La réputation de philoxénie dont jouit Athènes dès l'Antiquité pose la question de la réelle capacité d'accueil et d'intégration de la cité à l'égard des étrangers, de leur culture et de leur religion. Elle conduit à étudier les modalités d'introduction et de réception d'un ensemble de cultes, réunis sous le qualificatif générique et commode - bien qu'aujourd'hui très discuté- de «cultes orientaux» : dans cette étude, les <<cultes orientaux>> sont définis au sens géographique du terme, comme l'ensemble des cultes provenant de l'Est du bassin méditerranéen (Egypte, Anatolie, Syrie et Phénicie), y compris le christianisme et le judaïsme. S'appuyant sur une documentation abondante et variée - et notamment sur un corpus épigraphique conséquent - , ce travail vise à mettre en évidence les vecteurs de diffusion de ces cultes et les circonstances dans lesquelles ils s'implantent dans la cité athénienne. Une approche chronologique souligne l'existence de dynamiques locales, qui expliquent l'inégale popularité rencontrée par les cultes orientaux auprès des Athéniens : alors que certains sont critiqués et rejetés, les cultes de Cybèle et Isis remportent un grand succès en Attique. Une telle réussite suppose nécessairement des transformations, des modifications, pour permettre aux cultes de s'adapter à un public différent, à un nouveau cadre de réception: après leur arrivée, les nouveaux cultes entrent en interaction avec le milieu religieux local et subissent- à des degrés variables - un phénomène d'hellénisation, facilité par le processus de l' interprétation. Dans la cité, les divinités orientales présentent ainsi certaines caractéristiques universelles, que l'on retrouve un peu partout dans le monde méditerranéen à l'époque impériale, mais les contacts et les interactions avec les divinités locales- et notamment avec Déméter, la grande déesse d'Eleusis- ont aussi conduit à l'émergence de spécificités locales, particulière au contexte athénien. / The reputation of "philoxenia" enjoyed by Athens since Antiquity raises the question of the real capacity of welcome and integration of the city towards foreigners, their culture and their religion. It leads to study the differente ways of introducing and receiving a set of worship, gathered under the generic and convenient word - although today much discussed - of "Oriental cuits" : in this study, the "Oriental cuits" are defined by their geographical meaning, as all the religions coming from the Eastern Mediterranean (Egypt, Anatolia, Syria and Phoenicia), including Christianity and Judaism. Leaning on an extensive and varied documentation - and especially a large epigraphie corpus - this paper aims to point out the means of spreading of these cuits and the circumstances in which they settle in the city of Albens. A chronological approach emphasizes the existence of local dynamics, which explains the unequal popularity experienced by the different Oriental cults with Athenians : while sorne of them are criticized and rejected, the cults of Cybele and Isis achieved a great success in Attica. Such a success requires necessarily changes and modifications to allow these new cults to adapt themselves to a different audience and to a new framework of reception : after their arrival, the new cults interact with the local religions background and are affected - to varying degrees - by a phenomenon of hellenization, facilitated by the process of interpretario. Thus, in the city, the Oriental deities have some universal features - that are found throughout the Mediterranean world in the imperial period - , but the contacts and the interactions with the local gods - especially with Demeter, the great Eleusinian goddess - have also led to the emergence of local characteristics, specifie to the Athenian context.

