‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.

Made available in DSpace on 2016-04-27T16:58:43Z (GMT). No. of bitstreams: 1 Elisabete Marcon Mello.pdf: 3017114 bytes, checksum: 16fd1525b6ecfe454ef3f00ca9c10565 (MD5) Previous issue date: 2008-09-11 / Secretaria da Educação do Estado de São Paulo / This research analyzed the difficulties that students from Basic Education face up to the use of the algorithm of the borrowing (decomposition of the minuend) to solve subtractions operations. Therefore, it was made a comparison between the algorithm of the borrowing and algorithm of the compensation (addition of equal quantities in the minuend and the subtrahend) in order to check if using the algorithm of compensation it could diminish their mistakes. Once in the diagnosis study we found out that students make many mistakes when they have to use the algorithm of the borrowing, mainly when it is necessary to proceed some borrowings to solve the operation. This difficulty was found out in all grades from Basic Education 2 and sometimes it extends to High School level. It was analyzed sixty didactic books and five pedagogical publications from private schools systems of the second grade and we realized the use of the algorithm of the borrowing to solve the subtractions with reserve in all of them. Besides, we analyzed six books for teacher s formation and the same procedure was adopted. Most of teachers who were interviewed recognized that students have difficulties with the subtractions that involve some borrowings. We applied a didactic sequence for fifth grade students in order to introduce the use of the algorithm of the compensation. Based on results of our research, we believed that the use of the algorithm of the compensation could be more efficient for the subtraction problems faced to the students. Our research is based on the Theory of the conceptual fields of Gerard Vergnaud and on the Theory of the Situations of Brousseau / Neste trabalho levantamos as dificuldades enfrentadas por alunos do Ensino Fundamental com o uso do algoritmo do empréstimo (decomposição do minuendo) para efetuar subtrações. Fazemos uma comparação entre o algoritmo do empréstimo e o algoritmo da compensação (adição de quantidades iguais no minuendo e no subtraendo) a fim de saber se, com esse último, poderíamos diminuir as dificuldades dos alunos. Por meio de um estudo diagnóstico constatamos que os alunos cometem muitos erros ao utilizar o algoritmo do empréstimo, principalmente quando são necessários vários empréstimos para efetuar a subtração. Verificamos que essa dificuldade é encontrada em todas as séries do Ensino Fundamental II e se estende ao Ensino Médio. Verificamos sessenta títulos de livros didáticos e cinco apostilas de sistemas educacionais de segunda série do Ensino Fundamental e todos propõem o uso do algoritmo do empréstimo para efetuar as subtrações com reserva. Os seis títulos destinados à formação de professores, que analisamos, também privilegiam o uso do algoritmo do empréstimo. A maioria dos professores analisados reconhece que os alunos têm dificuldades com as subtrações que envolvem vários empréstimos. Aplicamos uma seqüência didática a alunos de quinta série do Ensino Fundamental a fim de introduzir o uso do algoritmo da compensação. Baseados nos resultados de nossa pesquisa, acreditamos que o uso do algoritmo da compensação poderia ser mais eficiente do que o uso do algoritmo do empréstimo, contornando problemas que os alunos enfrentam para efetuar subtrações. Nossa pesquisa está fundamentada na teoria dos campos conceituais de Gerard Vergnaud e na Teoria das Situações Didáticas de Brousseau

Ce mémoire jette un regard critique, à partir des théories de Gramsci, sur les trois principes émanant des rapports du Représentant spécial du Secrétaire général des Nations unies, concernant la responsabilisation des firmes transnationales (FTN) en matière de violation des droits humains. Ces trois principes sont: la responsabilité des États de protéger, l'obligation des FTN de respecter et l'importance d'offrir des recours aux victimes des FTN pour réparer. Ce mémoire cherche à démontrer comment la montée de l'idéologie néolibérale permet de défendre et de protéger les intérêts de la classe capitaliste transnationale (CCT) au détriment des droits des classes subalternes. Cette situation est synchronisée avec l'établissement d'une nouvelle hégémonie en faveur de cette CCT. Les trois principes défendus par le Représentant spécial s'inspirent de cette idéologie et favorisent un rééquilibrage du rôle de la société civile par rapport à la société politique, au sein de la superstructure. L'instauration de cette nouvelle hégémonie est soutenue par le rôle actif des intellectuels organiques de la CCT par le biais des organisations internationales. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Classe, Droits humains, Firmes transnationales, Gramsci, Hégémonie, Néolibéralisme.

