Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003. / "A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.

To be presented as the author's Thesis (doctoral)--Åbo Akademi University on Feb. 3, 1995. / Includes bibliographical references (p. [379]-396) and index.

To be presented as the author's Thesis (doctoral)--Åbo Akademi University on Feb. 3, 1995. / Includes bibliographical references (p. [379]-396) and index.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 216-219). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1996. / Typescript. Vita. Includes bibliographical references (leaves 216-219). Also available on the Internet.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-12-05Bitstream added on 2014-06-13T18:30:46Z : No. of bitstreams: 1 souza_ac_me_assis.pdf: 1174886 bytes, checksum: 71ccb3bc9aca9694db8e3c26d9bde717 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No romance epistolar O marido da adúltera, publicado em 1882 pelo escritor e jornalista Lúcio de Mendonça, encontram-se traços marcantes e inequívocos da estética naturalista desenvolvida, sobretudo, por Émile Zola. Neste trabalho, pretende-se verificar de que modo o idealizador da Academia Brasileira de Letras recebeu as ideias do Naturalismo e as inseriu em sua obra, verificando o processo de adaptação executado pelo autor brasileiro, que soube dialogar com a estética naturalista em voga na época, aplicando muitos de seus princípios, discordando de alguns deles. Cabe observar, igualmente, o fato de que Lúcio de Mendonça optou pelo romance epistolar, gênero pouco utilizado no Brasil do século XIX, mas fundamental para a construção desta obra. Esta pesquisa visa, portanto, analisar de que maneira o autor de O marido da adúltera utilizou-se do naturalismo francês para criar um romance epistolar brasileiro, publicado, originalmente, no periódico O Colombo, em forma de folhetim; característica, aliás, que se conserva no momento da publicação do romance em livro, em 1882 / On the epistolary novel The adulterer’s husband, published in 1882 by the writer and journalist Lúcio de Mendonça, it‟s found distinctive features and unequivocal from the naturalist theory developed, especially, by Émile Zola. In the present paper, it‟s intended to verify what way the creator from the Brazilian Academy of Letters received the ideas of Naturalism and put them into his work, checking the adaptation process performed by the Brazilian author, who knew how to dialog with the naturalist aesthetics in common use that time, enforcing lots of his principles, disagreeing with some of them. It must be noted, equally, the fact that Lúcio de Mendonça chose the epistolary novel, a not very used gender in Brazil in XIX century, but something fundamental to this work to be made. Therefore, this research aims to analyze what way The adulterer’s husband’s author used the French naturalism to create the Brazilian epistolary novel, published, at first, by Colombo journal, as a soap opera; characteristics that, by the way, are preserved at the book‟s publishing moment, in 1882

Célèbre dans l’histoire du théâtre pour avoir fondé en 1887 le Théâtre-Libre et ainsi révolutionné la mise en scène moderne, André Antoine a consacré la dernière partie de sa vie au cinéma, tournant huit films entre 1915 et 1922 pour la Société cinématographique des auteurs et gens de lettres, puis pour la Société d’éditions cinématographiques, avant de se consacrer à la critique, dramatique et cinématographique, dans plusieurs journaux. Cette dernière partie de sa vie laissa peu de traces dans l’histoire du cinéma et ses films, comme ses critiques et textes théoriques sur le cinéma, sont encore méconnus. Inspiré par les théories naturalistes d’Émile Zola, Antoine appliqua au nouvel art une méthode rigoureuse reposant sur l’expérience du milieu. Il se heurta ainsi aux tendances avant-gardistes qui gagnèrent le cinéma au début des années 1920. Or, c’est l’intérêt de cette valeur expérimentale de son cinéma, où priment la recherche, l’observation et l’expérience, que cette thèse met en lumière, en montrant les réseaux de convergence entre la méthode singulière d’Antoine et les pratiques et discours qui animèrent le cinéma au tournant de la Première Guerre mondiale, moment clef de sa légitimation en tant qu’art. Cette étude repose sur une analyse approfondie des films d’Antoine, de ses archives personnelles, des archives de production, et des nombreux écrits qu’il a produits sur le cinéma, entre 1915 et 1928, année de rupture dans un combat pour la reconnaissance de l’auteur de film qui opposa le metteur en scène aux cinéastes de la Première vague. / André Antoine’s place in theatre history is earned through his 1887 founding of the Théâtre-Libre and revolutionizing of modern mise en scène, but it is cinema that occupied the last part of his life as he made eight films between 1915 and 1922 for the Société cinématographique des auteurs et gens de lettres (“Film Society of Authors and Men of Letters”) and then for the Société d’éditions cinématographiques (“Society of Film Editions”), before devoting himself to theatre and film critic in several newspapers. These late years left few traces in film history, and both his films and his critical and theoretical writings remain largely unknown. Inspired by Emile Zola’s naturalist theories, Antoine took to the new art form a rigorous method based on the experience of environment. He clashed with avant-garde trends which were making their way to cinema in the early 1920s. This thesis highlights the experimental value of Antoine’s cinema, which gives a special role to research, observation and experience, by demonstrating the convergence of his special method with practices and discourse animating cinema at the turn of the World War I, a key moment of its legitimation as an art form. This study is based on in-depth analysis of Antoine’s films, his personal archives, production notes, as well as numerous texts he wrote on cinema between 1915 and 1928, the climactic year in the struggle for authorship recognition between Antoine and filmmakers of the First avant-garde.