This project explores Japan’s complex literary and cultural negotiation with China from the twelfth through the sixteenth centuries, focusing on the role of intermediary texts (dictionaries, encyclopedias, and commentaries) and the different modes of receiving and constructing Chinese culture depending on historical periods and scholarly lineages. As the larger process by which Chinese history and literature became part of the Japanese literary culture has long been studied on the assumption that there is direct textual continuity between Japanese texts (in literary Sinitic) and Chinese continental texts, the tracking down of citations, allusion, and references to Chinese source texts has commanded great scholarly attention. Yet this assumption obscures other, equally important histories – such as a popular understanding of Chinese culture, or a conceptual perception of Chinese culture, that was NOT based on direct textual continuity – that lies at the heart of this project. The introduction outlines three modes of receiving and constructing Chinese literary culture in pre-modern japan. One was the text-based, canonical view of Chinese history and literature, which relied almost exclusively on texts and genres that were canonized in the Nara and Heian periods state university (daigakuryō) – Confucian classics, Chinese official dynastic histories, and Chinese poetry. In contrast with it was a more popular, name-based understanding of Chinese culture that emerged from various intermediary genres (such as anecdotal literature, dictionaries, encyclopedias, and commentaries) both in China and in Japan. This mode of reception and construction was not based on texts so much as on what I call “cultural signs” (particularly Chinese names, well-known anecdotes, and visual cues) and required no knowledge of the original literary Sinitic. Third was a conceptual, term-based perception, manifested in such concepts as “loyalty” and “filial piety.” Written in the same kanji characters, these terms served as common threads linking Chinese and Japanese literary writings on the one hand, but also took on new meanings and associations in the Japanese cultural imagination. Chapter 1 outlines the importation of Chinese books and manuscripts in relation to the center of scholarship and the main intellectual groups up until the twelfth century. Drawing on evidence from commentaries on the Wakan rōeishū (The Collection of Japanese and Chinese Poems for Recitation, 1013) and from The Tales of China (Kara monogatari, late Heian period) on the themes of exile and loyalty, I discuss the rising interests in referencing anecdotal literature and compiling intermediaries (dictionaries, encyclopedias, and commentaries) in the twelfth century that eventually contributed to the formation of a more popular, name-based understanding of Chinese history and literature. Chapter 2 investigates the Japanese medieval interpretations of Chinese official histories (“Chūsei Shiki”), which features a tension and negotiation between the canonical and the non-canonical texts and gravitates towards recurring themes, character types, and core values. In particular, I look into the themes of wisdom, virtue, loyalty, and filial piety in A Miscellany of Ten Maxims (Jikkinshō, 1252) and The Tales of the Heike (Heike monogatari, ca. 1308-1311), which were largely constructed from a relatively more classical, Tang-based perspective, in despite of the fact that Chinese Song dynasty culture had already been imported to Japan along with the introduction of Chinese Chan (J. Zen) Buddhism in the thirteenth through fourteenth centuries. In Chapter 3, I examine the Taiheiki (A Chronicle of Great Peace, 1340s-1371), a unique text that acts as a nexus for many themes of this project. Analyzing the use of Chinese tales, maxims and proverbs, and poetry in relation to the themes of loyalty, wisdom, righteousness, and filial piety, I show that, unlike The Tales of the Heike, the Taiheiki revealed a thriving concern with the Song culture, which involved new editions, new commentaries, and new poetic theory. I also show that a conceptual, term-based perception of Chinese culture was taking shape. Chapter 4 explores the suddenly intensified scholarly exchange among different intellectual groups – the Zen monks, the Shintō priests, warriors, and court aristocrats – in the fifteenth through sixteenth centuries. Tracing the threads of new books and new theories in Kiyohara Nobukata’s lecture notes on the Mōgyū (Inquiry of the Youth), The Twenty-Four Filial Exemplars, and the picture scroll (emaki) of the Xianyang Palace, I discuss the expansion of knowledge and audience from priests and aristocrats to influential military families and wealthy commoners in late medieval Japan, the formation of new imaginations regarding Chinese history and literature, and the final transition from a pro-Tang prospective to a Song-centered understanding of China. In conclusion, I argue for the literary and cultural reception and construction of Chinese culture as not only a large and complex source text, in a long history of Sino-Japanese intertextuality, but as a complex cultural construction that was packaged and modified, sometimes for easy consumption, to reinforce key values (such as loyalty and filial piety), and that was readily identified even by those with limited access to literary Sinitic. By illustrating the processes by which Chinese history and literature were largely filtered through and transmitted by intermediaries into medieval Japanese literary culture, this project provides a new history of the reception of Chinese culture in the Japanese literary imagination.

