The thesis deals with early short stories and novellas by Chinese woman writer Can Xue. The first part of the thesis presents the work of Can Xue in the context of author's life and focuses on finding motifs associated with her life experiences. The second part outlines historical development of Chinese literature in the 80s of the 20th century, observes position of Can Xue in the "avant-garde literature", and describes the writers literary sources of inspiration and authors own view on literary-historical context of her works. The third part is based on the analysis of specific stories. In the context of what other critics have discussed the thesis determines two main approaches to the interpretation of Can Xues work - the political and the psychological. The thesis concludes that there is a significant element of personal experience in Can Xues works. It should not, however, be considered a dominant element, as it mainly serves as means of examining general aspects of human psyche. The introspective nature of Can Xues works is also the key reason why this thesis puts the psychological interpretation of her works above the political interpretation.

Le but de ce travail est de présenter comment la traduction est devenue une poétique pour le poète américain Ezra Pound et le poète brésilien Haroldo de Campos. Les deux poètes ont utilisé la traduction pour élargir leur compréhension de la poésie mais, en même temps, créer une nouvelle approche du phénomène littéraire en rassemblant des œuvres d'auteurs de différentes régions, époques et langues différentes. Pound a commencé à écrire de la poésie au rythme de l'anglo-saxon, puis il a pris une direction différente en produisant des livres avec des commentaires sur ses traductions comme les troubadours provençaux et la poésie chinoise. Il a passé presque 25 ans à traduire l'ensemble du travail de Confucius et, après cette période, il a publié ses dernières traductions de poèmes grecs et égyptiens. Haroldo était un admirateur de Pound et il a partagé sa passion de traduction. Il a fondé le mouvement avant-gardiste de la poésie concrète au Brésil et il a fait des traductions collectives avec les membres du mouvement. Sa spécialisation dans les langues l'a amené à traduire la poésie d'avant-garde de plusieurs langues différentes, puis il s'est déplacé vers les classiques comme Dante, Goethe, Homer et la Bible. De Campos a bénéficié de son poste universitaire pour obtenir des conseils spécialisés pour ses traductions. En outre, il a élaboré une théorie sur la traduction après des textes philosophiques, qu'il appelait «la transcreation». Il était convaincu que la meilleure poésie en tout temps était essentiellement d'avant-garde. / The aim of this work is to present how translation became a poetics for the American poet Ezra Pound and the Brazilian Poet Haroldo de Campos. Both poets employed translation to expand their understandings about poetry but, at the same time, to create a new approach to the literary phenomenon by bringing together works of authors from many different geographies, epochs and languages. Pound started to write poetry following the rhythm of the Anglo-Saxon and then he took a different direction producing books with comments on his translations like Provençal troubadours and Chinese poetry. He spent almost 25 years translating the entire work of Confucius and after that period he published his last translations of Greek and Egyptian poems. Haroldo was an admirer of Pound and he shared his translation passion. He founded the Avant-garde movement of Concrete Poetry in Brazil and he did collective translations with the members of the movement. His specialization in languages prompted him to translate Avant-garde poetry from many different languages and then he moved to the classics like Dante, Goethe, Homer and the Bible. De Campos benefited from his academic position to obtain specialized advising for his translations. Furthermore, he elaborated a theory on translation following philosophical texts, that he called “transcreation.” He was convinced that the best poetry in all times is essentially Avant-garde.

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015 / Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura crítica frente a certos cânones e padrões da canção de massa consolidados no mercado e com práticas criativas experimentais análogas às do repertório das vanguardas do pós-guerra, investigamos a relação tensa estabelecida entre o seu projeto estético experimental e a indústria cultural. Nesse sentido, a pesquisa tentou situar os discursos e quatro discos de Tom Zé nos respectivos contextos históricos e configurações da indústria fonográfica, buscando compreender melhor as especificidades de sua inserção no mercado de música popular, suas estratégias de atuação, o sentido de suas opções estéticas, bem como investigar as transformações ocorridas no seu projeto estético ao longo de sua trajetória / Abstract: This work broaches and problematizes the different phases of the artistic career of the composer and performer Tom Zé, located between the release of his first LP in 1968 and the late 1990¿s. Establishing as central focus his music production, conceived with a critical posture towards certain canons and mass song patterns consolidated in the market and with experimental creative practices analogous to the repertoire of the postwar avant-garde, we investigated the tense relationship established between his experimental aesthetic project and the cultural industry. In this sense, the research tried to position the discourses and four discs of Tom Zé in the respective historical contexts and configurations of the phonographic industry, seeking to better understand the specifics of his insertion in the popular music market, his acting strategies, the sense of his aesthetical options, as well to investigate the transformations occurred in his aesthetical project throughout his career / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