La matérialité biologique du corps humain est devenue l'objet d'interventions inédites au moyen de nouvelles technologies biomédicales, comme la procréation médicalement assistée, les tests génétiques, la contraception hormonale. Cette thèse part des difficultés inhérentes à une approche antinaturaliste pour aborder la dimension biologique des corps sexués. “On ne naît pas femme, on le devient” : mais qu'en est-il des corps ? Les technologies biomédicales investissent la chair selon des modalités qui échappent aux grilles d'analyses matérialiste et butlérienne. Faut-il y voir une réfutation du constructivisme, la revanche d'un socle biologique – hormonal, génétique, moléculaire – primant sur les effets anatomiques de la socialisation, comme le suggèrent les partisan·e·s d'un material turn féministe ? À partir d'une analyse de l'évolution de la notion de nature, définie comme "vie elle-même" depuis la révolution moléculaire de la biologie, cette thèse propose une autre interprétation, en définissant les technologies biomédicales comme des technologies de pouvoir relevant d’une biopolitique moléculaire de genre. Sans infirmer la perspective constructiviste, ces médiations sociales originales (adossées au nouveau paradigme épistémique) permettent de comprendre comment les frontières et limites du genre sont déplacées, tout en produisant des identités, des expériences et des subjectivités genrées inédites. En dégageant les coordonnées d'un véritable dispositif biomédical, notre étude comparative entre techniques disciplinaires et biopolitique moléculaire de genre plaide pour une critique antinaturaliste renouvelée, s’articulant à une critique de la technique qui permette d'inventer collectivement des moyens pour se réapproprier démocratiquement les technologies biomédicales. / The biological materiality of the human body has become an object of unprecedented interventions through “new biomedical technologies” as medically assisted procreation, genetic tests, or hormonal contraception. This thesis interrogates the difficulties inherent to anti-naturalist approaches in order to address the biological dimension of sexed bodies. “One is not born a woman, one becomes one”, but is this also true for the body? The analytical frames of materialist or deconstructivist feminism cannot cease the modalities through which biomedical technologies invest the flesh. Do biomedical technologies make constructivist approaches obsolete through the revenge of a biological – hormonal, genetic, molecular – ground that tops the anatomical effects of socialization? Partisans of a feminist “material turn” seem to think so. After analyzing how the molecular biology revolution changes the very concept of nature in defining it as “life itself”, I offer an alternative interpretation by defining biomedical technologies as technologies of power that stem from a molecular biopolitics of gender. Instead of overturning constructivist perspectives, these new social mediations (residing on a new epistemic paradigm) help understanding a shift in what has been seen as the limits of gender. This shift creates unprecedented identities, experiences and subjectivities of gender. In exposing the coordinates of the biomedical apparatus, this comparative study between disciplinary techniques and molecular biopolitics of gender pleads for a renewed anti-naturalist critique that takes the form of a critique of technology in order to allow for a collective appropriation of biomedical technologies.