This dissertation examines the uses of meta-theater in The Peach Blossom Fan, an early Qing historical drama by Kong Shangren (1648-1718), arguing that the meta-theatrical elements of the play serve as an innovative form of historiography. Kong Shangren, a member of the Confucian Kong lineage, is unusual for a Chinese playwright: he was steeped more deeply in the world of Confucian ritual music than the work of writing lyrics for dramatic arias, yet The Peach Blossom Fan is recognized as one of the last great chuanqi dramas of the Ming-Qing period. Kong wrote at a time of great social and cultural transformation, completing The Peach Blossom Fan not long after the violent conflicts of the mid-17th century Ming-Qing dynastic transition were finally coming to an end. At the same time, the literary genre of chuanqi drama was also in the midst of its own transitions, as writers of the early Qing increasingly turned to other literary genres beyond this popular late Ming form. I argue that The Peach Blossom Fan marks a key transition in the development of the chuanqi drama, owing both to the play’s formal innovations that exceed the traditional chuanqi form, such as its rejection of the conventional “grand reunion” finale and re-envisioning of the role-type system, and also to its synthesis of historiographical judgements with the world of theatrical performance. Focusing on the play’s uses of meta-theater, I show how The Peach Blossom Fan models the work of historiography by guiding its readers to cultivate the “cold, clear eyes” of a historical witness. Kong Shangren’s methods as a playwright-historian are at their best in The Peach Blossom Fan’s engagement with Ruan Dacheng (1587-1646): a blacklisted late Ming politician who was also a well-received playwright in his own time. Ruan’s life and work have been largely neglected in previous scholarship, despite his significance as a 17th century dramatist. The Peach Blossom Fan uniquely places Ruan Dacheng on stage as a dramatic character at the same time as it turns Ruan’s own chuanqi drama, The Swallow Letter, into an unsuccessful play-within-a-play. In so doing, The Peach Blossom Fan invites reflection on the writer alongside his work, synecdochically turning The Swallow Letter into the music of the collapsing Ming Dynasty and pronouncing Ruan’s fate as the villainous playwright who wrote it. Kong thereby creates a new dramatic motif of the “playwright on stage” — a method of meta-theatrical literary criticism that is picked up by later playwrights, such as the mid-Qing writer Jiang Shiquan. In The Peach Blossom Fan, Kong Shangren also creates a new vision for the worldly stage within and around his play; one in which the problems of social and theatrical performance are tied up in the formal world of the printed chuanqi drama. I analyze the textual dimensions of the play’s meta-theatrical innovations by focusing on Kong’s engagement with the late Ming Linchuan drama school, from The Peach Blossom Fan’s performative re-casting of the familiar female self-portrait motif, to the play’s meta-theatrical reflections on Kong’s own position as its early Qing playwright. The Peach Blossom Fan is framed through a series of paratexts, including an account of how the play itself came into being. The self-reflexivity of The Peach Blossom Fan as a literary text thereby extends its meta-theatrical frames to Kong Shangren’s world as its playwright, using notions of theatrical performance to examine the work of reading, writing, and ritual. Taken together, I contend, these layers of The Peach Blossom Fan theatricalize the literary genre of the chuanqi, drawing attention to the representational limits of historical narratives and capturing the ways in which writing is yet another form of performance.

Ce travail consacré à la communauté ruthène des XVIe-XVIIe siècles s'intéresse à la vie religieuse des chrétiens orientaux de Pologne-Lituanie au moment de la division de la métropole de Kiev entre les obédiences romaine et constantinopolitaine. A partir de l'exemple de la Lituanie occidentale (voïvodes de Vilnius et de Trakai), qui correspondait à une zone frontière entre les structures ecclésiastiques des rites grec et latin, il propose de saisir les enjeux et les conséquences locales des conflits et des négociations, qui émanèrent du schisme survenu après l'Union de Brest de 1595/1596. Grâce à des sources variées (documentation judiciaire, registres fiscaux, visites pastorales, correspondances, archives romaines, traités de controverse etc), l'enquête vise à replacer les fidèles de rite oriental dans l'espace géographique et les structures sociales de ce territoire pluriconfessionnel. A une échelle plus petite, l'étude fait ressortir également la place de la Lituanie dans les bouleversements généraux de l'Eglise ruthène de cette période afin de comprendre les disparités avec les religions méridionales de la métropole, plus réticents à reconnaître l'obédience pontificale. La « régionalisation » de l'histoire de l'Union de Brest amène enfin à évaluer la réception des réformes religieuses par les laïcs et de dégager les processus en jeu dans la constitution des appartenances confessionnelles sur les frontières du christianisme latin de l'époque post-tridentine. / This study on the Ruthenian community of the 16th and 17th centuries analyses the religious life of Eastern Christians of the Polish-Lithuanian Commonwealth, at the moment of the division of the Kievan metropolinate between Roman and Constantinopolitan obediences. With the example of western Lithuania (Vilnius and Trakai voivodships), which corresponded to a border area between the ecclesiastical structures of Greek and Latin rites, it proposes to explain the issues and consequences of local conflicts and negotiations, associated to the schism occurred after the Union of Brest in 1595/1596. Through a variety of sources (court archives, tax records, pastoral visits, correspondences, Roman archives, controversial treatises etc), the survey aims to situate the faithful of the Eastern rite within geographic space and social structures of this multiconfessional territory. On a smaller scale, the work also highlights the rôle of Lithuania in the general upheavals of the Ruthenian Church of this period in order to understand the differences with the soutern parts of the metropolitan diocese which was more reluctant to recognize the authority of the Pope. This « regionalization » of the history of the Union of Brest finally tries to measure the impact of religious reforms on laity and ti identify different process involved in the formation of confessional identities on the borders of Latin Christianity of the post-Tridentine era.

