Qu’y a-t-il de commun entre Vladimir Nabokov, Norman Mailer, Don DeLillo, Cormac McCarthy et James Ellroy ? Ces cinq écrivains contemporains se sont intéressés au personnage du criminel asocial sur le territoire des États-Unis. Son existence repose sur le paradoxe propre à tout individu asocial : bien qu'il n'adhère pas aux conventions établies qu'il perçoit comme des entraves, il ne souhaite pas rompre les ponts avec la collectivité et refuse la vie en autarcie. S'il n'est donc pas antisocial, pourquoi fait-il le choix de l'asocialité ? Parce qu'il ne peut accepter ce qu'il perçoit comme des déviances dans le modèle de vie qui lui est proposé et qu'il va le remettre en question. Mais pourquoi serait-il de plus enclin à la criminalité ? La question est légitime dans la mesure où la relation entre criminalité et asociabilité n'est pas évidente alors que lier antisocial et criminel serait plus aisé car il y alors négation affirmée des lois de la société et volonté de s'en affranchir par l'action. A l'inverse, un asocial n'est pas nécessairement criminel. Cependant, chez les protagonistes des auteurs, ces deux caractéristiques vont de pair : peut-être sont-ils à la fois asociaux et criminels parce qu'ils ont décidé de vivre leur transgression en marge d'une société qui ne les satisfait pas mais qui ne les intéresse pas assez pour qu'il la combatte activement ? Ou peut-être trouvent-ils nécessaire de s'affranchir des lois pour exister dans le cadre qui leur est imposé et qu'ils ne cautionnent plus ? Il en résulte une écriture façonnée par ces questionnements et leurs nombreuses variations. Le corpus fait de biographies, récits fictionnels et non-fictionnels, entraîne une réflexion sur le modèle sociétal américain des années 50 à la fin des années 90 et plus particulièrement sur ses dysfonctionnements à l’origine de l’émergence de ce type de personnage qui devient alors l'instrument à visée démonstrative d'une littérature engagée. / What is the common point between Vladimir Nabokov, Norman Mailer, Don DeLillo, Cormac McCarthy et James Ellroy ? These five authors have been interested in a specific character in the contemporary literature, the asocial criminal in The United States. He appeared in a paradoxical way : while he is fighting against the established social conventions, he does not wish to live away from this society. So if this character is not antisocial, why does he make the choice to be asocial ? Because he cannot accept what he considers as a deviance inside the American way of life and he is going to fight against it in order to achieve his personal goals. But why should he also be a criminal ? This is a legitimate question since the link between crime and lack of sociability is not necessarily an obvious fact. On the contrary, it is pretty easier to tie crime and antisocial behaviors because there is a desire to live like an outcast, to infringe laws with violence. So, an asocial cannot be a criminal. However, concerning the authors' protagonists, both of these features work well together. Maybe they are asocial and criminal because they decided to live according to their wishes inside their society with its restrictive rules but as they refuse to lose their freedom, they know perfectly well they must not go too far ? Or maybe they also simply think they do not have to follow rules that they cannot accept and support ? Anyway, all these questions lead to a various corpus composed by biographies, fictions and non fiction stories. It entires the reader to think about the American consumer society and more particularly about the dysfunctions which gave birth to the asocial criminal character. So that the latter becomes a thought-provoking within the socially-engaged literature.

Le sujet de ce travail est le rôle du son dans le cinéma d’animation, à partir du concept d’audio-vision. Ce concept, provenant du théoricien Michel Chion, exprime une activité ou une modalité de la perception qui s’active –est qui est la face subjective– des produits audiovisuels qui dans le cas de l’animation donnent lieu à des expériences singulières. Le lieu de rencontre entre ces instances est la scène sémiotique d’une expérience de sens où une forme de textualité (résultat d’une écriture sonore et visuelle) inscrite dans un support matériel s’active et rencontre un corps vivant, qui la transforme en un récit audiovisuel, ou bien aussi en une pure expérience corporelle, rythmique ou vibratoire, qui est aussi une forme de sens. Cette scène pratique est comprise d’après le concept de dispositif, provenant de la théorie filmique, mais ici liée à la théorie de l’énonciation. Pour aborder cette scène si complexe, j’ai choisi de mettre l’accent sur un aspect particulier : le son, l’écoute, et les approches sémiotiques que se sont occupées de cette dimension de l’expérience perceptive, notamment la sémiotique du son. Pour tester cette approche, dans cette thèse on fait des analyses pratiques d’un type de productions animées que, selon le critère, on peut appeler « indépendantes », « expérimentales », ou même « abstraites » : les courts métrages animés de Norman McLaren et de Mirai Mizue. Néanmoins, pour éloignées que semblent ces productions de l’animation traditionnelle on va proposer qu’à la base de toutes ces productions il y a un même dispositif et un même type de pratique (dans le sens sémiotique du terme), un « faire technique » sur lequel on projettera des contenus divers (narratifs, dynamiques, musicaux, énergétiques). / The subject of this work is the role of sound in animation, from the concept of audio-vision. This concept, from theorist Michel Chion, expresses an activity or mode of perception that is activated –and that is is the subjective side- of audiovisual productions. In the case of animation this activity gives rise to unique experiences. The meeting point between these aspects is the semiotic scene of a meaningful experience, where a form of textuality (the result of an aural and a visual writing) registered in a physical medium, is activated by a living body. This experience is interpreted as an audio-visual narrative, or as a pure physical experience of rhythm and vibration, which is also a form of sense. This practical scene is understood from the concept of ‘apparatus’, coined in the field of the film theory, but connected here with enunciation theory. To address this complex scene, I chose to focus on a particular aspect: sound and listening, from a semiotic perspective. To test this approach, in this work I propose practical analysis of a type of animated productions that according to the criteria, can be called

Syftet med denna uppsats är att se hur två diskurser, marknadsdiskurs och skoldiskurs, konstrueras i gymnasieskolors informationstexter. Dels genom värderingar, dels genom hur eleverna framställs. Texterna är tagna från skolornas hemsidor. Jag undersöker totalt fem skoltexter samt en text från Skolverket som belyser skolan som institutions värderingar. Undersökningen utgår från Norman Faircloughs kritiska diskursanalys samt textanalys, bland annat den systemisk-funktionella grammatiken (SFG). Uppsatsen är språkvetenskaplig och utgår från det textuella. Jag utgår i min analys främst från värdeord, eller buzz words, där jag belyser positivt värderade ord i texterna. Jag utgår även från en analys av fraser samt den interpersonella analysens språkhandlingar och modalitet. Analysresultatet visar att skolornas texter präglas av en marknadsdiskurs där värdeord som ”entreprenör” och ”företag” ofta förekommer. Ett tydligt resultat är hur ord som realiserar en marknadsdiskurs betydligt oftare värderas som positiva i sig själva än ord som realiserar en skoldiskurs. Det är även tydligt att de värderingar som framkommer i skolornas texter inte återfinns i Skolverkets text. De elever som framträder i skolornas texter är oftast ambitiösa, drivna och självgående. Även om det finns vissa undantag. Uppsatsens resultat kan på ett större plan kopplas till en allmän samhällsförändring där ett marknadsspråk tar större plats inom den offentliga sektorn. För gymnasieskolorna innebär det att det målas upp en bild av en skola som finns till för elever som är högpresterande och intresserade av entreprenörskap och företagande.

O principal objetivo deste trabalho é investigar a forma dialética presente em Exércitos da Noite, uma das mais reconhecidas e ousadas obras do romancista norte-americano Norman Mailer. Publicada originalmente em 1968, Exércitos é um relato pessoal do autor sobre sua vivência na Marcha sobre o Pentágono, manifestação civil que reuniu milhares de pessoas em Washington, em outubro de 1967, em protesto contra a política americana na guerra do Vietnã. O livro, dividido em duas partes, recria, na primeira, uma perspectiva ficcional dos eventos, em contraste com a segunda, na qual Mailer procura criar uma visão histórica sobre os episódios da Marcha, recorrendo, para tanto, a técnicas de reportagem e excertos da cobertura da mídia no período, num tom fundamentalmente ensaístico. Permeando toda a narrativa, há o explosivo contexto da vida norte-americana do período, com sua cultura hippie, a emergência dos movimentos civis e a queima pública das cartas de convocação para a guerra. A presente dissertação analisa este peculiar romance à luz de textos centrais das áreas de teoria literária e estudos jornalísticos, além de evocar outros autores que, como Mailer, fizeram parte de um grande contexto renovador do jornalismo literário nos anos 1960 e 1970 chamado, genericamente, de Novo Jornalismo, de origem norte-americana e repercussões profundas, inclusive no Brasil. Com tal abordagem, intento alcançar uma melhor compreensão acerca dos mecanismos ficcionais que sustentam e aproximam os discursos jornalístico e literário, nomeadamente na obra de Mailer, que o crítico do New York Times Alfred Kazin definiu à época como um \"diário-ensaio-tratado-sermão\", com Mailer desempenhando seu dileto papel ficcional de visionário da América. / The main purpose of this issue is to investigate the dialectic form on Norman Mailer\'s acclaimed and Pulitzer-winner novel The Armies of the Night: The History as a Novel, The Novel as History, first published in 1968 as the author\'s personal account of the March on the Pentagon, a peace rally that shook Washington D.C. for three days in October 1967 and gathered thousands of civilians on a protest against the american policies concerning the Vietnam War. The book, divided into two parts, recreates, on the first, a fictional perspective of the events, while the second intends to convey a historical view on the same context, by mixing reporting techniques, excerpts from the media coverage and essayistic interventions. Throughout the whole book runs the thread of the mythic north-american background of the period, with its hippie culture, civilian movements and burned draft cards. Drawing on key authors from the literary and journalistic studies, this work pursuits a better understanding of the specific fictional procedures shared both by journalism and literature, namely on Armies of the Night, Mailer\'s new journalistic piece, that the New York Times critic Alfred Kazin defined tentatively as a \"diary-essaytract- sermon\", with Mailer playing his favorite part of the American visionary.

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The aim of this thesis is to investigate in what way Swedish universities regulates its internal and external communication by the use of policy documents. The purpose has led to three research questions: what scope of communication is given to the documents user, if the document is challenging or redefining the current means of power, and how questions regarding trademark is taken into consideration. In order to achieve the purpose a discourse analysis is used as both underlining theory and comprehensive method. The underlining theory is based around social constructionism, structuralism, poststructuralism and critical discourse analysis. The analysis have taken emphasis from Norman Faircloughs three-dimensional model in which the documents have been studied on three separate levels. The material the research has been built upon is documents regarding communication policy from ten of Swedens fourteen universities. The results indicated that three central groups of participants where given authority in the policy document. The first group consists of different types of managers whom, in the policy document, where given the highest freedom of their own communication. The second group consist of colleagues and employees and are by the policy document viewed as both goals and actors with limited freedom and power over their own communication. The third group consists of students, whom much a like the second group, were viewed as both goals and actors. The last group where however given less influences over their own communication and there was a clear distinction between universities whom looked upon their students as part of the organisation and those who placed the students outside the university organisation. The results furthermore indicated that the policy document are used and works as reproduced documents for the current means of power and that questions regarding trademark are present. The term trademark were used in the majority of the documents and it was also possible to distinguish and read that the universities are very conscious about, and want to influence what image of them that is corresponded through media, employees and students.

This thesis examines the depiction of saintly figures within the Latin vitae of twelfth-century England (1066–c.1215). It tests the extent to which these depictions are homogeneous and examines what factors may have shaped representations. Analysis focuses on vitae of twelfth-century saints, a sample of texts that have not previously been examined as a corpus in this way. By encompassing a range of different types of saint, authors and contexts, utilising this corpus allows a comparative examination of how different facets of sainthood could be expressed in hagiography. The textual analysis at the heart of this study aims to unpick individual texts' ideals of saintly behaviour. Whilst hagiographers functioned within a well-established genre, considering a wide range of saints' vitae allows scrutiny of the impact of context in shaping depictions. It will be argued that these portrayals of saintly figures demonstrate thematic harmony which is tempered by individuality and context to form recognisable and yet distinctive depictions of sainthood. The analysis is structured around four common hagiographical themes, each worthy of detailed examination: Outer Appearance, Sexuality and Chastity, Food and Fasting, and Death. Chapter 1 investigates how saintly figures are described in terms of physical appearance, deportment and demeanour, and clothing. Chapter 2 focuses upon sexuality, exploring the manifestations of chastity and virginity within the Lives and testing how this might vary from saint to saint and between the sexes. Chapter 3 examines food and food abstention, previously under-represented in secondary literature on twelfth-century hagiography and on male saints. The thesis ends with a consideration of death, a surprisingly understudied theme in Anglophone scholarship. By examining the process of dying and the moment of mortality, this chapter will fill an important analytical vacuum between lived sanctity and sanctity in death.

This dissertation is an exploration of the strain of Buddhist thought and practice running through American Modernism and American Modernist Poetry. I examine the works, both poetic and critical, of two authors, Allen Ginsberg and Norman Fischer. I explore Allen Ginsberg's relationship with Buddhism, as it changed throughout his life, looking at key poems in his early career, such as "Sakyamuni Coming Out of the Mountain," and "The Change: Kyoto to Tokyo Express." I also examine "Howl" in light of Ginsberg's early experiences with Buddhism and other spiritual forms. I consider some of the poetics and politics of "Howl" as an example of the both the poetic space and the mind Ginsberg prepared for his later spiritual and poetic life. I also theorize the connections between the Buddhist attitude that Ginsberg cultivates and the modernism of Ezra Pound, who eschewed Buddhist ideas and terms in his re-working of Ernest Fenollosa's well-known essay, "The Chinese Written Character as a Medium for Poetry." I examine the way Ginsberg considered Pound's Cantos as a model of a mind, in the act of the real work of thinking. I end my treatment of Ginsberg's work with a reading of "Father Death Blues" which Ginsberg considered the "culmination" of his Buddhist training. Looking at Norman Fischer, I focus closely on the Zen aspects of his writing, spending special attention on notions of the koan, as well as things he says (in his Zen lectures and elsewhere) about intersections between Zen mind perception models and models of mind that come via the practices of psychoanalysis. I work to explain how Fischer situates in terms of the L=A=N=G=U=A=G=E poets and other avant-garde poetic movements. I explore how Fischer's innovative style(s) work within his poetic practices in "Praise," an extended journal/diary poem from Precisely The Point Being Made and the Cage/MacLow practices of releasing of ego and agency in writing methods. I also look at how such journal/diary poems compare to other poetic "mind models" within American Modernism. My chapters on Fischer culminate in a discussion, with significant close readings, of his book Success.