L ’ « adoption coutumière » est reconnue officiellement au Québec depuis le 16 juin 2018. En effet, l’article 543.1 du Code civil précise que l’autorité compétente - une institution créée par l’État et désignée par la communauté ou la nation - doit s’assurer que la « coutume » en matière d’adoption est en harmonie avec le principe de l’intérêt de l’enfant, du respect de ses droits et du consentement des personnes concernées. Cette reconnaissance statutaire semble paradoxale, d’un côté elle insiste sur des modalités procédurales harmonisées, puis de l’autre, elle laisse le soin aux communautés de définir leur pratique d’« adoption coutumière » en vue de préserver le droit « coutumier » substantif. Nous aborderons ces exigences législatives dans la perspective du pluralisme juridique et de l’interdisciplinarité. Grâce à l’anthropologie juridique qui offre les outils nécessaires à une démarche empirique, j’ai réalisé des entretiens semi-dirigés en atikamekw nehiromowin. La transcription et l’analyse approfondie des données m’ont ensuite permis de conceptualiser wactenamakanicic e opikihakaniwitc, le système juridique coutumier engagé vers l’autonomisation de l’enfant. Pour décrire wactenamakanicic e opikihakaniwitc, j'ai dû prendre position comme atikamekw nehiriwiskwew nehapiskak itekera pour tenir compte de kaskeritamowina - les savoirs nehirowisiw - et de conceptualiser avec la cartographie développée par la Chaire de recherche du Canada sur la diversité juridique et les peuples autochtones. Cette description contient les 5 éléments fondamentaux que l’on retrouve dans tout système juridique soit : les valeurs, les principes, les règles, les acteurs et les processus. Par respect des Atikamekw Nehirowisiwok de Manawan, je décris ces 5 éléments par l’entremise de Kokominook-Kimocominook ; ka motewkaniok ; ka nanakatcitakaniok ; ka waskapitcik et ka nosnetakaniok.

Les protectores diuini lateris Augusti, soldats de haut rang attestés dans l’armée romaine entre le IIIe siècle et le VIe siècle, ont été considérés tour à tour par les historiens comme des gardes du corps impériaux, des officiers d’état-major, ou les successeurs des centurions. Mais ces interprétations soulèvent bien des contradictions que cette étude d’histoire militaire et sociale, appuyée sur un corpus prosopographique, vise à résoudre. Les évolutions du recrutement, des carrières et des fonctions des protectores sont révélatrices des recompositions du commandement de l’armée romaine tardive. L’analyse ouvre également une fenêtre sur l’environnement social et culturel de ces soldats privilégiés, amenés à fréquenter tant les champs de bataille que la cour impériale. Enfin, en plaçant au centre de la réflexion la relation de ces soldats avec l’empereur, à la fois chef de l’armée et garant de l’ordre social et symbolique du monde de l’Antiquité tardive, on comprend comment les protectores s’inscrivaient, aux yeux des Romains, au sein d’un ordre terrestre des dignités reflétant la hiérarchie céleste. / The protectores diuini lateris Augusti, high-ranking soldiers attested in the Roman army from the 3rd c. to the 6th c. AD, have been alternately defined by historians as imperial bodyguards, staff officers, or centurions under a new name. This study, based on a prosopography, aims to resolve the contradictions raised by these interpretations, from a military and social point of view. The evolutions of these soldiers’ recruitment, careers and functions, reflect deep changes in the command structure of the Late Roman army. The analysis also sheds light on the social and cultural background of these privileged soldiers, who were familiar with both the battlefield and the imperial court. By focusing on their privileged relationship with the emperor, who was at the same time general in chief and responsible for the social and symbolic order of the Late Antique world, we can finally understand how the protectores were part, in the eyes of the Romans, of an earthly order of dignities reflecting the celestial hierarchy.

