Les reliefs résultent d'une interaction entre de nombreux processus qui mettent en jeu des couplages complexes : climat, tectonique, érosion, impact anthropique, etc. Dans les paysages dominés par l'érosion fluviatile, la morphologie du relief est étroitement liée à la structure du réseau hydrographique. Ce dernier joue un rôle important dans les couplages entre les processus de surface (processus fluviaux et processus de versants). De nombreuses évidences de captures entre rivières provoquant des réorganisations du réseau hydrographique suggèrent que le réseau de drainage évolue, et il est loin d'être fixe comme le suggèrent certains modèles numériques d'évolution du paysage. Néanmoins, les travaux s'intéressant aux causes et aux mécanismes de ces réorganisations sont peu nombreux, et essentiellement qualitatifs. L'objectif de cette thèse a été de quantifier et de modéliser la réorganisation des réseaux hydrographiques par mécanisme de capture par rivières pirates dans le cadre d'un enfoncement relatif entre deux bassins, où l'avancement (par érosion régressive) de la tête de vallée de la rivière pirate provoque le détournement d'une rivière qui coule à proximité. Le comportement des Modèles numériques d'Evolution des Paysages (MEP) et plus particulièrement l'influence des paramètres de contrôle, ont été étudiés. L'expérimentation a été réalisée avec le logiciel GOLEM qui a été adapté aux besoins. L'étude s'est principalement portée sur le cas de l'évolution du réseau hydrographique de la partie française de la Meuse, qui a connue de nombreuses captures par le passé (capture de la Haute-Moselle par la Meurthe, capture de l'Aire par l'Aisne) et dont les caractéristiques actuelles sont favorables à de nouvelles captures (le lit de la Meuse se trouve perché à plus de 50m au dessus des vallées qui l'entourent (le lit de la Meuse se trouve perché à plus de 50m au dessus des vallées qui l'entourent : la Marne à l'ouest et la Moselle à l'est). / Landforms result from interaction between several processes, involving complex coupling: climate, tectonics, erosion, human impact, etc. In landscapes dominated by fluvial erosion, terrain morphology is closely related to the hydrographic network system. Because the latter plays an important role in the surface processes coupling (fluvial processes and hillslope processes). Many evidences of stream piracies causing reorganization of hydrographic network suggest that the drainage system is changing, and it is far from being fixe as propose some numerical landscape evolution models. Nevertheless, works focusing on causes and mechanisms of these reorganizations are very few and they are largely qualitative. The aim of this thesis is to quantify and describe the reorganization of hydrographic networks provoked by headward piracy mechanism in the case of relative lowering between two basins, where the riverhead progress by headward erosion causing the diversion of a river flowing nearby. The problem is tackled with a numerical modeling approach. We emphasis on the evolution of the hydrographic networks of the French part of the Meuse basin, where several piracies were recorded in the past (the piracy of the Upper-Moselle by the Meurthe and the piracy of the Aire by the Aisne), and which current characteristics are favorable to new piracies (the Meuse river bed is perched at more than 50m comparing to its surrounding valleys (the Meuse river bed is perched at more than 50m comparing to its surrounding valleys: Marne at the west and the Moselle at the east).

[pt] Personagem mítico-judaico, o golem é um ser antropomorfo construído a partir de material inanimado e trazido à vida por meio de procedimentos mágicos. Em sua forma mais consolidada, ele é um homem de barro com uma inscrição em hebraico na testa. São muitas as suas facetas nas diferentes leituras que lhe atribuíram ao longo dos séculos. Em todas as variações, no entanto, é sempre uma palavra mágica, escrita ou soprada, que concede vida ao golem. Esta dissertação revisita e reconta o mito, com maior interesse pela palavra que desperta o homem de barro. O trabalho propõe que o papel central da palavra na narrativa do golem faz ressoar a importância da palavra na tradição judaica. Partindo do pressuposto de que a tradição judaica é sedimentada pela transmissão intergeracional de palavras, este trabalho, buscando inserir-se nesse contexto, suplementa-se com um reconto da lenda do golem para crianças. Pensar o poder de criação da palavra nos impele a estabelecer paralelos com a invenção literária. As amostras de escrita poética inseridas e mencionadas no texto tanto exemplificam a questão quanto expõem sua complexidade. O trabalho lança um olhar para o mito do golem como metáfora para a escrita e percebe no próprio autor da dissertação um fazedor de golem. É nesse sentido que o texto se deixa contaminar por uma ideia de golem múltiplo e amorfo. O resultado é uma escrita constelar, composta a partir de fragmentos situados no limite entre a teoria, a prosa literária e a fabulação autobiográfica. Embora produza tensionamentos entre os fragmentos, este trabalho esforça-se por não os interpretar. / [en] A Jewish-mythical character, the golem is an anthropomorphic being which is built from inanimate material and brought to life through magical procedures. In his most consolidated form, he is a clay man with a Hebrew inscription on his forehead. There are many facets to him in the different readings that have been given to him over the centuries. In all the variations, however, it is always a magic word, written or blown, that grants life to the golem. This master s thesis revisits and retells the myth, with a greater interest in the word that awakens the clay man. This work proposes that the central role of the word in the golem narrative resonates with the importance of the word in Jewish tradition. Starting from the assumption that Jewish tradition is sedimented by the intergenerational transmission of words, this work, seeking to insert itself in this context, supplements itself with a retelling of the legend of the golem for children. Thinking about the creative power of words impels us to establish parallels with literary invention. The samples of poetic writing inserted and mentioned in the text both exemplify the question and expose its complexity. The work looks at the myth of the golem as a metaphor for writing and perceives in the author of the dissertation a golem-maker himself. It is in this sense that the text allows itself to be contaminated by an idea of the multiple and amorphous golem. The result is a constellar writing, composed of fragments situated on the boundary between theory, literary prose, and autobiographical fabrication. Although it produces tensions between the fragments, this work strives not to interpret them.

ABSTRACT WHERE WE CANNOT SPEAK The poetry collection Where We Cannot Speak and the accompanying critical essay “Borges and the Golem Paradox: a Rhetoric of Silence?” explore the theme of language and silence. The poetry collection is written in the voice of the imaginary (but published) poet, Gershon Holtz, who reflects my Jewish heritage and upbringing. The poems articulate the silences of those oppressed by war and persecution, and also the silences of meditation and the ineffable, which can reside in the presence, absence, and margins of the poet’s voice. The collection is comprised of two sections: (i) “The Mantelpiece”, which delves into culture, conflict, and memory; and (ii) “The Beautiful Salon”, which reflects upon themes of place, time, loss, and responses to silences represented in visual art and poetry. The critical essay is concerned with the cabalistic figure of the golem—a human being made in an artificial way by magic art, through the use of holy names. Argentinean writer Jorge Luis Borges (famous for creating fictitious authors and books) wished that, of all his work, the first stanza of his poem “The Golem”, might be remembered. The essay provides a reading that demonstrates how the poem embodies Borges’ views on the nature of signification, language, and knowledge. The paradoxical outcome is that, just as the golem did not have the power of speech, language conceived of as an instrument for textual golem-making is silent in its capacity to represent the world. The essay concludes with some thoughts on my own poetic practice and links the essay with the poetry collection via the figure of the textual golem, Gershon Holtz. This fictional poet becomes a symbol for the problem of language and representation—interpreted both as what we cannot speak about, and the silences inherent in language itself.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-17T21:15:22Z No. of bitstreams: 1 RummeniggeMedeirosDeAraujo_TESE.pdf: 5497601 bytes, checksum: 39721853850dd72b415b468e09280d21 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-18T20:01:05Z (GMT) No. of bitstreams: 1 RummeniggeMedeirosDeAraujo_TESE.pdf: 5497601 bytes, checksum: 39721853850dd72b415b468e09280d21 (MD5) / Made available in DSpace on 2017-04-18T20:01:05Z (GMT). No. of bitstreams: 1 RummeniggeMedeirosDeAraujo_TESE.pdf: 5497601 bytes, checksum: 39721853850dd72b415b468e09280d21 (MD5) Previous issue date: 2016-08-26 / Esta pesquisa ? o resultado de uma reflex?o te?rico-anal?tica sobre a obra dramat?rgica da escritora inglesa Sarah Kane. Na maneira como ela estrutura e articula um incessante di?logo, em sua escritura, com os mortos (a tradi??o dramat?rgica), sobre os mortos (as diferentes ideias e no??es de morte na vida urbana) e para os que v?o morrer, nesse caso, a sua pr?pria pessoa em forma de registro autobiogr?fico. O trabalho se det?m, especificamente, na an?lise dos seus tr?s ?ltimos trabalhos: Cleansed (Purificados, 1998), Crave (?nsia, 1998) e 4.48 Psychosis (Psicose 4:48, 2000). Levando em considera??o o desenvolvimento dos elementos e no??es que constroem o conceito de Tanatopo?tica. Dessa maneira, s?o de interesse particular para esse trabalho as no??es de escritura e escrita perform?tica para an?lise e contextualiza??o da obra da dramaturga na hist?ria teatral, uma vez que essas no??es permitem compreender e abordar a obra a partir do vi?s performativo. Este trabalho identifica, constr?i e investe ainda, na no??o de personagem golem como um dispositivo de duplo ou sombra para discutir e inscrever quest?es do universo ?ntimo de sua autora. Para a discuss?o dessas no??es foram fundamentais as ideias de Gilles Deleuze, Jacques Derrida, Roland Barthes, Alex Beigui, Diana Klinger e Gershom Scholem. O estudo sobre a morte e a fenomenologia tanatol?gica foi conduzido a partir da an?lise das escrituras, na sua abordagem direta ao tema, ou por meio das refer?ncias, cita??es e met?foras utilizadas pela autora para elaborar a sua po?tica da morte, ou tanatopo?tica. Para isso levaram-se em considera??o as ideias de Edgar Morin, Emmanuel Levinas, Martin Heidegger, Arthur Schopenhauer, Heiner M?ller, Vladimir Safatle, entre outros. Kane aparece neste trabalho como autora que se mostra tribut?ria ? linhagem hist?rica do Teatro do Absurdo, sem reconhecer ou assumir oficialmente sua filia??o, mas transcendendo a ela na supera??o daquele que foi o seu maior intento; a recusa ao nome, a aniquila??o e a fuga da linguagem teatral. / This research is the outcome of a theoretical-analytical consideration about the dramaturgical works of the british playwright Sarah Kane. About the way she structures and articulate an unceasing dialogue in her writings with the dead (the dramaturgical tradition); about the dead (the different ideas and notions about death in the urban life); and with the ones that are going to die, i.e. herself in autobiographical registers. The work focuses, specifically, at the analysis of her three last plays: Cleansed (1998), Crave (1998), and 4.48 Psychosis (2000), taking into consideration the development of the notions and elements that build the Thanatopoetic concept. The particular interests of this work are the notions of writing and performative writing applied to the analysis and contextualization of Kane?s work at the theatre history, since those notions allow the comprehension and approach of the plays through a performative bias. This work also identifies, develops and invests the notion of the ?Golem? character as a dual or shadow device, to discuss and enroll matters from the playwright?s intimate universe. For the discussion of these notions, the author uses ideas from Gilles Deleuze, Jacques Derrida, Roland Barthes, Alex Beigui, Diana Klinger and Gershom Scholem. The study about death and the thanatological phenomenology will be conducted with the analysis of the writings, in its direct theme approach, or through references, quotations and metaphors used by the playwright to elaborate her ?Death poetic?, or Thanatopoetic. For that, the author takes into consideration the works of Edgar Morin, Emmanuel Levinas, Martin Heidegger, Arthur Schopenhauer, Heiner M?ller, Vladimir Safatle, among others. This work also identifies in Kane an author that pays tribute to the historical lineage of the Absurd theatre, without officially recognizing or assuming such affiliation, but instead transcending it with the overcoming of what was her biggest intent; the annihilation of and escape from the theatrical language.

This thesis deals with the character named Golem and its possible interpretations. The first chapter is aimed generally at artificial creations, a category Golem is often reckoned as a part of. Second chapter deals with the origin and the meaning of the word Golem. This chapter also lists down Golem's attributes and instructions for its creation. The following two chapters describe the typical concept of Golem as well as the archetype of a shadow and the motif of a double. C.G. Jung was dealing with the archetype of a shadow in detail while the issue of a double is based on the works by O. Fisher and D. Hoder. The fifth chapter is dedicated to the Prague Golem and its author Rabbi Löw. In addition to Czech legends, German ones are also included, namely the book Sippurim that served as a source of information used by many authors who had been influenced by the Golem theme. Following chapters analyse particular works of German literature. First it is the poem Die Geschichte von dem Golem by Ludwig Kalisch. Here, the theme of Golem is elaborated in a lyrical way. An analysis of A. von Armin's work named Isabella von Ägypten comes next. This work tells a story of Golem's wife who is a double of the main character Bella. In addition to these two works, an interpretation of the story called Der Sandmann...