À l’origine de la présente étude se trouve l’invocation par Michel Houellebecq des lectures dix-neuvièmistes qui ont marqué sa jeunesse ainsi que sa nette opposition à des écrivains du XXe siècle auxquels il préfère les écrits du XIXe siècle. Notre intérêt a été suscité par ses constantes références et allusions à des noms tels Balzac, Zola, Huysmans, Auguste Comte, Schopenhauer, Nietzsche, Lamartine, Baudelaire. Qu’ont-ils à lui dire ? Si Michel Houellebecq s’oriente vers cette période du passé, c’est parce qu’elle coïncide avec les premières protestations antimodernes contre la froideur du libéralisme, du capitalisme, de l’esprit irréligieux, c’est-à-dire contre les trois maux responsables de l’ébranlement de la structure sociale (post)moderne. La première partie de notre analyse comparative introduit les romans de Houellebecq dans le tissu du réalisme - en écho à Balzac -, du naturalisme - en référence à Zola -, du décadentisme - en évoquant Huysmans. La deuxième a pour fil conducteur les raisonnements philosophiques d’Auguste Comte, de Schopenhauer et de Nietzsche dont Houellebecq nourrit ses jugements au sujet de l’amour et de la religion, sous l’emprise d’un ressentiment tantôt discret, tantôt criard. La dernière partie intervient également sur le territoire de la poésie houellebecquienne. En écho à Lamartine et à Baudelaire nous découvrirons un Houellebecq éclairé par une sensibilité qu’il manie dans des projets prophétiques à portée utopique ou dystopique. Son œuvre appartient certainement à la tradition littéraire postmoderne, mais elle a bien le mérite de revaloriser les voix des romantiques et premiers témoins des temps modernes. / At the origin of this study lies the invocation by Michel Houellebecq of the nineteenth-century readings that marked his youth and also his clear opposition to writers of the XXth century to whom he prefers the writings of the XIXth century. Our interest was aroused by his constant references and allusions to names such as Balzac, Zola, Huysmans, Auguste Comte, Schopenhauer, Nietzsche, Lamartine, Baudelaire. What do they have to say to him? If Michel Houellebecq moves towards this period of the past, it is because it coincides with the first anti-modern protests against the coldness of liberalism, of capitalism, the irreligious spirit, that is against the three evils which are responsible for the disruption of the (post)modern social structure.The first part of our comparative analysis introduces the novels of Houellebecq into realism - an echo to Balzac -, to naturalism - in reference to Zola, relating to decadence - evoking Huysmans. The second is the thread of philosophical reasoning of Auguste Comte, Schopenhauer and Nietzsche, of which Houellebecq feeds his judgments about love and religion, under the influence of a resentment sometimes discreet, sometimes sharp. The last part also enters on the territory of the Houellebecq poetry. In echo to Lamartine and Baudelaire we will discover a Houellebecq enlightened by a sensitivity that he uses in prophetic projects with utopian or dystopian reach. His work certainly belongs to the postmodern literary tradition, but it has the merit of revalorizing the voices of the romantics and the first witnesses of modern times.

The theme of this thesis is History of School of Applied Arts studios in Prague between 1885 and 1910. The thesis focuses mainly on style development at the crucial point of turning of the century. This period was the turning point when advanced school's art manifested and also time of generation change that transformed overall school atmosphere. A specific contribution of this thesis lies in outlining less known specialized schools, with inclusion of female element, which are factors that were not previously described elsewhere, as well as in attempt to find methodical and development analogies between Prague and Vienna School of Applied Arts. The aim of my thesis was to assess exceptional status of the school, especially in context of Czech educational system of decorative arts, and to evaluate historical context based on detailed archive research. I included in the thesis a comprehensive list of students of general and specialized schools of decorative arts, thus creating a foundation for future researchers on individual artistic personalities. Study of development of School of Applied Arts is an analytical synthesis presenting the specific role of decorative arts and crafts in pre-WWI era.