På papiret virker Fight Club [1999] som et sikkert stikk. En litterær adapsjon utført av en kjent regissør (David Fincher) med solide stjernenavn på plakaten(Brad Pitt, Edward Norton). Men Chuck Palahniuks debutroman fra 1996 er et vanskelig verk, preget av mørk satire, flere lag med ironi og radikal subjektivitet. For å oversette en slik fortelling til film trengs ikke bare dristigheten til å fortelle om kontroversielle tema, men også oppfinnsomheten til å oversette en utpreget psykologisk roman til et audiovisuelt språk. Det er nettopp oversettelsen jeg skal undersøke i denne oppgaven, hvordan romanens kildemateriale har blitt gjenskapt i filmmediet. For å gjøre dette så konkret som mulig, snevrer jeg først inn undersøkelsen til filmens voice-over, som er basert på romanens tekst. Hvordan har bokas fortellerstemme blitt adaptert til en fortellende voice-over i filmen? Jeg skal ta for meg denne prosessen i tre deler, basert på tre stadier i adapsjonsprosessen hvor filmskaperne har hatt anledning til å kreativt bearbeide romanens tekst. Første del er voice-overen sett som skriftlig tekst, manusstadiet. Hva er kuttet, forandret og lagt til romanens tekst? Andre del er voice-overen som stemme, innspillingsstadiet. Hvordan forandres skriften i manus, og dermed også romanens tekst, idet en den blir til uttalte ord? Hvilke virkemidler har filmskaperne her benyttet seg av? Tredje del er fortellerstemmen i møte med resten av filmspråket, klippestadiet. Hvordan påvirker bildene og den øvrige lyddesignen vår opplevelse av fortellerstemmen, og hvordan er påvirkningen den andre veien? Deretter skal jeg utvide perspektivet igjen, og undersøke hvilke implikasjoner bruken av voice-over har for filmen som helhet. Hva kan en film kommuniserer Fight Club på denne måten? Tema blir ironi, upålitelighet, subjektivitet, karakterengasjement og kronologi. Anvendte teoretikere inkluderer Linda Hutcheon, Sarah Kozloff, Thomas Elsaesser, Gerard Genette, Seymour Chatman, André Bazin, Murray Smith og Lars Thomas Braaten.

By reading mournful poems rhetorically, I expand the concept of the elegy in order to reveal continuities between private and communal modes of mourning. My emphasis on readers of elegies challenges writer-centered definitions of the elegy, like that given by Peter Sacks, who describes how the elegy's formal conventions express the elegist's own motives for writing. Although Sacks's Freudian approach helpfully delineates some of the consoling effects that writing poetry has on the elegist herself, this dissertation revises such writer-centered concepts of the elegy by asking how elegies rhetorically invoke ethical relationships between writers and readers. By reading elegiac poems through Kenneth Burke's rhetorical theories and Emmanuel Levinas's ethics, I argue that these poems characterize, as Levinas suggests, subjectivity as fundamentally structured by ethical relationships with others. In keeping with this ethical focus, I analyze anthology poems, meaning short lyric poems written by acclaimed authors, easily accessible, and easily remembered - including several well-known poems by such authors as Emily Dickinson, Gerard Manley Hopkins, and Robert Frost. Anthology pieces invite ethical evaluation in part because they represent what counts as valuable poetry - and also, by implication, what does not. Because anthology poems are read by broad, diverse audiences, I suggest that a rhetorical methodology focusing on writer-reader relationships is essential to evaluating these poems' ethical implications. This rhetorical approach to poetry, however, questions rhetoricians and aesthetic theorists from Aristotle and Longinus to Lloyd F. Bitzer and Derek Attridge who emphasize distinctions between rhetoric and poetics. I address the ongoing debate about the relationship between rhetoric and poetics by arguing, along the lines of Wayne C. Booth's affirmation that fiction and rhetoric are interconnected, that poetry and rhetoric are likewise integrally tied. To this debate, I add an emphasis on philosophy - from which Plato, Ramus, and others exclude rhetoric and poetry - as likewise essential to understanding both poetry and rhetoric. By recognizing the interrelatedness of these disciplines, we may better clarify poetry's broad, ethical appeals that seem so valuable to readers in situations of loss.

