Th. doct.--Lettres--Clermont-Ferrand 2, 1998. / Bibliogr. p. 455-471.

Texte remanié de: Habilitationsschrift--Neuphilologische Fakultät--Universität Heidelberg, 1993. / Numérotation dans la séquence originale : 231. Bibliogr. p. 259-310.

Doct. diss.--Göteborg, 1996. / Résumé en anglais. Bibliogr. p. 183-195. Index.

Margaret Mitchell's Gone With the Wind (GWTW) has long been termed an "epic" of the American South. The implications of that term, however, have not been fully investigated, particularly as they concern generic criteria. How can we assign the generic characteristics of the epic narrative to GWTW? Using theories of the epic as postulated by Hegel, Lukács, Merchant, and Bakhtin, this study examines the ways in which GWTW writes the Southern nation into history, and how the objective portrayal of its epic heroine reflects the emergence of the New Southern nation. More specifically, it looks at how the depiction of Scarlett O'Hara's "everyday" existence reflects the larger New Southern identity and consciousness. The "everyday" or quotidian experience has been defined by such scholars as Henri Lefebvre, Michel deCerteau and Joe Moran as the space in which the life as lived is developed in all its minutia and the manner by which the state acts upon that existence. Using these ideas as a framework, we begin to see how the narrative of Scarlett's day-to-day existence functions as a voice for the New South. Finally, questions of how GWTW enters into the "everyday" of contemporary American culture are explored.

This study investigates the use of the terms genre and text type, the representation of fictional genres as well as the work procedures with the fictional genre short story in three Swedish digital educational materials for the subject Swedish in secondary school. To answer the research questions, the study was conducted with a combination of a quantitative and qualitative content analysis of relevant material regarding the terms genre and text type, fictional genres and the short story-genre in particular. The results show that the use of the terms genre and text type show similarities with slight variations between the digital educational materials. The representation of fictional genres showed a big difference concerning how many fictional genres were represented in each digital education material. The work procedures varied between the digital educational materials depending on the structure of the work and depending on the possibilities it provided for the teacher to adapt the material in the classroom.

L’accès des femmes à une sexualité sans risque est soumis à l’image qu’elles se font de leurs partenaires. Nous nous proposons d’explorer l’impact des représentations de masculinité et de féminité dans la perception des risques sexuels. Cinq études seront mises en place afin d’étayer l’hypothèse générale suivante : les individus s’éloignant des normes de sexe de leurs groupes (hommes déviants et femmes déviantes) sont perçus comme prenant davantage de risques dans leurs sexualités que les individus en accord avec les prescriptions sociales (physiques et comportementales) de leur sexe.Nos résultats remettent en perspective une partie de la littérature. Pour une femme, un individu (sexe masculin ou féminin) correspondant aux attentes physiques et comportementales de son groupe de sexe prend plus de risques qu’un individu physiquement typique mais ayant des attitudes opposées à celles qui lui sont socialement préconisées (étude 3). Les normes comportementales, attribuées socialement aux hommes ou aux femmes, influencent directement l’image que l’on se fait d’une personne (étude 5). Ainsi, quel que soit son sexe, la présentation de comportements masculins amène à percevoir un individu comme ayant davantage de comportements à risques que lorsqu’il est décrit avec des comportements féminins. / Women’s access to sexuality without risk is submitted to the perception they have of their partners. Our purpose is to explore the impact of masculinity and femininity representations into the sexual risks perception. Five studies will be presented to test this hypothesis: people who are far from their own sex group standards (deviant man or woman) are seen as people who are taking more risks in their sexuality than people who act in accordance with social prescriptions (physical appearance or behavior) concerning their sex. Our results puts into perspective one part of the literature. For a woman, a person (men or women) who is corresponding to the physical appearance and behavior expectations of her/his own sex group is taking more risks than a person with a typical physical aspect but with opposite social attitudes which are normally recommended (study #3). Standard behaviors, which are socially attributed to men and women, affect directly the image we have of a person (study #5). Indeed, whatever one’s sex, the presentation of a masculine behavior brings to perceive someone as a person who takes more risks than one described with feminine manners.