Granitos e rochas associadas aos Maciços Plutônicos de Algeciras, Altamira e Sombrerillo, na cordilheira Oriental da Colômbia, fazem parte de um dos maiores eventos magmáticos dos Andes do Norte, acontecido durante o Jurássico. Estes maciços formados principalmente por hornblenda, biotita hornblenda e biotita monzogranitos, hornblenda biotita granodioritos, quartzo monzodioritos e quartzo monzonitos com dois piroxênios, leuco granitos e uma serie de rochas subvulcânicas como pórfiros dacíticos e riolíticos e diques máficos-intermediários, que atravessam as facies intrusivas. Estas rochas têm afinidades geoquímicas cálcio-alcalinas com concentrações relativamente altas em potássio (3,3 < K2O wt.% < 6,2), principalmente metaluminosas e magnesianas; as rochas mais félsicas apresentam tendências levemente peraluminosas e ferroanas (0,67 <= ASI <= 1,01 e 0,66 <= fe# <= 0,94). Os padrões das REE mostram um enriquecimento das LREE sobre as HREE (7,7-8,7 <= LaN/YbN <= 18,8-22,4; 5,5-7,0 <= LaN/SmN <= 3,4-5,8 and 0,2-1,6 <= GdN/YbN <= 1,3- 2,6), com anomalias negativas do Eu (Eu/Eu* <= 0,6), que comparado com outros maciços Jurássicos dos Andes do Norte, sugerem uma contribuição do componente crustal maior na Cordilheira Oriental, ao leste. Anfibólio e biotita são os minerais máficos principais. Magnesiohornblenda é a variedade mais comum nas facies intrusivas e os pórfiros riolíticos; enquanto magnésiohastingsita a edenita dominam nos dacitos e diques máficosintermediários. Flogopita é variedade de mica comum em todas as rochas, exceção das rochas félsicas que apresentam um enriquecimento em alumínio (siderofilita). Por sua vez, o Sombrerillo é o único dos três complexos estudados que apresenta facies graníticas com augita e/ou enstatita, esta última característica de cristalização a temperaturas elevadas, sob condições crustais relativamente anidras, similares as de rochas graníticas que afloram na Cordilheira Central. Datações U-Pb em zircão por LA-ICP-MS revelam que o intervalo de geração dos principais produtos magmáticos dos Maciços Plutônicos de Algeciras e Altamira ficam entre 176 e 170 Ma, posteriores aos gerados na parte oeste na Cordilheira Central e no Complexo Plutônico de Sombrerillo (189 a 183 Ma). Estes dados sugerem migração da frente do arco 30 a 50 km ao leste, relacionada com processos de erosão por subducção. Dados isotópicos em zircão (- 6,3 > \'épsilon\'Hf(t) > -1,3, TDM = 870 a 1300 Ma), indicam contribuições crustais significativas, de fontes similares ao embasamento cristalino regional. Os produtos magmáticos finais, subvulcânicos, se colocaram por volta de 165 Ma e foram gerados possivelmente em ambientes de relaxamento tectônico, associado a um retrocesso da frente do arco da Cordilheira Oriental para a Central. Apresentam características isotópicas (+5,0 > \'épsilon\'Hf(t) > +14,6; TDM = 221 a 830 Ma) indicativas de contribuições de fontes mantélicas juvenis. Estimativas geotermobarométricas apontam temperaturas de cristalização magmática entre 700 e 930°C, sob condições de baixa pressão, ca. 1.5 \'+OU-\' 0.5 kbar, em ambientes relativamente oxidantes (+1 <= \'delta\'QFM <= +3) para as rochas graníticas, representativas de níveis superiores da crosta (3 a 5 km). Núcleos de fenocristais de rochas subvulcânicas apresentam composições compatíveis com condições mais elevadas de temperatura entre 800 e 1050°C