Ao comparar a visibilidade da figura feminina na tragédia do período clássico (508 – 338 a.C) com o espaço destinado às mulheres concretas da Atenas do mesmo período, deparamo-nos com um intrigante contraste, já que a participação destas na vida pública era restrita aos cerimoniais religiosos. Amplamente representada na tradição literária antiga - nos versos de um amplo leque de poetas - a figura de Helena possibilita múltiplas interpretações a respeito de seu caráter e culpabilidade nos eventos desencadeadores da Guerra de Tróia. Dos três tragediógrafos atenienses cujas composições foram significativamente preservadas, Eurípides foi o único que pôs em cena a rainha espartana, nas peças Troianas (415 a.C), Helena (412 a.C) e Orestes (408 a.C). Eurípides teve duas características bastante contraditórias marcando sua composição: a oratória, instrumento cívico masculino (uma voz); e a representação do feminino, corpo ausente do espaço cívico (uma realidade muda). Pensando na sistematização do discurso como um instrumento cívico que entra em destaque no século V a.C. em Atenas, assim como nas representações cômicas e trágicas - outro elemento típico da identidade cívica da pólis - podemos ver em Eurípides um “laboratório” rico para discutir o paradoxo da representação do feminino no espaço trágico. Nessa dissertação, Helena é uma amostra da representação poliédrica do feminino na tragédia, direcionando a atenção precisamente para o ethos da personagem, ou seja, para a imagem de si que ela projeta no seu discurso nas três peças em que é representada por Eurípides. / Comparing the visibility of the female figure in tragedy during the Classic period (508-338 B.C) with the space for the concrete women of Athens in the same period, we come across an interesting contrast, since their participation in public life was restricted to religious ceremonies. Widely represented in ancient literary tradition – in the lines of many poets – Helen‟s figure creates multiple interpretations of her character and blame for the events that triggered the Trojan War. Among the three Athenian tragedians whose compositions were significantly preserved, Euripides was the one who placed the Spartan queen on the scene: in Trojan Women (415 B.C), Helen (412 B.C) and Orestes (408 B.C). Euripides had two rather contradictory characteristics marking his composition: oratory, a male civic tool (a voice); and the female representation, missing body of civic space (a voiceless reality). Thinking about the systematization of speech as civic tool that gets highlighted in the fifth century B.C. in Athens, as well as in comic and tragic representations (an other typical element of the polis civic identity), we can see in Euripides a rich “laboratory” to discuss the paradox of the female representation in tragic space. In this dissertation, Helen is a sample of the female polyhedral representation in tragedy, driving our attention directly to the ethos of Helen, in other words, to the self-image that she projects through her speech in the three plays in wich she appears represented in Euripides.

Ao comparar a visibilidade da figura feminina na tragédia do período clássico (508 – 338 a.C) com o espaço destinado às mulheres concretas da Atenas do mesmo período, deparamo-nos com um intrigante contraste, já que a participação destas na vida pública era restrita aos cerimoniais religiosos. Amplamente representada na tradição literária antiga - nos versos de um amplo leque de poetas - a figura de Helena possibilita múltiplas interpretações a respeito de seu caráter e culpabilidade nos eventos desencadeadores da Guerra de Tróia. Dos três tragediógrafos atenienses cujas composições foram significativamente preservadas, Eurípides foi o único que pôs em cena a rainha espartana, nas peças Troianas (415 a.C), Helena (412 a.C) e Orestes (408 a.C). Eurípides teve duas características bastante contraditórias marcando sua composição: a oratória, instrumento cívico masculino (uma voz); e a representação do feminino, corpo ausente do espaço cívico (uma realidade muda). Pensando na sistematização do discurso como um instrumento cívico que entra em destaque no século V a.C. em Atenas, assim como nas representações cômicas e trágicas - outro elemento típico da identidade cívica da pólis - podemos ver em Eurípides um “laboratório” rico para discutir o paradoxo da representação do feminino no espaço trágico. Nessa dissertação, Helena é uma amostra da representação poliédrica do feminino na tragédia, direcionando a atenção precisamente para o ethos da personagem, ou seja, para a imagem de si que ela projeta no seu discurso nas três peças em que é representada por Eurípides. / Comparing the visibility of the female figure in tragedy during the Classic period (508-338 B.C) with the space for the concrete women of Athens in the same period, we come across an interesting contrast, since their participation in public life was restricted to religious ceremonies. Widely represented in ancient literary tradition – in the lines of many poets – Helen‟s figure creates multiple interpretations of her character and blame for the events that triggered the Trojan War. Among the three Athenian tragedians whose compositions were significantly preserved, Euripides was the one who placed the Spartan queen on the scene: in Trojan Women (415 B.C), Helen (412 B.C) and Orestes (408 B.C). Euripides had two rather contradictory characteristics marking his composition: oratory, a male civic tool (a voice); and the female representation, missing body of civic space (a voiceless reality). Thinking about the systematization of speech as civic tool that gets highlighted in the fifth century B.C. in Athens, as well as in comic and tragic representations (an other typical element of the polis civic identity), we can see in Euripides a rich “laboratory” to discuss the paradox of the female representation in tragic space. In this dissertation, Helen is a sample of the female polyhedral representation in tragedy, driving our attention directly to the ethos of Helen, in other words, to the self-image that she projects through her speech in the three plays in wich she appears represented in Euripides.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A presente pesquisa, vinculada à linha Literatura e HistÃria, tem como objetivo ressaltar a presenÃa dos valores morais cristÃos presentes na obra Helena, de Machado de Assis. AtravÃs da Teoria da Residualidade, pretendemos demonstrar as influÃncias culturais, histÃricas e ideolÃgicas recebidas por nosso povo, principalmente no que concerne aos preceitos catÃlicos. Todavia, pretendemos comprovar serem essas manifestaÃÃes, remanescÃncias da mentalidade medieval do sÃculo XIII. Apresentada atravÃs de resÃduos, essa mentalidade originou um imaginÃrio hÃbrido que colonizou o pensamento moral de nosso paÃs. à tambÃm nosso intuito comprovar que o romance Helena evidencia as virtudes dos personagens do enredo, como forma de perpetuar esses valores morais. Por fim, enfatizaremos a conduta da protagonista Helena, como exemplo de dignidade ilibada. / This research, linked to on line literature and history, aims to highlight the presence of Christian moral values present in the work Helena by Machado de Assis. Through the Theory of Residuality, we intend to demonstrate the cultural, ideological and hysterical received by our people, especially when it concerns me to Roman Catholic beliefs. However, we intend to prove these manifestations are remnants of the medieval mindset of the thirteenth century. Submitted by waste, that mentality led to a hybrid imagery that colonized the moral thinking of our country. It is also our intention to prove that the novel Helena highlights the virtues of the characters of the plot, as a way of perpetuating these moral values. Finally, emphasizing the behavior of the protagonist Helen, as an example of dignity unblemished.

D.Litt et Phil.

"It is the purpose of this paper to present something of the life and works of Helen Topping Miller, a brief biography, and concise summaries of her novels"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Otis McBride, Professor Directing Paper. / Includes bibliographical references (leaves 34-36).

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-14T16:36:34Z No. of bitstreams: 1 Juliana Bortholuzzi_.pdf: 12557061 bytes, checksum: 57d78bfa331ada58e2cd89bea7d30617 (MD5) / Made available in DSpace on 2018-08-14T16:36:34Z (GMT). No. of bitstreams: 1 Juliana Bortholuzzi_.pdf: 12557061 bytes, checksum: 57d78bfa331ada58e2cd89bea7d30617 (MD5) Previous issue date: 2018-04-13 / UNISINOS - Universidade do Vale do Rio dos Sinos / A evolução da tecnologia afetou diretamente as práticas comunicacionais, criando um novo cenário para a comunicação e, por consequência, para a moda, que se viu obrigada a reordenar seu sistema. Neste sentido, se faz necessário elaborar um estudo para compreender o papel da mídia nestes vários momentos de configuração do sistema da moda, que evolui tendo como cenário dois momentos da sociedade: a sociedade dos meios e a sociedade em via de midiatização, relacionando-se e articulando-se de forma diferente com os processos sociais. Nessa perspectiva, o problema de pesquisa se esforça para compreender como se constituem os processos midiáticos e comunicacionais, relacionados à construção de novas marcas de moda, no cenário da sociedade em vias de midiatização, no contexto da midiatização digital. Diante desse contexto, o objetivo geral desta pesquisa é investigar e compreender as estratégias comunicacionais utilizadas para a construção de novas marcas de moda no contexto da midiatização digital, onde serão trabalhadas as marcas Insecta Shoes e Helen Rödel, a partir de um estudo de casos múltiplos. / La evolución de la tecnologia afectó directamente a las prácticas comunicacionales creando un nuevo escenario para la comunicación, y, por consecuencia, para la moda, que se vio obligada a reordenar su sistema. En este sentido, se hace necesario elaborar un estudio para compreender el papel de los medios en varios momentos de la configuración del sistema de la moda, que evolucione teniendo como escenario dos momentos de la sociedad: la sociedad de los medios y la sociedad en via de mediatización, relacionándose y articulándose de forma diferente con los procesos sociales. En esta perspectiva, el problema de la pesquisa se esfuerza para compreender como se constituyen los procesos mediáticos y comunicacionales, relacionados a la construcción de nuevas marcas de moda, en el escenario de la sociedad en vias de mediatización, en el contexto de la mediatización digital. Delante de este contexto, el objetivo general de la pesquisa es investigar y compreender las estrategias comunicacionales utilizadas para la construcción de nuevas marcas de moda en el contexto de la mediatización digital, donde serán trabajadas las marcas Insecta Shoes y Helen Rödel, a partir de un estúdio de múltiples casos

