Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 Feb 20

No description available.

Paris, sous le Second Empire, est capitale du spectacle. Cette vision est à la fois un mythe et l’image d’un lieu réel de relations sociales travaillées par des codes relevant du théâtral. C’est dans ce contexte qu’Edmond et Jules de Goncourt évoluent. Le spectacle et le spectaculaire, qui les fascinent sous toutes leurs formes, sont deux notions qui permettent de rendre compte de leur œuvre et de leur statut d’hommes de lettres. Ces termes témoignent de leurs sources d’inspiration et de leur style, imprégnés du drame et de la peinture, mais aussi de leur posture d’artistes, parmi les écrivains, les artistes, la bohème, le milieu de la presse de leur époque. Dans leurs œuvres, les deux frères s’adonnent à une représentation de leur temps, qui dévoile un jeu du paraître. Leur quête stylistique, qualifiée d’écriture artiste, dans son affranchissement des codes et sa volonté de transgresser les frontières des genres, affirme leur posture d’élection, révélatrice de leurs velléités aristocratiques et de leurs goûts artistiques. Leur position est celle de deux modernes poursuivant la réflexion engagée par Balzac et Baudelaire, mais deux modernes contrariés. Leur œil-artiste, enrichi par les peintres et dramaturges avec qui ils entrent en discussion ou qui leur servent de modèles, opère avec sagacité. Ils offrent une création spectaculaire et spéculaire. Ce miroir tendu à la société, inspiré par les techniques picturales, les genres et registres comme la pantomime, la parodie, la comédie et la satire, renvoie en des vues diffractées l’image de leurs contemporains et celle de leur existence exemplaire, qu’ils mettent en scène artistiquement. / Paris, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art.

I will follow the theoretical and critical discourse, related to establishing of Czech literary naturalism. My sources will be both book editions (essays from the volumes "Lehký harcovník", or "O národní literaturu", made available by the Melantrich publishing company) and journalistic production. Among the personalities she will focus on F. Schulz and V. Mrštík, possibly on other authors according to the primary heuristics results. The idea about general extension of naturalism will be provided by relevant syntheses or partial monographs (ADČL III; Haman: Trvání v proměně; Janáčková: Česká literatura na přelomu století; Český román na sklonku 19. století).

This study sets out to determine whether or not a primary school library, managed by a school librarian, makes a contribution to the information literacy development of year 6 students (ages 10-11 years old). The methodological approach to this research was interpretivist, ethnographic case studies. This is a shift from other studies on school library impact because it employs direct observation of students, and studies each school as a whole, where prior studies have relied on assessment data. This study relied on data collected in the natural environment where children were working to develop rich descriptions of the schools chosen, to be written into detailed case studies. In order to determine the contribution of the school library to information literacy development, the researcher spent time in three different schools, which had differing levels of library provision. The researcher spent time with a Year 6 (age 10-11 years) class in each school, and observed their information behaviour during a research task assigned by their classroom teacher. In order to streamline the observations, an observation framework was developed. This also ensured that each class in the three schools was observed in the same way. The researcher was immersed in each class for the duration of the class assignment, and walked around during the research lessons and spoke to the children about their research process. Semi structured interviews were conducted with members of teaching staff and head teachers to gain information about the school, and to determine their attitudes about school library provision, employing a librarian and the instruction of information literacy. Each school was then written into a case study to provide a rich picture of the school, and of the specific events during the observation sessions with the students. From the case studies, themes about the ways that the students experienced information emerged, and the findings from each school was the basis for the creation of an information literacy framework and recommendations of best practice found in each of the three schools. The investigation highlighted the important contribution that a well-managed school library made to the development of students information literacy.

