Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought

Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach. / AFRIKAANSE OPSOMMING: Gedurende die negentiende eeu is debat ontlok rondom die geldigheid van die Christelike skeppingsverhaal wanweë die publikasie van Charles Darwin se The Origin of Species. Voor dit, is die Adam-en-Eva verhaal die sentrale narratief waarvolgens Christelike families hulself gestruktureer het – met die vader as die hoof van die huishouding. In hierdie tesis bespreek ek die effek wat Darwin se publikasie gehad het op die herstrukturering van families gedurende die negentiende eeu. Ek doen dit aan die hand van Henrik Ibsen se Ghosts en August Strindberg se Easter – twee familiedramas wat sentraal in die debat staan rondom die herontwerp van geloofsfilosifieë en omvorming van patriargale gesagstrukture. Ek argumenteer dat Ibsen en Strindberg in polêre verhouding met mekaar staan in terme van die debat rondom die godsdienstigheid van die familie en die posisie van die (V)ader binne hierdie raamwerk. Hier leen ek Ross Shideler se term wat die idee van die goddelike Vader en die aardse vader saamsmelt. Dit word later in verband gebring met die kontemporêre Afrikaner kultuur om ten einde ‘n nuwe familiedrama (…van ons vaders) te skep, wat fokus op die hedendaagse hervorming van Afrikaner Calvinistiese geloofstrukture, in ‘n wyse soortgelyk aan dié van Ibsen en Strindberg, maar deur om gebruik te maak van ‘n kontemporêre estetiese benadering.

The aim of this thesis is to study and compare to what extent Hypertext Markup Language (HTML) and Text Encoding Initiative (TEI) support bibliographic description, metadata and mark-up of textual segments. The projects in the study comprise the Norwegian The Writings of Henrik Ibsen (Henrik Ibsens Skrifter) which applies the use of TEI, and Vitterhet society’s The collected works of CJL Almqvist (Vitterhetssamfundets CJL Almqvist Samlade Verk), which applies the use of HTML. The study showed that the Ibsen project provides its text with bibliographic description and metadata to a greater extent than the Almqvist project. The Almqvist project’s texts are provided with certain information about titles, authors and also information about source material and the electronic edition. However, the markup has proved to be inconsistent – some texts include more information than others do and particular mark words are not used. From the aspect of markup on textual segments, the Ibsen project presented the most detailed information. The amount of mark words used was not only significantly higher in the texts of the Ibsen project, but also more specific. The markup of Almqvist’s texts proved to have been completed by the use of linking, however, the markup showed that TEI offers more possibilities than HTML. In order to comprehend the difference in markup of both projects, an awareness of the respective aims of HTML and TEI should be developed. The two markup languages were created based on two separate kinds of needs, which has contributed to the continual use of both. / Uppsatsnivå: D

<p>Background: The Activity-Based Costing model has its origin in the Manufacturing Industry and has since its origin become more usual. The ABC-method is beginning to break through in several others businesses than just the Manufacturing Industry, but there are insufficient information about how the ABC-model can be developed in Trading Company for instance. These companies often use simple and stereotyped calculations in their organizations and assume the cost price by calculating, which give rise to an inappropriate allocation of the costs. ABC could therefore be a solution to these problems and therefore would it be interesting to investigate how this model can be designed in a trading company. </p><p>Purpose: The purpose of this paper is to describe the design and usage of the Activity-Based Costing in a Trading Company. Method: The paper has a sign of a case study. A more deep study has also been made at Materialservice in Nässjö, while the study at ICA, Hall.miba and Svenskt Papper has been of a more supplementary nature. We have also made interviews with two firms of consultants, Prodacapo and SAM in purpose to make our study/investigation more general. </p><p>Result: We have found that the result the customer has a more important role in the Trading Company than the Manufacturing Industry and that the Trading Company use more activities and cost drivers in their ABC-model. The result also shows that the main area of use of ABC in the trading company is to guide the behaviours of the company and the customers.</p>