e pressões até 5,1 kbar, evidenciando cristalização em maiores profundidades (ca. 12 a 23 km), enquanto que as composições de borda sugerem condições compatíveis com as rochas graníticas hospedeiras (ca. 0,8-1,7 kbar e 760°C). / Granites and associated rocks from the Algeciras, Altamira and Sombrerillo Plutonic Massifs, Eastern Cordillera of Colombia, represent one of the main magmatic events in the Northern Andes at Jurassic times. They are mainly made up by mainly hornblende, biotite hornblende and biotite monzogranites, hornblende biotite granodiorites, two pyroxene-bearing quartz monzodiorites and quartz monzonites, leuco granites, cross cut by subvolcanic rocks as felsic porphyries and intermediate-mafic dikes. They are high K calc-alkaline (3.3 < K2O wt.% < 6.2), mainly metaluminous and magnesian rocks; some felsic varieties present slightly peraluminous and ferroan signatures (0.66 <= fe# <= 0.94 e 0.67 <= ASI <= 1.01). REE patterns show LREE enrichment over HREE (7.7-8.7 <= LaN/YbN <= 18.8-22.4; 5.5-7.0 <= LaN/SmN <= 3.4-5.8 and 0.2-1.6 <= GdN/YbN <= 1.3-2.6) with negative Eu anomalies (Eu/Eu* <= 0.6). As a whole, Jurassic magmatism in northern Andes is characterized by increasing crustal contributions eastwards, becoming higher in Eastern Cordillera. Amphibole and biotite are the main mafic minerals. Magnesiohornblende is the most common variety in intrusive facies and rhyolite porphyries, while magnesiohastingsite and edenite predominate in dacite and intermediate-mafic dikes. Phlogopite is the main mica variety except for the more felsic rocks, which present a relatively Al-rich biotite (syderophillite). Some petrographic facies from the Sombrerillo Plutonic Massif present augite and/or enstatite. The later suggests high crystallization temperatures, under anhydrous conditions, which maybe related to similar rocks in Central Colombian Cordillera. U-Pb zircon ages by LA-ICPMS analysis indicate that the main magmatic products of Altamira and Algeciras Plutonic Massifs had emplaced between 176 and 170 Ma, after the emplacement of the main granites in Central Cordillera and in the Sombrerillo Plutonic Massif (189 to 183 Ma). This suggests a front arc migration to the east (ca. 30 to 50 km), associated with subduction erosion phenomena. \'épsilon\'Hf(t)-inzircon (- 6,3 > \'épsilon\'Hf(t) > -1,3, TDM = 870 a 1300 Ma) point to significant crustal contributions, similar to the enclosed crystalline basement, to the studied granites. The last magmatic, subvolcanic, products were emplaced at ca. 165 Ma in a possible tectonic extensive environment, created by retreat of the front arc from Eastern Cordillera to Central Cordillera. \'épsilon\'Hf(t)-in-zircon reveal contrasted young mantle sources (+5,0 > \'épsilon\'Hf(t) > +14,6; TDM = 221 a 830 Ma). Geothermobarometric estimative points to crystallization temperatures from 700 to 930°C, under low pressures (ca. 1.5 \'+OU-\' 0.5 kbar) under relatively oxidized (+1 <= \'delta\'QFM <= +3) conditions in the case of the main granitic rocks. Amphibole phenocryst cores present compositions compatible with higher temperatures (800 to 1050°C) and pressures (up to 5.1 kbar), suggesting crystallization at deep crustal levels (ca.12 to 23 km) while crystal rims are equilibrated at shallow crustal levels, comparable with those obtained for the granite hosts (ca.0.8 a 1.7 kbar e 760°C).