Nesta tese, pesquisamos filmes que investigaram o Brasil com o objetivo de revelar as suas doenças ocultas. Esse projeto do início dos anos 2000 gerou imagens repletas de deformações, de repetições, de estados de descontrole, de doenças do olhar e de crueldade, entre outras características que destacamos ao longo do trabalho. A hipótese que desenvolvemos é de que houve uma profusão da referida estética no início dos anos 2000 e que ela se dispersou ao longo da década. Podemos vê-la em filmes como Cronicamente inviável, Através da janela, Latitude zero, O invasor, Amarelo manga, Contra todos, Quanto vale ou é por quilo?, O cheiro do ralo e Baixio das bestas. Defendemos ainda que essas imagens atualizam um projeto naturalista e se desdobram em uma sintomatologia. Para enfrentar o desafio de análise, apropriamo-nos do conceito de imagem-pulsão proposto por Gilles Deleuze na sua taxonomia de imagens. Trata-se de um conceito marginal na taxonomia do autor, que no entanto se revelou adequado porque oferece um método rigoroso para lidar com o problema da pulsão (de morte) no cinema. As imagens-pulsão em Deleuze são aqui compreendidas como um desdobramento dos conceitos instinto de morte e corpo sem órgãos, que o autor havia desenvolvido ao longo dos anos 1960 e 1970. Com relação às análises, a tese está composta em três eixos: imagens-pulsão, neonaturalismo e sintomatologia. No primeiro, procuramos evidenciar nas imagens a articulação que existe entre a dimensão da realidade (meios derivados), a dimensão da doença (mundos originários) e as dinâmicas de ação das doenças sobre a realidade (momentos privilegiados). É nesse eixo que tecemos algumas das principais proposições deste trabalho: os deslocamentos naturalizantes; os espaços centrados; os métodos de testemunho da pulsão (de morte) irrepresentável; a plasmaticidade de retorno ao inorgânico; as repetições que condenam no tempo; os estados de descontrole que revelam uma impossibilidade de agir. No segundo eixo, evidenciamos a influência naturalista nessas imagens: a visão entrópica; a associação entre o trágico e o cotidiano; a opção por narrativas em queda ou circulares; o gosto pelo submundo, pelas deformações e pela violência animalesca; o interesse pelos diagnósticos e sua eficácia. No terceiro eixo, propomos que o gesto político nessa estética é a sintomatologia, no sentido de que a própria imagem é concebida para fazer sintoma em civilização. A sintomatologia tem dupla estratégia: desconfortar e satisfazer o espectador. Finalmente, sistematizamos as proposições da tese e evidenciamos aquilo que julgamos ser o desafio por excelência dessas imagens: descobrir e testemunhar a pulsão (de morte) que elas acreditam encontrar nas profundidades da realidade brasileira. / In this Thesis, we study Brazilian films that investigated the country with the intention of revealing its inner diseases. This project from the beginning of the 2000s led to images replete of deformation, repetitions, uncontrolled behaviors, eye diseases and cruelty, among other characteristics we demonstrate in this work. Our hypothesis is that this aesthetics has expanded in the beginning of the 2000s and dispersed over the decade. We can see this aesthetics in films such as Chronically Unfeasible, Through the Window, Latitude Zero, The Trespasser, Mango Yellow, Up Against Them All, What Is It Worth?, Drained and Bog of Beasts. We also assert that these images update a naturalistic project and result in a symptomatology. In order to analyze the images, we employ the concept of impulse-image proposed by Gilles Deleuze in his taxonomy of images. It is a less popular concept in his taxonomy, but it has been suitable to this research because it offers a rigorous method for working with the instinct of (death) in the cinema. In this work, we understand Deleuze’s impulse-images as a development of the concepts of death instinct and body without organs, proposed by the author in the 1960s and the 1970s. Concerning the analysis, the Thesis is composed in three axes: impulse-images, neo-naturalism and symptomatology. In the first, we highlight the connection between the spheres of reality (derived milieu), the one of disease (originary world), and the dynamics of action from disease to reality (privileged moments). It is in this axis that we make some of the key proposals in this work: the naturalizing displacements; the centered spaces; the methods of testifying the unrepresentable instinct (of death); the repetitions that condemn in time; the plasmaticity of the return to the inorganic; the uncontrolled behaviors that reveal an impossibility of action. In the second axis, we demonstrate the naturalistic influence in these images: the entropic vision; the association between the tragic and everyday life; the option for narratives based either in falls or in circularity; the taste for the underworld, the deformations and the animalistic violence; the interest in diagnosis and its efficacy. In the third axis, we propose that the political gesture in this aesthetics is the symptomatology, in the sense that image itself should stand as a symptom in civilization. The symptomatology has a double strategy: producing discomfort and satisfaction in the spectator. Finally, we systematize the propositions from the Thesis and put in evidence what we believe is the key objective in these images: discovering and testifying the instinct (of death) that they believe lies deep in Brazilian reality.

A presente dissertação tem como objetivo explorar os elementos constituintes da teoria sobre a afetividade humana conforme desenvolvida por Espinosa na Ética, analisando seus pressupostos metafísicos bem como a relação dos afetos com o intelecto humano. Serão enfatizadas as particularidades desta teoria mediante análise e exposição dos conceitos centrais que a compõem, identificando as características estruturais do universo conceitual espinosista. A análise crítica utilizada conta também com a avaliação sobre um dado posicionamento interpretativo que pretende destacar a existência de um enfraquecimento do naturalismo espinosista. Destacando-se assim a necessidade de negar certas noções sobre a afetividade humana que a colocam como sendo composta por traços contrários ao conatus. O propósito da dissertação repousa na busca por evidências onde a forma de naturalização, como encontrada na Ética, revele seu caráter constitutivo na teoria afetiva de Espinosa, destacando assim duas formas pelas quais o conceito de ação pode ser entendido nesta obra. Por fim, pretende-se determinar a origem das paixões humanas em Espinosa, expondo o interior da problemática por elas imposta à empreitada medular da Ética, em um tratamento onde a afetividade é vista como caráter fundamental da existência humana. / The aim of this study is to present the constituent elements of Spinoza's theory of human affects in Ethics, through a study of its metaphysical presuppositions and their involvement as a full part of the human intellect. The particularities of this theory will be emphasized and its central concepts will be analyzed in terms of the structural characteristics of Spinoza's conceptual framework. An interpretation that objects to Spinoza’s alleged naturalism will also be evaluated, arguing that some of our affective experiences cannot be explained by the concept of conatus, as is proven in the beginning of the third part of Ethics. Some evidence will be provided against this interpretation, and hence, in favor of Spinoza’s naturalism as it is found in Ethics, highlighting two ways in which the concept of action can be understood in this work. Finally, we aim to determine the origin of human passions, according to Spinoza, in order to elucidate the sense in which they are problematic from the perspective of ethical theory, whilst preserving the view that affectivity is a fundamental character of human existence.

