Text in English / This study explores the syntax of the substantive phrase, more especially substantive phrase composed of more than one qualificative, in Sesotho. Adopting interviews, questionnaires and documents, the study seeks to investigate the syntactic sequence of qualificatives, their relation to the modified head word and influence of such ordering pattern in the phrase. Structurally, qualificatives comprise two components, namely the qualificative concord and stem. The qualificative serves to give varied information about the implicit or explicit substantive resulting in seven types of qualificatives in Sesotho, be they the Adjective, Demonstrative, Enumerative, Interrogative, Possessive, Quantifier and Relative. From the Minimalist perspective, the qualificative is recursive. The study established a maximum of five qualificatives in a single phrase. The number is generally achieved by recurrence of the Adjective, the Possessive and the Relative up to a maximum of four of the same qualificative in a single phrase. It is observed that the recurrence of the Demonstrative, Interrogative, Enumerative and Quantifier is proscribed in Sesotho. Regarding the ordering of qualificatives, it is also observed that the Demonstrative, Interrogative, Quantifier and Possessive mostly occupy the position closer to the substantive while the Adjective, Enumerative, Possessive and Quantifier mostly occur in the medial position. The Possessive and Relative occur in the outer-border position of the phrase. Such a sequence is influenced by several factors including focus, emphasis, the nature of the relationship between the head word and the dependent element, the syntactic complexity of the qualificative and the knowledge shared by both the speaker and the hearer about the qualified substantive. It can, therefore, be concluded that there are no strict rules of occurrence of the qualificatives in Sesotho. / African Languages / D. Litt. et Phil. (African Languages)

A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional. / The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

The aim of this thesis is to document the process of translating literary texts that have no stylistic equivalent in the target culture. The research is based on selected works by three contemporary Norwegian authors whose style is perceived as very specific. The theoretical part discusses current tendencies in Norwegian as well as in Czech prose writing and also approaches to literary translation developed in translation studies are presented in this part of the thesis. The other part of this thesis focuses on the unique styles of Hanne Ørstavik, Erlend Loe and Jon Fosse. The significant features of their styles are documented in analyses of their novels. These analyses at then used for the assessment of the Czech translations.

[pt] O estudo se preocupa em examinar o caráter da abstração dos efeitos conferidos aos julgados do Supremo Tribunal Federal em âmbito de controle concreto de constitucionalidade, ao qual vem sendo atribuídas características típicas do controle abstrato e concentrado, ora sob a denominação de abstrativização, ora com a expressão objetivização do controle de constitucionalidade. A partir de uma contextualização da jurisdição constitucional brasileira sob a influência de suas principais matrizes históricas, em especial a norte-americana e austríaca, verifica-se que tal fenômeno vem se ampliando na jurisprudência da Corte de modo a desvirtuar o desenho institucional delimitado pelo constituinte. Busca-se delinear, ademais, outros institutos e fatos pontuais representativos da referida tendência de objetivização, realçando as modificações constitucionais e legislativas que demonstrem tal ocorrência, o que denota maior amplitude do fenômeno, não apenas no que tange ao controle difuso, mas em relação à própria jurisdição constitucional como um todo, reflexo de uma postura jurisdicional ativista. Em sua segunda parte, o trabalho faz análise crítica do objeto empírico sob a luz de perspectivas democráticas e minimalistas, tendo por pano de fundo o processo judicial que questionou a demarcação da Terra Indígena Raposa Serra do Sol, bem como casos concretos paradigmáticos da jurisdição constitucional estrangeira e brasileira. / [en] This study is concerned with examining the abstraction’s character of the noted effects of the Brazilian Supreme Court’s trials regarding the concrete control of constitutionality, which have been given typical characteristics of the abstract and concentrated control, sometimes under the denomination abstrativization, sometimes with the expression objectivization of the control of constitutionality. From a contextualization of the Brazilian’s constitutional jurisdiction under the influence of its main historic matrices, specially the North American and Austrian, is verified that such phenomenon is increasing in the Court’s jurisprudence in order to misrepresent the institutional layout limited by the constituent. Still is desired to outline, other institutes and single facts meaningful of the noted tendency of objectivization, highlighting constitutional and legislative modifications which show such occurrence that shows the phenomenon’s larger magnitude, not only concerning the diffuse control, but related to the constitutional jurisdiction as a whole which reflects an activist jurisdictional position. In it’s second part, the work does a critical analysis of the empiric object, based on the democratic and the minimalistic’s perspectives, having as background the lawsuit which questioned the delimitation of the indian reserve Raposa Serra do Sol, as well as other brazilian and foreign concrete paradigmatic cases of the constitutional jurisdiction.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate

[pt] Os trabalhos de Richard Serra e Robert Smithson apresentamuma relação constituitiva com o espaço público da megalópole contemporânea. Explorando a noção de tempo específico da matéria, suas produções expandem a concepção de processo artístico e criam uma tensão com a arquitetura e o espaço institucional da arte. Ao propor a crítica a estes espaços e explorar o mundo, ambas as obras estabelecem um jogo de semelhança com a megalópole, incorporando a racionalidade de seu espaço ético, político e cultural. Para tal, considero a relação com a Nova York laboratorial na qual Serra e Smithson desenvolvem intenso debate com seus pares, relação constitutiva que aconteceu com e na caótica Manhattan do final dos anos de 1960, bem como nas áreas suburbanas de New Jersey. Smithson constrói sua obra tendo a entopia do subúrbio de new Jersey como referência determinante, a partir da qual tempos e espaços infinitos são trazidos às suas realizações. O embate de Serra com a cidade assume por sua vez um caráter concreto e literal. Trabalhando no próprio caos e nas ruínas contemporâneas da urbe, ele propõe uma nova relação entre obra, o espectador e o entorno. Em ambos os artistas encontrados o esforço do largamento do conceito da escultura contemporânea numa nova relação como mundo. / [en] The works os Richard Serra and Robert Smithson have a founding relationship with the public space of the contemporary megalopolis. By incorporating the notion of the specific time of material, their output expands conceptions of the artistic process and sets up a tension with architecture and the institutional space of art. As they propose to criticize institutional space and explore the word, the works set a play of similarities with the megalopolis, incorporating the rationale of its ethical, political and cultural space. I therefore investigate the relationship with the New York laboratory where Serra and Smithson engage in intense debate with their peers. This founding relationship was formed in and through the bustling Manhattan of the late 1960s and suburban areas of new Jersey. The decisive reference for Smithson s work was the entropy of the New Jersey suburb, from which infinite times and spaces are brought into his work. Serra s clash with the city is concrete and literal in nature. Working in the midst of the chaos and contemporary ruins of the city, he proposes a new relationship between the work, the spectator and the surroundings. There are elements in both artists that strive to broaden the concept of contemporary sculpture in a new relationship with the world.

A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional. / The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades. / The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

La notion d’espace prend un sens très fort et comme actif dans le travail artistique de Robert Irwin. Celui-ci instaure un nouveau mode d’être pour l’espace par son installation dite « site-conditioned/determined » tout en la nouant pourtant avec celui du site préexistant, qu’il soit intérieur ou extérieur. Le statut ontologique de son installation est celui d’un « non-objet », d’une extrême simplicité de forme et d’un minimum de matérialité : une bande noire ou une surface de voile semi-transparent, à la fois objet montré et sujet montrant, mettent en jeu lumière et ombre, attirant notre attention non seulement sur lui mais tout autour, intégrant l’espace où il s’intègre. L’installation est mise en œuvre de son environnement architectural ou naturel. L’installation est ainsi installa(tten)tion, c’est-à-dire installation qui installe l’attention. Ce que procure l’artiste au spectateur par son installation est la sensation pure de l’apparaître dynamique et changeant de l’espace du monde réel. Sensible d’abord à la dimension réelle de l’espace physique, nous découvrons peu à peu sa dimension virtuelle, puis transcendantale, au fur et à mesure que ce processus de sensation pure déclenché par l’aspect inhabituel de cet espace pourtant réel se déploie. Grâce au toucher direct et vivant d’un sentir aiguisé, et visuel et kinesthésique, éveillé par l’installation de Robert Irwin, devient quasi palpable notre conscience d’exister. Elle résonne alors à la réalité directe et immédiate du monde mais aussi aux virtualités de son apparaître et à ce qui les rend possibles : sa forme en soi, révélée et actualisée comme la véritable nature de l’espace réel. / The notion of space has a strong and active meaning in Robert Irwin’s art work. He establishes a new way of appearance of space through his so-called “Site-conditioned/determined” installation by uniting the installation with the space of the existing site, whether indoors or out. The ontological status of his installation is that of a “none-object”: extremely simple in form and with a minimum of materials. He uses a black tape or a surface of semitransparent scrim. These objects are both “object shown” and “subject showing”. They play with light and shadow, catching our attention not only on themselves but also on their surroundings, including the space into which they fit. So the art piece is not only the installation itself but its circumstance with its whole architectural or natural environment. So the installation is installa(tten)tion, that is to say an installation that installs attention. Through the installation, the artist provides for the viewer a chance to have a pure sensation of the dynamic and changing appearance of space in the real world. At first sensitive to the real dimension of physical space, we discover little by little its virtual and then transcendental dimensions, as this process of pure sensation unfolds, triggered by the unusual aspect of the real space caused by the installation. A direct and living contact through a sharpened feeling, both visual and kinesthetic, with the space, awakened by the installation of Robert Irwin, makes our awareness of existing almost palpable. This awareness of existing resonates with the direct and immediate reality of the world as well as potentialities of the world’s appearance and what makes these potentialities possible: form in itself, revealed and actualized as the true nature of real space.