This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.

Made available in DSpace on 2016-04-27T16:33:57Z (GMT). No. of bitstreams: 1 Renata Duarte Simoes.pdf: 10513696 bytes, checksum: c1a694c208f904303e6b3c3c65023fc7 (MD5) Previous issue date: 2005-11-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho constitui um exercício de sistematização do pensamento político e educacional dos autores Jackson de Figueiredo e Alceu Amoroso Lima, representantes católicos de destaque no período de 1921 a 1945, e de Plínio Salgado, Chefe Nacional do movimento social de grande repercussão política que emerge no Brasil na década de 30: a Ação Integralista Brasileira (AIB). Leva em conta que a fase de transição compreendida entre a Primeira e a Segunda Guerra Mundiais promove significativas transformações nos campos social, político, econômico e cultural brasileiro. Considera relevante investigar, buscar compreender e distinguir melhor as propostas desses pensadores, que dedicaram suas energias políticas e intelectuais à tentativa de estabelecer um modelo de critica autoritária,por vezes fascista, à modernização em curso no País e, freqüentemente, em seus escritos atribuíram um papel estratégico à educação na construção da sociedade que idealizavam. Investiga os escritos dos autores, principalmente aqueles nos quais o pensamento político está exposto em detalhes. Além disso, registra consultas em artigos da revista A Ordem, artigos de jornais integralistas,teses e dissertações relacionadas com a temática em questão, documentos que refletem os caminhos trilhados pelo Movimento Integralista e pela Ação Católica e livros concernentes a tais movimentos. O período a ser estudado, entre 1921 e 1945, tem como justificativa ser a data inicial da publicação da revista A Ordem, uma das fontes selecionadas para este estudo e que era lugar "oficial" de manifestação da militância laica católica,e também a data de inicio da Ação Católica no Brasil. Como justificativa para a data final, aponta que, ao término do Governo ditatorial de Getúlio Vargas, de certa forma, também termina, em termos de pensamento político, a "fase autoritária"de Alceu,critico literário que assume a posição de líder do Laicato brasileiro após a morte de Jackson de Figueiredo, em 1928. Os resultados demonstram que Jackson de Figueiredo, Alceu Amoroso Lima e Plínio Salgado buscaram definir de forma bastante clara os preceitos e limites de seus respectivos pensamentos, distinguindo-se evidentemente dos demais por meio das doutrinas às quais dedicaram energia política. Figueiredo, Lima e Salgado são atores dessa trama e seus pensamentos, transcritos em suas obras e em documentos, são o objeto deste estudo

Made available in DSpace on 2016-04-28T14:16:36Z (GMT). No. of bitstreams: 1 Enezio Eugenio de Almeida Filho.pdf: 4288341 bytes, checksum: 6d7c3e5e0f23728ac321058b96f617c8 (MD5) Previous issue date: 2008-10-17 / Discovery Institute - Center for Science and Culture / This research follows the line of History and Theory of Science that has as a goal to explain the construction of scientific thought by discussing the foundation of hypotheses and theories within their historical contexts. The goal of this thesis is to analyze Mivart´s critiques and Darwin´s answers, and to verify if they were scientifically well formulated and based considering the scientific context of that time. The reason for writing this work is an attempt to fill a gap in the History of Science about the scientific controversy between Mivart and Darwin on the role of natural selection in the origin of species. This work´s hypotheses are two: that Mivart´s critiques, despite being religiously motivated, were plausible scientifically, and that Darwin answered them fully. This research analyzes the primary sources of Mivart (Genesis of species) and Darwin's Origin of Species, and other secondary sources. The result reached was that Mivart´s critiques were indeed scientific, and that Darwin answered them according to the evidences and scientific knowledge then available / Esta pesquisa segue a linha de História e Teoria da Ciência que objetiva trazer esclarecimentos sobre a construção do pensamento científico através da discussão da fundamentação de hipóteses e teorias dentro do seu contexto histórico. O objetivo desta dissertação é analisar as críticas de Mivart e as respostas dadas por Darwin, e verificar se elas estavam bem formuladas e fundamentadas cientificamente considerando-se o contexto científico daquela época. A justificativa para a realização desta trabalho é tentar preencher uma lacuna em História da Ciência sobre a controvérsia científica entre Mivart e Darwin sobre o papel da seleção natural na origem das espécies. As hipóteses deste trabalho são duas: as críticas de Mivart, apesar de terem sido religiosamente fundamentadas, eram cientificamente plausíveis, e Darwin as respondeu satisfatoriamente. O aspecto teórico-metodológico foi a análise das fontes primárias de Mivart (Genesis of species) e de Darwin (Origin of species), e outras fontes secundárias. O resultado obtido foi que as críticas de Mivart eram científicas, e que Darwin respondeu-as conforme as evidências e o conhecimento científico da época