The diploma thesis Josef Velenovský and František Mareš ? two personalities of the Czech scientific life (their biological and philosophical activities) deals with the philosophical theses of two notable Czech biologists ? philosophers ? in their biological research. The first part introduces the biological and philosophical activities of both personalities. It depicts in detail Mares' views of physiology and Velenovsky's take on natural philosophy. It further contains their critical views of contemporary trends in natural sciences and philosophy, especially the positivism and naturalism. The second part contains a comparative analysis of the fundamental ideas of both scientists, included in The natural philosophy (Volume I, Natural) and Physiology. The text attempts to analyze their theses (positivism, naturalism, vitalism, physiology, natural science) and to find similarities and differences in their points of view.

O tema principal de nosso trabalho é o estudo de três mulheres na obra de Eça de Queirós: Luísa, Amélia e Maria Eduarda. Para isso, é preciso situar o tempo e o contexto em que essas mulheres, divididas entre o desejo e o dever, se inserem. A leitura de alguns pensadores do século XIX foi fundamental para compreendermos os principais aspectos da sociedade portuguesa do século XIX: a família, a educação, o ócio e a ausência de papel social da mulher. Feito isso, foi necessário recorrermos aos estudos biográficos para compreendermos a importância e o lugar que essas mulheres tiveram na vida do escritor. / The main subject of our work is the study of three women in the work of Eça de Queirós: Luísa, Amélia e Maria Eduarda. To do this, it is necessary to consider the time and enviroment in which, between the desire and obligation, those women live. The reading of some thinkers of the XIX century was fundamental to understand the main aspects of the Portuguese society of the XIX century: such as family, education, the idleness and the lack of social role of Portuguese women. In such way, it was necessary to analyze some biographical studies to learn the importance which those women had in the writers life.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A fase conhecida como o último Eça é um período controvertido na obra de Eça de Queirós. A ilustre casa de Ramires (1900), A cidade e as Serras (1901) e A correspondência de Fradique Mendes (1900) são, geralmente, consideradas obras menores. Há quem veja em Gonçalo Ramires um personagem vazio; para outros, a saga de Jacinto é uma obra reacionária; e apenas Fradique Mendes desfruta de maior simpatia nos estudos queirosianos. No entanto, nos estudos mais recentes, há uma recuperação deste período e, para esses pesquisadores, tais obras apontam uma nova postura ideológica do autor que, através de elementos históricos, simbólicos e míticos, conduz a um diálogo com os temas e os valores mais discutidos da cultura européia naquele final de século. Com esses elementos, Eça expõe nas três obras a necessidade de a sociedade adotar uma postura de originalidade no pensar visando à independência intelectual e à eliminação de conceitos caducos. Assim, essas três obras são vistas neste trabalho como uma trilogia, e os três protagonistas representam três propostas de Eça de Queirós: Gonçalo é o português rural que busca no passado a força para mudar; Jacinto é o português cosmopolita que retorna às origens para, de modo singular, pôr-se em diálogo com o seu país e o mundo que conhecera na capital do século XIX (Paris); Fradique é o português global que circula à vontade pelos continentes, mas não deixa de amar Portugal. A trilogia apresenta propostas para um novo século: livrar o homem das amarras que o atavam ao nacionalismo romântico, à crença cega na ciência, ao poder da igreja e aos grandes sistemas filosóficos / The phase known as the ultimate Eça is a controversial period at Eça de Queiros opus. A ilustre Casa de Ramires (1900; translated as The illustrious House of Ramires), A cidade e as serras (1901; translated as The city and the mountains) and A correspondência de Fradique Mendes (1900; The Correspondence of Fradique Mendes) are usually considered minor texts. Some people see Gonçalo Ramires as an empty character; for others, Jacintos saga is a reactionary text; only Fradique Mendes relishes the affinity at queirosian studies. Nevertheless, at the most recent studies, there is a recovery of this period and, for this researchers, such books point out a new ideological position of the author that, through historical, symbolic and mythical elements leads to a dialogue with the themes and values discussed at the European culture at the end of the century. With these elements, Eça exposes in the three books the necessity of the society to adopt a position of original thoughts aiming at intellectual independence and the elimination of decrepit concepts. So, the three pieces are seen in this work as a trilogy and the protagonists represent the Eça de Queiross proposals: Gonçalo is the rural Portuguese that seeks for the strength to change in the past; Jacinto is the cosmopolitan Portuguese that returns to his origins to, in a single way, put himself in dialogue with his country and the world he knew in the capital of the 19th century (Paris); Fradique is the global Portuguese that easily circulates through the continents, still loving Portugal. The trilogy presents proposals to a new century: release man from chains that tie him to romantic nationalism, to the blind belief at science, to the power of church and to the great philosophical systems