Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-04-02T12:13:55Z No. of bitstreams: 1 HelciuEinsteinSantosFerreira_DISSERT.pdf: 2028124 bytes, checksum: ec6fdb0da528db53a77117f5df8f769f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-04-04T10:46:46Z (GMT) No. of bitstreams: 1 HelciuEinsteinSantosFerreira_DISSERT.pdf: 2028124 bytes, checksum: ec6fdb0da528db53a77117f5df8f769f (MD5) / Made available in DSpace on 2018-04-04T10:46:46Z (GMT). No. of bitstreams: 1 HelciuEinsteinSantosFerreira_DISSERT.pdf: 2028124 bytes, checksum: ec6fdb0da528db53a77117f5df8f769f (MD5) Previous issue date: 2018-02-23 / O objetivo deste estudo ? fazer uma an?lise estrutural da obra do autor irland?s Laurence Sterne (1713-1768), A Vida e as Opini?es do Cavalheiro Tristram Shandy (The Life and Opinions of Tristram Shandy, Gentleman), publicada em 1760 e respons?vel por representar uma verdadeira revolu??o est?tica num g?nero liter?rio que j? vinha se consagrado no s?culo XVIII na Inglaterra: o romance. Rompendo com no??es est?ticas predominantes do g?nero romanesco de sua ?poca, Sterne apresenta em sua obra uma narrativa fragmentada, com cap?tulos incompletos e fora de ordem, intermin?veis digress?es e um narrador cuja confiabilidade ? constantemente colocada em quest?o. Partindo da complexidade proporcionada pelas inova??es est?ticas de Sterne, investigaremos as diversas formas pelas quais o autor quebra a narrativa em seu romance. Essas quebras possuem como principal objetivo provocar nos seus leitores uma sensa??o constante de estranhamento e frustra??o, de modo que para se compreender Tristram Shandy ? necess?rio por parte do leitor deixar de lado uma leitura passiva e passar a trabalhar em conjunto com o pr?prio narrador do romance, Tristram, para, dessa forma, compreender as inten??es por tr?s da narrativa fragmentada e ca?tica de Sterne, as quais possuem o prop?sito de provocar o riso e a reflex?o, al?m de revelar uma vis?o sat?rica e cr?tica da sociedade puritana inglesa do s?culo XVIII. Para a an?lise deste trabalho, observaremos as t?cnicas est?ticas e narrativas utilizadas por Sterne que t?m por finalidade causar o estranhamento e alterar a percep??o do leitor, como a fragmenta??o do romance, as mudan?as de ritmo na narrativa e a parodiza??o. Al?m disso, analisaremos como o riso ? provocado atrav?s da carnavaliza??o e da erotiza??o. Por fim, falaremos um pouco sobre os recursos gr?ficos utilizados pelo autor de modo a manter sua marca autoral na obra. Usaremos como base te?rica estudos de Chklovsky (1978), Lotman (1978), Bakhtin (1993), Genette (1995), Reis e Lopes (2000), Arag?o (1980), entre outros. Conclu?mos que as rupturas na narrativa de Sterne possuem o objetivo de criar uma obra capaz de dar aos seus leitores uma experi?ncia ?nica de leitura, revelando por tr?s de sua narrativa fragmentada uma obra de poderosa cr?tica e s?tira social, al?m de um senso de humor extremamente cr?tico e inovador. / The goal of this study is to do a structural analysis of the work of the Irish author Laurence Sterne (1713-1768), The Life and Opinions of Tristram Shandy, Gentleman, published in 1760 and that was remarkable for representing a true aesthetic revolution in a literary genre that was already renowned on the 18th century in England: the novel. Breaking with the predominant aesthetical notions of the romanesque genre of his time, Sterne shows in his work a shattered narrative, with incomplete, out of order, chapters, endless digressions and a narrator whose trustworthiness is constantly put in question. Starting from the complexity brought by Sterne?s aesthetical innovations, we will investigate various ways by which the author breaks the narrative in his novel. Those breaks have as main goal to provoke in his readers a constant sensation of strangeness and frustration, so that in order to understand Tristram Shandy it is necessary that the reader forgoes a passive reading and starts to work alongside with the author himself, Tristram, so that they may understand the intentions behind Sterne?s shattered and chaotic narrative, which seeks to provoke laughter and reflection, plus revealing a satirical and critic view of the English puritan society of the 18th century. For the analysis of this novel, we will investigate the aesthetical techniques and narratives used by Sterne that seek to cause strangeness and alter the reader?s perception, like the fragmentation of the novel, the changes in the rhythm of the narrative and the process of parody. Furthermore, we will analyse how the laughter is performed through the carnivalization and the erotization, and finally we will discuss a little about the graphical techniques are used by the author to reclaim his authorial property in his work. As our theoretical basis, we will use the studies by Chklovsky (1978), Lotman (1978), Bakhtin (1993), Genette (1995), Reis and Lopes (2000), Arag?o (1980), among others. We conclude that the ruptures of the narrative on Sterne?s work aim to create a work able to give to its readers a unique reading experience, revealing a work of powerful criticism and social satire behind its shattered narrative, as well as an extremely critic and innovating sense of humour.

Denna uppsats syfte är att undersöka produktionstekniker som används för att skapa elektronisk dansmusik och att analysera hur sådana verktyg och metoder används, sett ur en producents synvinkel. Bakgrunden till uppsatsen är en strävan efter att djupare förstå produktionstekniker för elektronisk dansmusik och utveckla kunskap om hur sådana kan användas i egen produktion av elektronisk dansmusik. Uppsatsen empiriska material består av två musikstyckeanalyser i genren house. De analyserade musikstyckena har valts ut eftersom de är aktuella, båda har producerats under 2017 och de innehåller olika, för elektronisk dansmusik, karaktäristiska drag. Vidare har de bedömts kunna bidra med förståelse för och kunskap om hur dessa musikstycken är producerade och varför de låter som det gör men också ökad generell kunskap om aktuella produktionstekniker för produktion av elektronisk dansmusik. Analysens resultat ger exempel på hur en producent kan tänka när hen producerar elektronisk dansmusik. Exemplen omfattar byggstenar för produktionen i form av tekniska verktyg och metoder som till exempel sampling samt vikten av hur ett musikstyckes arrangemang är utformat.

The similarities between Swift's Grub Street Hack and Sterne's Tristram are persistent and remarkable, even though the Hack is a satiric pose of Swift and Tristram a comic projection of Sterne. Perhaps the most striking similarity lies in the constant tension between the reader's expectations of a wise narrator and a sequential style and the Hack's and Tristram's perverse frustration of the reader's desire for order. The foolish narrators, in an obstructive style, develop systematic theories based on absurd hypotheses. This perversity is not only witty and amusing, but also a reflection of Swift's and Sterne's eighteenth century “rage for order." To Swift, order is a necessity, to be defended by attacking all that threatens order. Swift imitates the chaos he saw in seventeenth-century style and thought by assuming the mask of a fool who speaks in the accents of hundreds of modern pretenders to learning. But the seeming chaos of the Hack's discourse is ordered by Swift's satiric intent and his views on Gnosticism. In the end, comic order predominates as the quintessence of disorder, the Hack is laughed off the stage. Wit triumphs over dulness. However, the comedy is undermined by tragic associations of evil, madness, and anarchy. To Sterne, conventional order of time and formal logic are illusions. He imitates the disorder in men's minds by assuming a mask and playing many parts. The seeming chaos of Tristram's narration is ordered by the association of ideas, a central group of characters, and the values of humour, common sense, feeling and benevolence. In the end, in spite of suggestions of the world's ill nature, hypocrisy, and corruption, comic order predominates. / Arts, Faculty of / English, Department of / Graduate

No description available.

No description available.

No description available.

<p> This dissertation examines explicit and implicit conceptualizations of time and history in four contemporary Canadian novels: Allan Donaldson's Maclean, Joy Kogawa's Obasan, Margaret Laurence's The Diviners, and Lee Maracle's Daughters are Forever. Performing close textual analysis from a posture of 'deliberate empathy,' the author identifies several key textual devices and concepts that signal the texts' alternate ideas about time and history. These include temporal simultaneity, historical multiplicity, and the presence of the past. Drawing on critical work from fields including literary theory, globalization and cultural studies, indigenous studies and anthropology, the author investigates the political significance of the texts' different historical and temporal models. She argues that the way individuals and cultures understand time and history bears significant influence on the ways in which they understand their ethical relationships with and responsibility toward the world around them. The dissertation closes with a call for further engagement with questions of temporality and for continued efforts to link pedagogical activity to struggles for human rights. </p> / Thesis / Doctor of Philosophy (PhD)

No description available.

Le présent texte témoigne de ma recherche sur le sens du mot expérience dans le champ des arts visuels, de son impact sur la transformation de l'imaginaire d'un artiste et de comment est-il possible de traduire l'expérience. Je choisirai comme point fondateur de ma recherche l'expérience de la survie, épreuve dont je me ferai le cobaye et qui me permettra de développer sur la force directe du changement par des notions telles que le corps sensation, les forces dynamiques et le désir résistant. Le pivot de ma recherche sera la traductibilité : point de fuite de l'expression structurée du réel intense dans la création artistique. Ce texte sera aussi accompagné d'un corpus d'oeuvres qui témoigneront de cette transformation. J'utiliserai ces oeuvres comme bases comparative. Finalement j'expliquerai mon projet final : La chambre des idoles, qui sera la synthèse de mes recherches.

À travers la réalisation d’un corpus d’oeuvres peintes abstraites, j’investigue la place du corps dans la perception du réel et de ce fait, également, dans la perception de mes oeuvres. Grâce à une certaine concordance entre le positionnement spatial d’objets dans mon environnement immédiat et celui des formes dans l’espace pictural, je m’interroge sur la compréhension physique de mes oeuvres. Ce mémoire explore le cheminement qui m’a amené vers ce questionnement de nature artistique, le parcours qui s’opère lors de la création, ainsi que l’importance de la mise en espace dans la compréhension du corpus d’oeuvres réalisées.