This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system. In the same position we find the woman. She is the very epicentre of the novel and the violence directed towards her is part of a complex problem that I adress. The woman is divided into pieces and fetischized by the male gaze to serve as a solution for his trauma. Hal Foster's notion ”the double logic of prosthesis” constitutes a theoretical base. The model shows how a fetischistic strategy is applied by avant-garde artists to solve the technological trauma that they experience. Both content and composition of The Atrocity Exhibition are inspired by avant-garde practices, I have therefore compared the text with Foster's theory on how the avant-garde problematized the interaction between man and machine. Marshall McLuhan's belief that the human body and technology are inseparable in the era of electronics further helps me to study technology's effect on perception.

1 Stopami Krejčovy divadelní poetiky ve frankofonní Belgii Disertační práce se zaměřuje na české divadlo od první do druhé avantgardy. Především je zaměřená na divadlo Otomara Krejči a jeho vztah s belgickým divadlem v rámci druhého českého avantgardního divadla do doby normalizace (do r. 1982). Hlavní hypotéza je v tom, že Krejčův přínos byl významný pro belgické pojetí dramatického umění. Existuje dnes belgické pokračování divadelní poetiky Krejči ve frankofonní Belgii a pokud ano, proč ? Krejča realizoval důležitou část svého uměleckého života v Belgii. Belgická divadelní činnost Krejči se dělí do dvou odlišných období. První z nich začíná založením Divadla za branou v Praze v roce 1965 a je spojené s působením v belgickém Národním divadle v Bruselu. Tato léta spadají do československé destalinizace a jsou velmi produktivní v umělecké oblasti. V Bruselu Krejča režíruje celkem čtyři hry : v roce 1965 Hamlet, v roce 1966 Racek, v roce 1970 Tři sestry a v roce 1978 Romeo a Julie. Ty tři první hry jsou inscenovány před odjezdem Krejči do jeho polo-exilu a před dobou normalizace. Poslední hra znamená začátek jeho druhého období v Belgii, spojeného s městem Louvain-la-Neuve. Druhé období začíná v době normalizace, kdy bylo zlikvidováno Divadlo za branou, zatímco jsou Krejčovy inscenace již velmi známé v...

Toyen and sexuality is a frequent topic of art history texts written about the artist in the last twenty years. Toyen provoked with her erotic drawings and illustrations, her appearance and mysteriousness shrouded around her. Where did the roots of her desire, depicted in her work, came from? What was the role played by contemporary context? How her contemporaries wrote about sexuality? Were there any interpretations of the artist's work based on the known information about her person or personality? What was the Toyen's position as a woman? The empirical part of my thesis is based on research, where I try to seek for answers to the questions found in the texts published in Czechoslovakia. The research is bounded by years 1922-1947. Years when Toyen entered respectively left the Czech art scene. Her work has therefore been interpreted by persons who lived in the same cultural context, some of them were actually her personal acquaintances. I will also try to answer the question whether the contemporary texts differ from the texts written after 1989, eventually how. Within the examining the reflection of sexuality in the work of Toyen I will also ask myself whether the perspectives of view are different in the eyes of men and women. The question put in this way accompanies, depending on the answer,...

At its heart (or lack thereof) The Machine is Angry is a theater work. The visual components are as equally important as their acoustic counterparts. Sounds are only as valuable as the images they evoke and the intention of The Machine is to outline a picture that simultaneously conveys community and isolation; the idea that one can feel most alone when in a crowded room.

Being one of the most significant styles in the architectural avant-garde,  constructivism  introduced  to  the  world  of architecture  a  dozen  principles  that  remain  relevant  and progressive to this day. The  architectural  functionalism  and  purity,  lacking  any disturbances, undertakes Le Corbusier principles and works for the “poetry of a simple form and a philosophy of rationalism”. This way constructivism sets the rules for the internal planning, making this architectural style light and open-like, penetrated by daylight. Trends in contemporary architecture often echo the principles that the constructivists worked on. In terms of lighting design this means on one hand, there is a significant potential for today's architects to benefit from the deeper understanding of daylight planning approaches in constructivist buildings and on the other hand there is an opportunity to update the solutions in the design of artificial lighting. The project aims at identifying the possible lighting design program for these kinds of spaces. From pointing out the key factors to consider, through the analysis of a specific constructivist building, the set of solutions was developed with intention  to  apply  them  in  any  environment  designed  with  the same  principles  as  well  as  to  compliment  constructivism  in renovation projects.