner och bekanta. Sitt sista verk tillägnar han sin vän som han beundrar väldigt mycket, dvs. Prokofjev. Detta är en vinkel som jag länge har velat fördjupa mig i. Under studieåren har många lärare dragit kopplingar mellan oboesonaten och vissa verk av Prokofjev, som t.ex. baletten Romeo och Julia. Så jag har valt undersöka ämnet och se om det finns tydliga influenser av Prokofjevs musik i oboesonaten samt också att klargöra om huruvida stycket är karaktäristiskt för Poulencs stil som kommer från en fransk musiktradition. För att utöka mina kunskaper och för att bilda en större kontext om båda kompositörerna, har jag börjat med att läsa biografier om dessa. Även en utförlig analys av oboesonaten har genomförts. Genom att lyssna på verk av båda tonsättarna samt genom att titta i partitur har jag kunnat ta ut vissa ställen som kunde jämföras för att hjälpa mig vidare i min undersökning. Dessa ställen har jag lagt sida vid sida för en mer detaljerad analys och jämförelse. Jag upptäckte att det fanns en del likheter mellan oboesonaten och Prokofjevs musik, däremot mycket fler likheter mellan oboesonaten och andra verk av Poulenc. Det finns många närvarande kompositionsdrag som berättar att stycket är mycket karaktäristiskt för Poulencs sätt att skriva musik. Dock kan man också se en del kompositionsegenskaper som föredras av Prokofjev. Min slutsats är att det finns influenser av Prokofjev, men också att oboesonaten är Poulencs egen tillbakablick till ett rikt och händelsefullt liv samt en medryckande karriär. Att kunna känna igen dessa referenser till Prokofjev och till Poulencs tidigare musik bidrar till att man som musiker kan skapa en mer utförlig interpretation av stycket. Att förmedla kompositörens tankar är en stor del av en musikers jobb. Därför anser jag att det är viktigt att tolkningen av ett stycke stämmer överens i så stor utsträckning som möjligt med tonsättarens idéer. / <p>F Poulenc: Oboesonat, FP 185</p><p></p><p>Medverkande:</p><p>Gabriela Dogaru - oboe</p><p>Katarina Ström-Harg - piano</p>

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