Thesis (D. Min.)--San Francisco Theological Seminary, 1992. / Includes 90 original poems by the author. Includes bibliographical references (p. 218-225).

This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.

This dissertation titled The History of the Catholic Church in Lesotho 1862-1989 has three chapters. The first chapter deals with the formation of the seventy-seven missions in Lesotho, and the establishment of the four dioceses of Lesotho the seventy-seven mission had all been formed during the period mentioned in the title, and those formed after appear in the appendix. The second chapter deals with the socio-political involvement of the Catholic Church in Lesotho, this part deals with the authority of the bishop and the Church government and again with the role of the bishop and his relationship to the Oblate authority. In this part four bishops are taken to illustrate this point, and this covers the period from 1930 to 1966. In short this deals with the internal affairs of the Church, and its finances. And we go on to deal with the involvement of the Church in the party politics which led to independence of the country. The last chapter deals with the church under the indigenous clergy, which actually is inculturation its problem and attempted solution. / Christianity, Spirituality, Church History and Missiology / M. Th. (Church History)

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:26:19Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_D.pdf: 51797264 bytes, checksum: d20707e4a2222a83fda9ddeed6fbcefd (MD5) Previous issue date: 2014 / Resumo: A presente Tese é resultado de pesquisas realizadas desde 2008. Em 2010 foi concluído Mestrado junto ao Programa de Pós-Graduação em Música da UNICAMP, cujo tema principal foram as reflexões de Gérard Grisey acerca do tempo musical, apresentadas segundos as ideias e conceitos registrados pelo próprio compositor em seus escritos. Após a imersão no seu pensamento composicional viu-se necessário verificar como ele traduziu em música tais estruturas. Assim, o objetivo principal do presente trabalho é averiguar como o compositor construiu suas estruturas musicais, procurando as ressonâncias com sua produção teórica. Para isso foram escolhidas três peças de distintas fases composicionais de Grisey: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Outro objetivo foi encontrar elementos do processo criativo do compositor que tivessem sido influenciados por teorias vigentes na década de 1970, especialmente a Teoria da Informação. A metodologia consistiu no estudo de bibliografia especializada, e na quantificação e análise dos principais elementos estruturais das peças escolhidas. Como resultados podem-se destacar: 1) elaboração de ferramenta de análise segundo taxa de entropia e informação; 2) identificação das estruturas fundamentais das três peças analisadas; 3) composição de peças originais a partir do estudo conceitual. Após o estudo detalhado das três peças verificou-se que as mesmas técnicas de manipulação dos materiais são preservadas ao decorrer da obra do compositor. A novidade se restringe especialmente à maneira como ele organizou formalmente os processos de transformação, atitude motivada pela necessidade de introduzir maior imprevisibilidade em sua música / Abstract: This thesis is the result of a research conducted since 2008. In 2010 was completed a Master Degree at UNICAMP, whose main theme was Gérard Grisey's reflections on musical time, presented according to ideas and concepts by the composer himself in his writings. After immersion in his compositional thinking it became necessary to check how he translated into music such structures. Thus, the main objective of this work is to investigate how the composer has built his musical structures, looking for resonances with his theoretical production. For this three pieces from Grisey¿s distinct compositional phases were chosen: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Another objective was to find elements of the composer¿s creative process that had been influenced by prevailing theories in the 1970s, especially information theory. The methodology consisted in the study of relevant literature, and, quantification and analysis of the major structural elements of the chosen pieces. The results that can be highlighted are: 1) the development of an analysis tool by rate of entropy and information, 2) identification of the fundamental structures of the three pieces analyzed, 3) composition of original pieces based on the conceptual study. After the detailed study of the three parts it was found that the same techniques for handling the materials were preserved throughout the work of the composer. The novelty is restricted especially the way he formally organized the processes of transformation, attitude motivated by the need to introduce greater unpredictability in their music / Doutorado / Processos Criativos / Doutor em Música

This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello