Orientador: Jorge Tulio Mujica Ascui / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Matematica, Estatistica e Computação / Made available in DSpace on 2018-08-04T04:15:50Z (GMT). No. of bitstreams: 1 Bertoloto_FabioJose_M.pdf: 1324259 bytes, checksum: f7fd3d37bfe8d06ad156b30761402bfe (MD5) Previous issue date: 2005 / Resumo: O principal objetivo deste trabalho é o estudo de certos espaços de Banach de funções analíticas no disco aberto unitário, conhecidos como espaços de Hardy. Um outro objetivo é o estudo das propriedades básicas de álgebras de Banach, com especial ênfase na álgebra do disco e na álgebra das funções analíticas e limitadas no disco aberto unitário / Abstract: The main objective of this work is the study of certain Banach spaces of analytic functions on the open unit disc, known as Hardy spaces. Another objective is the study of the basic properties of Banach algebras, with special emphasis in the disc algebra and the algebra of bounded analytic functions in the open unit disc / Mestrado / Matematica / Mestre em Matemática

Écrivain prolifique, Alexandre Hardy [15 ?? – 1632] a régné sur le théâtre français pendant une trentaine d’années, fournissant aux premières troupes professionnelles leur répertoire. Cette thèse aborde l’œuvre du dramaturge comme celle d’un poète professionnel, devant écrire pour faciliter le jeu des comédiens et pour intéresser les spectateurs des premiers théâtres de ville. Les scènes d’action violente d’Alexandre Hardy apparaissent comme une invention propre à l’écriture professionnelle, invention répétée et variée dans les tragédies, tragi-comédies et pastorales que le poète publie entre 1623 et 1628. Longtemps considérée comme une concession à un goût soi-disant populaire, cette scène pathétique relève, au contraire, d’un théâtre du Public qui, par l’évidence des spectacles de violence et les émotions ainsi suscitées, interroge les spectateurs sur le[s] sens de leur communauté. Cette étude dégage comment, au XVIe et au XVIIe siècles, les controverses théoriques sur la représentation scénique des violences débattent de son lien avec une esthétique de la merveille et de son pouvoir pathétique. Elle examine la poétique et la rhétorique du spectacle violent dans l’œuvre de Hardy, en montrant comment cette scène pathétique donne sens au rassemblement de spectateurs institués en témoins. La quête d’une expérience collective des émotions se rattache à une conception du théâtre de ville comme lieu où les spectateurs font l’essai de leur concorde, idéal urbain encore vivace à la fin de la Renaissance. Lire l’œuvre d’Alexandre Hardy fait apparaître les ambitions du théâtre de ville et leurs évolutions au début du XVIIe siècle. / A prolific writer, Alexandre Hardy [15??-1632] has dominated French theatre for about thirty years, providing the first professional companies with their repertoire. This dissertation studies his work as one of a professional poet, who had to make matters easier for the actors and to arouse the interest of the audience of the first urban theatres. These professional requirements account for the invention of scenes of violence which appear repeatedly, albeit with some variation, throughout the tragedies, tragi-comedies and pastorals published between 1623 and 1628. Critics have long considered such a use of pathos as a concession made to popular taste. In fact, it takes part in the creation of a theatre of the Public which, through the evidence and emotional impact of violent representation, leads the spectators to question the meaning of the community they form. I have first put into light how, in theoretical writings dealing with the problem of staging violence, such a poetical choice was related to the aethetics of marvel [meraviglia]. I have then studied the poetics and rhetoric of violence in Alexandre Hardy’s plays and shown that theatrical pathos summoned the spectators as witnesses of the action performed on stage, giving sense to their reunion. Finally I have related the search for collective emotions to a conception of urban theater which was still vivid at the end of the Renaissance – theatre as a place where spectators experimented concord. Thus Alexandre Hardy’s work reveals the ambitions and mutations of urban theatre at the beginning of the seventeenth century.

A significant bird hazard to aircraft occurs at times at Port Hardy Airport through the presence of numbers of northern bald eagles in the vicinity of the airport and its approaches. This study investigated bald eagle abundance, distribution, movement patterns, productivity and feeding habits within the airport vicinity and satellite region. Findings were analyzed in the light of comparable ecological information available on the species. The study extended from October 1972 to October 1974. The resident summer and winter population within the airport vicinity approximated 3 eagles. Numbers increased gradually from late August until early November (when salmon were spawning in the Keogh River) and when 11 eagles were continuously present. The maximum number of eagles at any one time was 35. Even a relatively small spawning run of salmon was adequate to attract the eagles and the very large runs did not attract eagles in the same ratio. Eagle numbers decreased from early November until the herring spawning season in March and April when at least 5 eagles were continuously present. The potential hazard to aircraft, expressed as the maximum number of eagle sightings and the number of eagles observed per hour, was greatest during the fall salmon spawning season and the spring herring spawning season for each of the 5 observation areas within the airport vicinity. The population within the study area (200-250 resident eagles) was sufficiently large to dismiss a killing program, even if this was socially acceptable. Mean nesting density in the study area was at least .1 active nest/lineal km of coastline with .2 active nest/lineal km of coastline in the airport vicinity. Fifty seven per cent of the nests failed but those that produced young averaged 1.4 young/nest. Five active nests were within the area of airport activity and they did not differ in success rate or fledged young per successful nest from nests more remote. Statistical analysis of distribution data within the airport vicinity revealed that eagle use was significantly greater in the Keogh River mouth region and significantly lower in the inland region than in the remaining observation areas. The aggregation area along the KeoghiiRiver in the southeast flight path for runway 1028 presented the greatest hazard to aircraft. Direct eagle flights across the flight path occurred at frequent intervals in September and October and were often at the same elevation as approaching or departing jet aircraft. Since it is not likely that the behaviour of the eagles can be changed, ways of altering the flight paths of the aircraft were considered so as to lessen the frequency of interaction. This can be done by extension of runway 102 8 (by about 610m) to allow approaching or departing Boeing 737 jets to pass over, instead of through, the hazardous zone above the Keogh River. / Science, Faculty of / Zoology, Department of / Unknown

A commonplace among Hardy critics is that as a young man Hardy lost his Christian faith and entered a serious religious disillusionment. The mainstream of Hardy criticism has followed the general consensus that Hardy suffered keenly as a result of this experience and looked back on Christianity with poignant nostalgia. If his view is not purely nostalgic, traditional criticism has insisted, then it seems at worst only ambivalent. The purpose of this dissertation is to argue that Hardy's attitude toward Christianity as revealed in his novels is not only not ambiguous, but, as a matter of fact, is specifically anti-Christian, often to the point of vehemence; that his treatment of various components of Christianity in his novels is aggressively anti-Christian; and that the feeling is so pronounced that the novels may be read as anti-Christian propagandistic tracts. This dissertation evaluates Hardy's cynical view of and attack on Christianity by examining his treatment of its symbols, such as its architecture, and its practitioners, both clergy and laity. Furthermore, since Hardy's attitude is shown not only in specific comments and particular situations but also in general tone, attention is directed toward the pervasive irony with which Hardy regards the entire panoply of Christianity. Although a few short stories and poems considered particularly relevant receive passing attention, this study is restricted primarily to a consideration of Hardy's fourteen novels. Moreover, this study notes the lack of continuity of development or logical intensification of Hardy's attitude toward Christianity during the twenty-four years spanning the time between the publication of his first novel, Desperate Remedies, in 1871 and the publication of his last novel, Jude the Obscure, in 1895.

Inwiefern, so konnte man sich zu Beginn dieses renditeorientierten, hoch kapitalistischen und allzeit praxisbezogenen 21. Jahrhunderts durchaus zu Recht fragen, gehört Kunst überhaupt zum Leben, inwiefern gehört Literatur zur Lebenskunst, und inwiefern trifft dies im Besonderen auch auf den Akt der Lektüre selbst zu? [...] Im Mittelpunkt der Analyse steht deshalb Jude the Obscure als 'medialer', fast schon medientheoretischer Roman, in dem es primär um den gelungenen oder gescheiterten Lektüreprozess von Zeichen geht, wobei gezeigt werden soll, dass Hardys letzter Roman gleich auf mehreren Textebenen sehr dezidiert verdeutlicht, wie Literatur gelesen werden und welche Kriterien eine adäquate Lektüre erfüllen sollte.

The purpose of this research was to study in depth the relationships of individuals in the three social classes in England during the Victorian Age. Since original documents and research material were scarce I used two novels by Thomas Hardy to illustrate the conflicts between representatives of the social classes. In 1891 England was prosperous and many people believed there was no conflict between the classes. Thomas Hardy believed this was untrue and, by method of comparison, wrote Tess of the d’Urbervilles and Jude the Obscure to prove his point. This thesis includes research on the two novels, Thomas Hardy’s life, and last but not least is a study of the Age of Victoria.

Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art. By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin. Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation. / English Studies / M.A. (English)

A close critical scrutiny of Anne Brontë’s The Tenant of Wildfell Hall, Thomas Hardy’s A Pair of Blue Eyes, and Lewis Carroll’s Through the Looking-Glass reveals that these texts are linked through their use of a chess metaphor, a device that symbolizes how the central female characters of these works become stalemated in their efforts to achieve autonomy. While the disparate but related paths these characters take can be likened to the predetermined progress of a pawn that travels the length of a chessboard to become a queen, what Brontë, Hardy, and Carroll all recognize is that this process of becoming is by no means a fulfilling one. Rather, it only serves to reveal how trapped Helen, Elfride, and Alice are within a game in which Victorian society designates them as players of only secondary importance. There is a general movement towards a more complex integration of the chess motif as we move from Brontë to Hardy and finally, to Carroll. Brontë’s incidental chess scene is reminiscent of Thomas Middleton’s use of a similar episode in Women Beware Women, and shows less sophistication than what Hardy or Carroll achieve because her moral realism lacks the creative touches found in either Hardy’s use of symbolic imagery or Carroll’s use of the fantastic and the unorthodox. However, Brontë juxtaposes her chess game with Helen’s discovery of Huntingdon’s infidelity to demonstrate how her heroine becomes trapped within a game that she is willingly coerced into playing. If Brontë suggests that relationships are like chess games played according to rules that seriously limit a woman’s ability to compete, Hardy goes to even greater lengths in using chess to show how his Wessex universe operates as its own evolving game environment, replete with obstacles and conflicts that prove catastrophic for a player as unprepared as Elfride. Indeed, Hardy’s allusion to Shakespeare’s The Tempest is critical in demonstrating how in matters of social game-playing, his heroine suffers from the unsatisfactory education she receives from her controlling father. Hardy shows greater sophistication than Brontë in using parallel chess episodes to comment on the progress of Elfride’s relationships, and he even refers to a specific opening system in chess, the Muzio Gambit, whose catalogue of moves prefigures Elfride’s romantic involvements with Stephen and Henry, as well as the unavoidable problems she encounters from the novel’s vengeful Black Queen, Mrs. Jethway. Unlike Brontë, Hardy recognizes that fate is not so careful about giving individuals what they deserve, and that a character like Elfride can pay a heavy price for her romantic misdemeanours. However, neither Brontë nor Hardy achieves what Carroll does in Through the Looking-Glass, a work that can be seen to follow in the tradition of Middleton’s A Game at Chess, and which not only incorporates the game but structures its plot on the solution to an unorthodox chess problem. If Brontë is to be celebrated for her honest portrayal of a woman who becomes trapped in a destructive marriage, and Hardy can be commended for showing how his heroine’s education in social game-playing undermines her relationships with men, Carroll’s genius rests in his ability to illustrate these kinds of experiences on a chess board through Alice’s dream of travelling across Looking-Glass land to become a queen. He does not simply give us the impression that a girl’s progress towards womanhood is like a pawn’s promotion in chess, but instead integrates these two concepts into a single experience. He also keeps the reader off guard by creating an unorthodox chess problem and a curious cast of characters, giving us a sense of being caught in a game of our own. The result of all of this is that we are drawn into Carroll’s games even as we view them as spectators, and the critical giddiness we experience in the process both helps us to share a sense of Alice’s predicament in her frustrated quest to find fulfilment, and allows us to appreciate the underlying thematic implications of the chess motif in the narrative. / Graduate

Over the last two decades the potential for the combined study of literature and archaeology has been increasingly recognised. The Victorian era, which gave rise to new literary forms, and to archaeology as a science, offers a fertile area of enquiry. This thesis seeks to bring together the imaginative possibilities of archaeology and literature, conceiving their close association to be rooted in the observance and appreciation of the natural world. Focusing on the work of Thomas Hardy and Richard Jefferies, who both wrote about Wessex landscapes rich in archaeology, the thesis identifies the processes involved in the authors’ engagement with nature in archaeological settings. In 1851, Sir Daniel Wilson welcomed archaeology into the ‘circle of the sciences’, and the subject rose to popularity in the periodical press alongside rural pursuits; driven by the closing divide between town and country. Literary depictions of nature in ancient settings elevated the imaginative conception of the past, and found a receptive audience in London papers such as the Graphic and the Pall Mall Gazette, to which Hardy and Jefferies contributed. Both authors associate the mysterious qualities of prehistoric times, and the consonant sense of ‘untrodden space’, with the discovery of new subterranean territories in the self. In a society that was ‘adrift on change’, and seeking new meaning, these connections between the literary and archaeological imagination, and between the present and the past, forged at least temporary consolation. Both authors anticipated early Modern approaches to an archaeology of mind.

Thomas Hardy described himself as "churchy". Yet his later novels and poetry gave him the reputation of being an agnostic, an atheist and a heathen. He denied that there was any particular philosophy behind his work claiming that it was the result of impressions not convictions. However, I wish to show that Hardy's fiction and poetry expose specific religious beliefs and doubts, that gave rise to his notoriously pessimistic art. By investigating the themes of sin, atonement and salvation, as reflected in the Mosaic Law and the New Testament against Hardy's mature novels, and examining Hardy's concept of God in his poetry, I aim to show that Hardy rejected the miraculous and the doctrine of redemption but retained a belief in the Biblical premiss that the earth is cursed and that humanity is governed by the Biblical Laws which dictate the consequences of sin. Hardy depicts a universe in which humankind is cursed from birth, resides on a cursed earth and is denied the possibility of salvation or redemption. Hardy's profoundly pessimistic world view is a result of his inability to accept the Christian doctrines that offer man a means to rise above the curse of original sin. The characters and plots he created in his fiction were born out of doubt and despair. Consequently, his imaginative universe is permeated with doom and damnation. / English Studies / M.A. (English)