228f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:33:40Z No. of bitstreams: 1 Tese Anna de Faria.pdf: 5904425 bytes, checksum: 261f1f147a624c751c1980777322fa88 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-27T21:25:46Z (GMT) No. of bitstreams: 1 Tese Anna de Faria.pdf: 5904425 bytes, checksum: 261f1f147a624c751c1980777322fa88 (MD5) / Made available in DSpace on 2013-05-27T21:25:46Z (GMT). No. of bitstreams: 1 Tese Anna de Faria.pdf: 5904425 bytes, checksum: 261f1f147a624c751c1980777322fa88 (MD5) Previous issue date: 2009 / Mil e uma Orlans é uma tese que apresenta e discute as produções da artista, performer e criadora da Carnal Art, juntamente com o período que sensibilizou inúmeras noções de representação. Os trabalhos de Orlan vão da mudança de nome, de fisionomia e utilização de composições fotográficas à biotecnologia. Essa plurissemia, mixada, transvalora ícones artísticos e existenciais, ao mesmo tempo em que movimenta o uso de várias tecnologias. Eis a recente herança pós-moderna: a de promover potentes invenções desnaturalizantes, a partir dos rearranjos estético-éticos, propostos desde o grande turning point comportamental dos anos 1960, quando Orlan e outros questionadores rebeldes vieram a público produzir curtos-circuitos nas compreensões sobre o corpo, o gênero, a subjetividade e a arte contemporânea. A tese propõe demonstrar o contexto da artista, situar a época em que iniciou seus trabalhos e apontar algumas diferenças entre as suas criações e as de seus congêneres, artistas que, igualmente, foram tocados pelas transformações sensibilizadoras de um período, que ecoa até os nossos dias. / Salvador

This thesis explores the styles and voices of Derand Errol Wright in poetry.

RODRIGUES, Natália Vasconcelos. Dido e a viagem náutica na Eneida e na espístola 7 das Heroides. 2015. 93f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-25T17:19:59Z No. of bitstreams: 1 2015_dis_nvrodrigues.pdf: 909277 bytes, checksum: 000b585f6dfae97c0bd6b35082718165 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-04-26T16:53:08Z (GMT) No. of bitstreams: 1 2015_dis_nvrodrigues.pdf: 909277 bytes, checksum: 000b585f6dfae97c0bd6b35082718165 (MD5) / Made available in DSpace on 2016-04-26T16:53:08Z (GMT). No. of bitstreams: 1 2015_dis_nvrodrigues.pdf: 909277 bytes, checksum: 000b585f6dfae97c0bd6b35082718165 (MD5) Previous issue date: 2015 / O presente estudo tem como objetivo a análise da personagem Dido e do tema da viagem náutica a partir de duas obras da poesia latina: a Eneida de Virgílio e as Heroides de Ovídio. O mito da rainha de Cartago e seu fim trágico como consequência de uma paixão desmedida por Eneias é um ponto convergente das duas obras. A personagem Dido, após a morte de seu marido, Siqueu, mantém-se fiel a ele, não se entregando a nenhum outro homem. Essa condição de viúva casta muda com a chegada de Eneias a Cartago. O romance de Eneias e Dido, na Eneida, acontece no canto 4 e chega às extremas consequências: a morte de Dido. Dialogando com essa versão épica de Virgílio, a história de Dido reaparece no seio da elegia: o desespero da rainha “abandonada” por Eneias ganha uma nova versão na carta 7 da obra Heroides de Ovídio. O poeta elegíaco se utiliza dos monólogos da fenícia, retirados do canto 4 da Eneida (v. 305-330; v. 365-387; v. 534-552 e v. 590-629) para compor a missiva de lamentos. Tanto na Eneida como nas Heroides percebemos que a viagem náutica incide diretamente no episódio de Dido: a chegada de Eneias a Cartago provoca o encontro amoroso, e a partida do herói que segue sua missão resulta na separação dos amantes. A personagem e a viagem náutica são abordadas de formas diferentes nos dois autores, os assuntos são adequados ao gênero e ao estilo de cada poema (grauis para a épica; humilis para a elegia amorosa). Investigaremos a apropriação feita por Virgílio e Ovídio do tema da viagem náutica: o primeiro em favor da épica, sendo essa uma temática essencial do gênero elevado; e o segundo em favor da elegia, utilizando a viagem em alto mar também como uma metáfora elegíaca. Examinaremos esse corpus com base na teoria dos gêneros e na análise da elocução dos dois textos, levando em consideração o processo alusivo como elemento de construção do texto ovidiano.

Annotation: My graduation work deals with the usage of a traditional song as a genre at primary school. The aim was to bring a traditional song closer to children using genre and find out whether they can also feel and appreciate different kinds of genre work than the media provide them . I also tried to find out what kind of music children like and according to this information I tried to make my own interpretation. As the method of research I chose an observation and an interview which I did in the school club and in the centre for children and youth in Jindřichův Hradec. As a result I found out that children are able to accept different kinds of music than media and they like learning folk songs of various genres during their own participation in a music activity.