Background: The Activity-Based Costing model has its origin in the Manufacturing Industry and has since its origin become more usual. The ABC-method is beginning to break through in several others businesses than just the Manufacturing Industry, but there are insufficient information about how the ABC-model can be developed in Trading Company for instance. These companies often use simple and stereotyped calculations in their organizations and assume the cost price by calculating, which give rise to an inappropriate allocation of the costs. ABC could therefore be a solution to these problems and therefore would it be interesting to investigate how this model can be designed in a trading company. Purpose: The purpose of this paper is to describe the design and usage of the Activity-Based Costing in a Trading Company. Method: The paper has a sign of a case study. A more deep study has also been made at Materialservice in Nässjö, while the study at ICA, Hall.miba and Svenskt Papper has been of a more supplementary nature. We have also made interviews with two firms of consultants, Prodacapo and SAM in purpose to make our study/investigation more general. Result: We have found that the result the customer has a more important role in the Trading Company than the Manufacturing Industry and that the Trading Company use more activities and cost drivers in their ABC-model. The result also shows that the main area of use of ABC in the trading company is to guide the behaviours of the company and the customers.

No description available.

The thesis is based on scene designs for the play Lady from the sea. I focused on the concept of the game from the perspective of the actual playwright, Henrik Ibsen. To get a wider range of designs I decided to choose a modern staging by Robert Wilson and Luboš Hrůza. My goal was to accommodate the production as a source of inspiration and guidance on how to dispose the scene in my own design.

Orientador : Profª. Drª. Célia Arns de Miranda / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 31/10/2016 / Inclui referências : f. 165-168 / Resumo: A montagem teatral realizada por Robert Wilson a partir do texto-fonte A dama do mar (1888), de Henrik Ibsen, e de sua reescritura por Susan Sontag (1997) coloca em foco elementos como a voz, a luz, o cenário, a movimentação, a sonoplastia, ou seja, dá ênfase à visualidade e sonoridade. Este estudo analisa os mecanismos utilizados na transposição da obra original para a obra final, passando pela adaptação textual por Sontag, no contexto dos estudos da adaptação. É analisado o processo como a peça é transformada a partir das escolhas de Sontag, como os monólogos de frente para a plateia e a inclusão de textos folclóricos, e da estética de Wilson, que potencializa o substrato simbólico da peça com seu cenário e iluminação repletos de poesia, atuações que simulam o movimento de marionetes, gestual preciso e diálogos e movimentos propositadamente artificiais. Dentre os recursos utilizados para a análise, destaca-se a gravação em DVD do espetáculo apresentado em São Paulo em 2013 e a memória do espetáculo assistido ao vivo pela autora no mesmo ano; a peça de Susan Sontag publicada no Brasil pela editora n-1; entrevistas com atores da montagem, com o tradutor do texto de Sontag e o biógrafo da escritora, entre outras, e críticas sobre o espetáculo publicadas na mídia geral e especializada. A fundamentação teórica é proporcionado pelos estudos de Patrice Pavis, Linda Hutcheon, Robert Stam, Hans-Thies Lehmann, entre outros. Palavras-chave: A dama do mar. Adaptação. Robert Wilson. Henrik Ibsen. Susan Sontag. Teatro contemporâneo. / Abstract: The staging by Robert Wilson using the source text The Lady from the Sea, by Henrik Ibsen (1888), and its rewrite by Susan Sontag (1997) highligths elements such as voice, scenery, sound, lights and movement, which means it emphasizes visuality and sonorical aspects. This study analyzes the mechanisms used in the transposition of the original play to the final work, by means of the textual adaptation by Sontag, in the context of the studies of adaptation. The play is transformed because of Sontag's choices, such as the monologues facing the public and the insertion of folk texts. It is furthermore transformed by Wilson's aesthetics, which empowers the simbolic substrate of the original play with his scenery and lights full of poetry, acting that reminds the movement of puppets, precise gesture and artificial dialogue. Among the resources used for this analysis are the recording of the play presented in São Paulo in 2013 as well as the memory of the live show to wich the author attended in the same year; Susan Sontag's Lady from the Sea, published in Brazil by n-1 editions; interviews with actors from the play, its translator to Portuguese and Sontag's biographer, among others, and critic texts about the staging published in the general and specialized media. The theoretic writings of Patrice Pavis, Linda Hutcheon, Robert Stam and Hans-Thies Lehmann were used, among others. Key-words: Lady from the Sea. Adaptation. Robert Wilson. Henrik Ibsen. Susan Sontag. Contemporary theater.