This thesis aims to provide a history of African American working class and Leftist activism in Atlanta, Georgia during the early 1970s. It places a series of wildcat strikes within the context of political and social transition, and charges unequal economic conditions and a racially charged discriminatory environment as primary causes. The legacies of both the Civil Rights Movement and the New Left are identified as key contributing factors to this wave of labor unrest. One path taken by former Civil Right activists was to focus on poor peoples’ movements, and one course taken by the 1960s-era New Left activists was to join forces with the working class in an attempt to build a New Communist movement. In Atlanta, these two forces converged and generated a notable force against some of city’s most prominent employers.

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 329-341). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 329-341). Also available on the Internet.

Thesis (Ph. D.)--Ohio State University, 2007. / Full text release at OhioLINK's ETD Center delayed at author's request

SILVA, Maria Neile Alves. Os forrozeiros e seu outro feminino: a constituição discursiva de estereótipos da mulher em canções de Luiz Gonzaga, Jakson do Pandeiro e Dominguinhos. 2008. 233 f. Dissertação (Mestrado em Linguistica) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2008. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-08-27T14:08:32Z No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2013-11-14T13:38:24Z (GMT) No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5) / Made available in DSpace on 2013-11-14T13:38:24Z (GMT). No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5) Previous issue date: 2008 / Este estudo tem como objeto principal as constituições estereotípicas femininas emergentes no posicionamento dos forrozeiros (especificamente em canções de Luiz Gonzaga, Jackson do Pandeiro e Dominguinhos). Seu objetivo é investigar as estratégias discursivas do sujeito para construir, no seu universo de sentido, imagens femininas valorizadas que, por sua vez, correspondem às disposições éticas dele no discurso. A justificativa decorre do argumento de que a análise ético-discursiva, na possibilidade dialética da relação entre sujeito e sociedade, especificamente na apreensão do feminino no posicionamento, proporciona uma melhor compreensão do que estamos considerando etos projetado, ou seja, projeção das imagens de si (sujeito discursivo) em imagens construídas e projetadas num terceiro (neste caso, em imagens femininas nas canções). Nesta pesquisa, estamos considerando etos projetado as imagens femininas valorizadas emergentes nas canções e que, por um lado, materializam-se em estereótipos do tipo mães-de-família, donas-de-casa, mulheres-honestas etc., por outro, antagonizam com imagens desvalorizadas como mulher-namoradeira, mulher-interesseira, mulher-fatal, mulher-macho, entre outras. Esses estereótipos são (assim como as imagens do sujeito) ancorados num mundo ético socialmente construído. Uma análise dos representantes selecionados acrescenta dados empíricos à hipótese sobre as pretensões (e efetivação) constituintes do discurso literomusical em nossa sociedade (COSTA, 2001), à perspectiva mangueneauniana dos discursos constituintes (MANGUENEAU e COSSUTA, 1995), além de corroborar, em termos mais gerais, com a eficácia de conceitos, como dialogismo, interdiscursividade, intertextualidade e, em termos mais específicos, posicionamento, investimentos cenográfico, lingüístico e ético (MAINGUENEAU, 1997, 2001, 2005; COSTA idem), escolhidos para embasamento teórico dessa pesquisa. Tendo este estudo natureza qualitativa, criamos um dispositivo teórico-analítico para traçar o perfil estereotípico feminino, cuja apreensão se deu a partir de três critérios: a) estereótipos construídos pela designação direta do referente (nome próprio); b) estereótipos construídos pela designação genérica feminina do co-enunciador; e c) estereótipos construídos pela designação indireta do referente (3ª pess). Utilizaremos alguns procedimentos intertextuais, como referência e alusão, imitação captativa e subversiva (COSTA, idem); e interdiscursivos, além dos já referidos anteriormente (etos, cenografia, etc.), ainda, cenografias validadas, gêneros, entre outros, numa reelaboração deste último autor. Estamos dividindo esta pesquisa nas seguintes partes: 1. Pressupostos Teóricos: em busca do discurso e do sentido; 2. Opções metodológicas; 3. Análise. 3.1 Os saberes do masculino construindo as representações do feminino; 3.2 O investimento topográfico e a construção do feminino; 4. Considerações finais / Ce travail a comme but principal les constitutions stéréotypées féminines emergentes dans le positionnement des forrozeiros (spécifiquement dans des chansons de Luiz Gonzaga, Jackson do Pandeiro et Dominguinhos). Son objectif est d’investiguer les stratégies discursives du sujet pour construire, dans son univers de sens, des images féminines valorisées qu’ à leur tour correspondent aux dispositions éthiques de cet univers dans le discours. La justification vient de l’argument selon lequel l’analyse éthique et discursive, dans la possibilité dialectique du rapport entre le sujet et la société, spécifiquement dans l’appréhension du féminin dans le positionnement, offre une meilleure compréhension de ce que nous considérons ethos projeté, c’est-à-dire, la projection des images de soi-même (sujet discursif) dans des images construites et projetées sur une troisième personne (dans ce cas-là, dans des images féminines dans des chansons). Dans cette recherche, nous considérons ethos projeté les images féminines valorisées emergentes dans les chansons et que, d’un côté, se matérialisent dans des stéreótypes comme mães-de-família, donas-de-casa, mulheres-honestas, etc., de l’autre côté, sont antagonistes des images dévalorisées comme mulher-namoradeira, mulher-interesseira, mulher-fatal, mulher-macho, entre autres. Ces stéréotypes sont (ainsi que les images du sujet) ancrés dans un monde éthique socialement construit. Une analyse des représentants sélectionnés ajoute des données empiriques à l’hypothèse sur les prétentions (et la mise en oeuvre) qui constituent le discours littéro-musical dans notre société (COSTA, 2001), selon la perspective des discours constitutifs de Maingueneau (MANGUENEAU e COSSUTA, 1995). Elle corrobore aussi, dans des termes plus généraux, avec l’efficacité de conceptes comme: dialogisme, interdiscursivité, intertextualité, et dans des terme plus spécífiques: positionnement, investissements scénografique, linguístique et ethique (MAINGUENEAU, 1997, 2001, 2005; COSTA Idem), choisis pour donner un support théorique de cette recherche. Cette étude, ayant une nature qualitative, nous avons créé un dispositif theórique et analitique pour construire le profil o perfil stéréotype féminin dont la saisie est arrivée à partir de trois critères: a) stéréotypes construits par désignation directe du referant (nom propre); b) stéréotypes construits par désignation générique féminine du co-énonciateur; c) stéréotypes construits par désignation indirecte du referant (3e p). Nous utiliserons quelques procédés intertextuels comme la référenciation et l’alusion, l’imitation captive et subversive (COSTA, idem); et interdiscursifs, outre les procédés qui ont été déjà mentionnés avant (ethos, scénographie, etc.), et encore, scénographies validées, genres, entre autres, dans une réélaboration de ce dernier auteur. Nous divisons cette recherche dans les parties suivantes: 1. Les supports theóriques: à la recherche du discours et du sens; 2. Les Options méthodologiques; 3. Analyse. 3.1 Les savoirs du masculin qui construisent les représentations du féminin; 3.2 L’investissement topografique et la construction du féminin; 4 Les considérations finales