In the late eleventh century, the episcopal Church of St Cuthbert at Durham was one of the most powerful institutions in the North of England. Its power was derived from its possession of extensive landed estates which had been acquired since the late seventh century. Whereas the other ecclesiastical corporations of early Northumbria had succumbed to the successive waves of Scandinavian invasions, the Church of St Cuthbert had established a significant franchise and had augmented its landholding. The leaders of the Church were willing to lend their support to any secular ruler who would guarantee the safety of its possessions. The first Norman appointee to the bishopric, Walcher, was in a precarious position relying heavily upon the local Northumbrian aristocracy for his administration. Factionalism within Walcher's regime brought about the Bishop's murder at Gateshead in 1080. This incident forced William I to reconsider his policy in the North-East of England and he appointed William of St Calais to the bishopric and Robert de Mowbray to the earldom of Northumbria. Bishop William launched an attack on the position of the members of the pre-Conquest Congregatio sancti Cuthberti by introducing a Convent of Benedictine monks to Durham in 1083. A re-examination of the early twelfth-century chronicle of Symeon, who was precentor at Durham, challenges the widely held view that there was a complete change in the personnel serving St Cuthbert's shrine in 1083. It is argued that a significant number of the Congregation entered the Convent thus maintaining a strong local presence at the shrine. The Benedictine Convent served as the cathedral chapter and its relationship with its nominal Abbot, the Bishop, is surveyed for the period, 1083 to 1153. During the pontificate of William of St Calais, the Convent enjoyed a privileged status within the see. However, the elevation of Rannulf Flambard to the bishopric marked the beginning of conflict between the two institutions. The monks sought a definition. of their franchise and this prompted them to confect a series of forged foundation charters which multiplied during the pontificate of Hugh du Puiset. The establishment of a French baronage within the Patrimony of St Cuthbert strengthened the Norman presence in the region, although a number of native families maintained their position. The surviving evidence suggests that the feudal structure of Durham was largely the work of Bishop Rannulf. Finally, the relationship between the Church of St Cuthbert and Scotland has been considered and it is argued that, in this period, the Bishop of Durham did not take an active role in the defence of the North of England. The Convent received grants of land from the Scots kings, most notably the church of Coldingham. As it had done between its foundation and the late eleventh century, the Church of St Cuthbert survived weathering the Norman Conquest and thereby ensuring that the cult of St Cuthbert at Durham prospered. By the end of the twelfth century it was rivalled only by that of Thomas Becket.

I denna uppsats redogörs för en kritisk diskursanalytisk studie om konstruktionen av stress, vars syfte är att undersöka hur stress språkligt konstrueras i olika dokument om arbetsmiljöarbete. Vid analysförfarandet användes diskursanalytikern Norman Faircloughs tredimensionella analysmodell för lingvistisk och sociologisk forskning. Dennes kritiskt diskursanalytiska tankar utgör även studiens teoretiska referensram. Det analyserade materialet består av dokument om arbetsmiljöarbete mot stress, som Arbetsmiljöverket och Prevent har producerat. Uppsatsen innefattar en kartläggning över fältet för arbetsmiljöarbete och fenomenet stress, samt en presentation kring den tidigare forskning som studerats i studiens initierande fas. Denna forskning framställs genom de tre temana diskursiv påverkan, den normaliserande diskursen och individuella faktorer. Studiens resultat presenteras i de två delarna text och diskursiv praktik från Faircloughs analysmodell. Sammantaget innefattar den första resultatdelen text de fyra temana typ av text, modalitet, hyponymer och antonymer samt transitivitet. Under den andra resultatdelen diskursiv praktik återfinns de fyra diskurserna den utbildande diskursen, den arbetsrättsliga diskursen, den ohälsosamma diskursen och den vetenskapliga diskursen.