My diploma thesis deals with socialist realism. I have demonstrated that the content of this term has been changing regarding the political situation and it was loosely replacing the term folk art in historical texts. I have proved that the opinions of experts on socialist realism differ and a clear definition of the term socialist realism does not probably exist. The lack of definition of socialist realism was used to manipulate the artistic community. The thesis helped me to defend the proposition that the Communist Party has supervised and influenced the operation of the film industry even before the February coup in 1948 by the Ministry of Information, where a communist Václav Kopecký was in the lead. Interventions into films and purges of film workers were made already in the immediate postwar period. The main cultural-political directive on cinematography from April 1950, which should have provided a faster enforcement and obligatory effect of socialist realism, aimed to increase the film production. My thesis has shown that this directive, together with the bureaucratic way of approving films, disputes within the Communist Party, changes in film authorities and slow work of creative teams, contributed to an unprecedented crisis in the film production and to a fatal failure to meet the plan in the following year. In my thesis, I have proved that the film The Emperor and the Golem fully complies with two out of three principles of socialist realism. I have labeled the principle that requires truthfulness and historical concreteness as partly met. From my analysis, it can be concluded that this historical comedy has all the features that are required from the works of socialist realism.

No description available.

Tato diplomová práce se zabývá postavou Golema v dílech německých a českých autorů. V první kapitole se zaměřuji na Prahu na přelomu 19. a 20. století, kde se tomuto tématu věnovali hlavně němečtí, převážně židovští autoři. Jejich tvorba je označována pojmem "pražská německá literatura". Vedle nich o Golemovi píší i čeští spisovatelé. V druhé kapitole přibližuji dobu za vlády Rudolfa II., kdy žil rabi Löw, který podle pověsti Golema stvořil a oživil šémem. Poslední kapitola je věnována obecným informacím o oživlé hliněné postavě. Následně zde analyzuji jednotlivá díla předem vybraných autorů. Po zhodnocení sedmi bodů, na které jsem se ve své práci zaměřila, uvádím výsledky této analýzy. V některých případech uchopili autoři jednotlivé situace velice podobně, v některých se značně odlišovali. Právě odlišnost přístupu a pestré variace zpracování dotváří Golemův mysteriozní obraz.

Les reliefs résultent d'une interaction entre de nombreux processus qui mettent en jeu des couplages complexes : climat, tectonique, érosion, impact anthropique, etc. Dans les paysages dominés par l'érosion fluviatile, la morphologie du relief est étroitement liée à la structure du réseau hydrographique. Ce dernier joue un rôle important dans les couplages entre les processus de surface (processus fluviaux et processus de versants). De nombreuses évidences de captures entre rivières provoquant des réorganisations du réseau hydrographique suggèrent que le réseau de drainage évolue, et il est loin d'être fixe comme le suggèrent certains modèles numériques d'évolution du paysage. Néanmoins, les travaux s'intéressant aux causes et aux mécanismes de ces réorganisations sont peu nombreux, et essentiellement qualitatifs. L'objectif de cette thèse a été de quantifier et de modéliser la réorganisation des réseaux hydrographiques par mécanisme de capture par rivières pirates dans le cadre d'un enfoncement relatif entre deux bassins, où l'avancement (par érosion régressive) de la tête de vallée de la rivière pirate provoque le détournement d'une rivière qui coule à proximité. Le comportement des Modèles numériques d'Evolution des Paysages (MEP) et plus particulièrement l'influence des paramètres de contrôle, ont été étudiés. L'expérimentation a été réalisée avec le logiciel GOLEM qui a été adapté aux besoins. L'étude s'est principalement portée sur le cas de l'évolution du réseau hydrographique de la partie française de la Meuse, qui a connue de nombreuses captures par le passé (capture de la Haute-Moselle par la Meurthe, capture de l'Aire par l'Aisne) et dont les caractéristiques actuelles sont favorables à de nouvelles captures (le lit de la Meuse se trouve perché à plus de 50m au dessus des vallées qui l'entourent (le lit de la Meuse se trouve perché à plus de 50m au dessus des vallées qui l'entourent : la Marne à l'ouest et la Moselle à l'est).

Main goal of this thesis is to test efectivity of teaching grammar school literature based on one book only. Secundary goal is to make teaching of historical literature for grammar's school first and second year students more attractive. This thesis is based on five worksheets, every one of them is designed for different literary aim. All of them are based on book "Můj Golem" wrote by Marek Toman. Lectures are governed by three-phase model of teaching which combines different methods for work with pupils. This thesis proofs that, use of one book in long-term tuition with different attitude, combined with appropriate goals and attractive methods, is one way to teach literature. Also this thestis helps making rather unpopular subject of historical literature more attractive to students.