Erfurt, Univ., Diss., 2003.

The Thesis deals with the Dalton Plan and it is divided into two parts. The theoretical part is concerned with the scientific literature connected with the pragmatic pedagogy, the Dalton Plan and specifics of the Dalton Plan in the Czech Republic. The goal of the empirical part is to research of social climate in Dalton and traditional classes and traditional classes and their mutually comparison.

Thesis (MPhil (Document Design))--University of Stellenbosch, 2009. / This study focused on the image formation and projection of Helen Zille, leader of South Africa’s largest opposition party. South Africans are heading to voting stations in 2009 for the national and provincial election. For this reason the image a party portrays in all the methods it uses to attract voters needs to be perfect. Such methods include voting-posters, public debates and newsletters. This study focuses on the newsletters that Helen Zille writes every week and takes the form of a corpus analises. The study also shows the importance of the documentation from the leader of any institution. Such reasons include that the leader is the most identifiable person thereof. This study was undertaken within the framework of the Integrated Communication Model for Image formation and projection (IFP-model) developed by Professor Leon de Stadler. The model consists of three levels, namely the image, the information design and the document design. Each of these levels focuses on specific phases of image formation and projection. Image focuses on the intended (the desired image the institution want to construe) and the construed (the image the reader derives from the documentation) image. The information design involves the manner in which the reader accesses the text. There are three ways, which are the physical access (that which the reader sees first), the intellectual access (the way in which the information is interpreted) and the emotional access (how the reader feels about the content). The document design focuses on the four messages which appear in the text. They are the referential (the content), the appealing (the objectives), the expressive (the image of the sender) and the relational (the relationship between the reader and the sender) messages. This study focuses on the expressive and relational messages. Other questions mentioned in this study are whether the IFP-model kan be used as an analytical instrument and if this model kan be refined to place more emphasis on the expressive and relational messages. After the expressive and relational messages where identified, various tendencies where noticed in the content, style, structure and graphics thereof. These tendencies include a positive focus in the content, an informal style, high information density and the use of photographs as graphics. These tendencies where used to refine the IFP-model. The analises of the newsletters indicated that Helen Zille portrayed an image of a self-assured leader, but that this image was influenced by tendencies such as a negative focus on the ANC. Further findings showed that the IFPmodel can be used as an analytical instrument, but that more emphasis should be placed on refining the model so that it includes various aspects of the different levels, such as the different ways a reader gains access in the information design. This study also introduced a refined model which can be used to analyze the expressive and relation messages.

In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death. This script formed part of my second practical research project that explored the ways of making Helen’s character present (both scripts that culminated out of my two practical research projects are included in the section of the Accompanying Material). I analyse the process of writing the scripts of the first and second practical research project through the use of Jungian archetype theory. In the first chapter of the thesis, I explore what an archetype is according to Jungian theory and then explain how this theory enables me to comment on the process of reinterpreting the myth of Helen of Troy through the writing of the two scripts. In the second chapter, which is the commentary on the first practical research project, I show how archetype theory provides a theoretical tool with which I can clarify and analyse how I reinterpreted and/or reworked the archetypal emotional energies of Menelaus, Hermione, Hecuba, Priam, Paris, Telemachus in the writing of new characters. In the third chapter, which is the commentary on the second practical research project, I investigate how the archetype theory helped me identify the key emotional experiences of the performers’ Helen characters, experiences which I organised and developed further in the writing of my own Helen characters. I conclude my thesis by arguing that my scripts cannot provide a final interpretation of Helen’s myth because they still lack a certain overarching theme or concept.