Memoria (licenciado en ciencias jurídicas y sociales) / No autorizada por los autores para ser publicada a texto completo / En esta memoria se establecen las conexiones existentes, entre dos destacados exponentes de la llamada filosofía analítica: G.H. von Wright y Ludwig Wittgenstein. Un primer nivel de aproximación a las conexiones entre ambos filósofos está dado por los componentes institucionales y políticos que ambos comparten al interior de la tradición analítica de la filosofía. Respecto al componente institucional, ambos autores están conectados por el hecho de provenir de una misma red de formación (Universidad de Cambridge), producción y difusión (revista Mind) y círculos de discusión. En cuanto al componente político, von Wright tuvo como ‘programa’ extender el dominio de sus investigaciones lógicas, fuertemente influidas por Wittgenstein, hacia otros ámbitos tales como las ciencias sociales y el Derecho. El segundo nivel de conexiones son las que se presentan respecto de las concepciones filosóficas de cada uno. Al respecto, entre ambos filósofos se observan las siguientes conexiones: ambos filósofos comparten una perspectiva crítica de las teorías generales como un método de explicación de los fenómenos; las investigaciones conceptuales de las normas de von Wright se fundamentan en la concepción del significado como uso de Wittgenstein; finalmente, los dos coinciden en que la lógica tiene un ámbito que va más allá del cálculo de las funciones de verdad (tesis que fundamenta la posibilidad de existencia de una lógica de normas). Sin embargo, von Wright fundamenta esta última tesis en el presupuesto ideal de una voluntad racional del legislador, asumiendo un costo argumentativo que, aplicando las ideas de Wittgenstein, no es necesario asumir. En efecto, siguiendo a Wittgenstein, la racionalidad mínima que permite la posibilidad de una lógica de normas no está en el ámbito de lo ideal, sino que en la racionalidad con la que actúan los hombres en diversas prácticas, su acuerdo en juicios y conceptos que en el tiempo conforman una forma de vida, un sistema de certezas al que Wittgenstein se refiere como una imagen del mundo compartida por los miembros de una misma comunidad lingüística.

Mori Ōgai’s (1862-1922) 1909 translation and the subsequent theater production of Henrik Ibsen’s 1896 play John Gabriel Borkman was in many ways instrumental in the formation of Japanese Meiji-era shingeki theater. Through his career as a translator, Ōgai’s translation approach shifted from one of decreasingly relying on domestication techniques to staying more faithful to the source text through use of foreignization techniques and arguably towards what has been identified by Eugene Nida and Jin Di as dynamical equivalence or equivalent effect, respectively, in drama translation. In this project, Ōgai’s translation of John Gabriel Borkman is examined using a set of categories peculiar to drama translation, as proposed by Chinese scholars Xu and Cui (2011), again based on the theories of Nida and Di. The categories are intelligibility, brevity, characterization and actability. The results from the analysis are used to do a qualitative analysis of Ōgai’s approach to drama translation. Results from the study indicate that Ōgai put large emphasis on the intelligibility of the play, and perhaps over the aspects of brevity, characterization and actability. However, wherever the brevity aspect seems not to be in violation of any of the other aspects, Ōgai seems to have tried to adhere as close as possible to the source texts in terms of speaking length.