Submitted by Fernanda Costa (fernandaclaudiasilva19@gmail.com) on 2018-11-28T18:11:08Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfluenciaTipoSuperficie.pdf: 4545272 bytes, checksum: f745a1318ada745e2b9a4a1ea6c30726 (MD5) / Approved for entry into archive by Lúcia de Fátima Imbiriba de Sousa (lfis@ufpa.br) on 2018-12-05T13:32:43Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfluenciaTipoSuperficie.pdf: 4545272 bytes, checksum: f745a1318ada745e2b9a4a1ea6c30726 (MD5) / Made available in DSpace on 2018-12-05T13:32:44Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_InfluenciaTipoSuperficie.pdf: 4545272 bytes, checksum: f745a1318ada745e2b9a4a1ea6c30726 (MD5) Previous issue date: 2013-10-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo deste trabalho foi analisar a relação existente entre as ocorrências de raios sobre os diferentes tipos de superfícies em áreas selecionadas e situadas na Amazônia Oriental, durante o período de Julho de 2008 à Novembro de 2010. Os estudos foram feitos dentro de 8 áreas, localizadas no Estado do Pará. Cada uma das áreas estudadas caracterizam determinado tipo de superfície com aspecto homogêneo. Os dados de raios foram obtidos através do banco de dados da rede de detecção de raios STARNET, os dados de precipitação foram coletados através de 80 estações meteorológicas da Agência Nacional de Águas – ANA e do Instituto Nacional de Meteorologia – INMET, enquanto que os dados de classificação dos tipos de superfícies foram obtidos através de mapas do Instituto Brasileiro de Geografia e Estatística – IBGE. Os resultados mostraram que os diferentes tipos de superfícies contribuem de maneira significativa na frequência de ocorrência de raios; os raios variam em função da sazonalidade e ao longo dos meses no decorrer do ano, apresentando maiores médias de ocorrências correlacionadas com o período de máxima precipitação; a ocorrência de raios varia em função horária, em que tanto no período chuvoso, quanto no período seco as ocorrências desses eventos tendem a acontecer no período compreendido entre as 14:00h UTC (15:00h UTC para período seco) e 22:00h UTC, com maiores picos observados no período chuvoso. Observou-se ainda a não existência de uniformidade na ocorrência de raios e da precipitação dentro e entre as próprias áreas selecionadas. Portanto, o presente trabalho traz evidencias qualitativas da importância dos tipos de superfícies e sua influência em relação a ocorrência de raios observados. / The objective of this study was to analyze the relationship between the occurrence of lightning over different types of surfaces in selected areas situated in the eastern part of the Amazon Region during the period of July 2008 to November 2010. The studies were conducted in 8 areas, located in the State of Pará, Brazil. The studied areas feature a particular type of surface with homogeneous character. The lightning data were obtained from the database of the STARNET lightning detection network. Rainfall data were collected through 80 weather stations of the National Water Agency - ANA and the National Institute of Meteorology - INMET, while data classification of the types of surfaces were obtained from the Brazilian Institute of Geography and Statistics - IBGE. The results showed that different types of surfaces have contribute a significantly in occurrence frequency of lightning; lightning vary depending on seasonality and over the months during the year, with higher averages of correlated events with the period of maximum rainfall; the occurrence of lightning varies in time function, where both the rainy season and in the dry season the occurrences of these events tend to happen during the period between 14:00 UTC (15:00 UTC to dry season) and 22:00 UTC with major peaks observed in the rainy season. Also observed a lack of uniformity in the incident of lightning and precipitation on and between the same selected areas. Therefore, this study provides qualitative evidence of the importance of the types of surfaces and their influence over the observed occurrence of lightning.

This thesis concerns an exploratory practice (EP) project conducted at a two-year college in north east Japan, which was severely affected by the earthquake of March 2011. The focus of research is a 13-week EFL course for 25 first-year college students, specifically designed to enhance their future visions of themselves as L2 users (Dörnyei & Kubanyiova, 2014). This study examined opportunities that the course created for the students’ vision development in the classroom and the factors that may have contributed to these opportunities. The data came from 1) students’ written narratives, 2) semi-structured interviews, 3) teacher/researcher reflections, field notes and audio- and video- recordings of the classes, and 4) course evaluation questionnaires. Findings show that the course was beneficial for enhancing students’ appreciation of their language-relevant futures and the thesis engages with the factors that contributed to these findings by 1) tracing the trajectories of L2 learning and intercultural experiences of selected interview participants, 2) examining group dynamics and pedagogy adopted for the course, and 3) piecing together an understanding of the role that the teacher played in mobilising one focal participant’s future vision. The key contribution of this EP inquiry turned out to be more far-reaching than originally envisaged; however, pointing to the broader role that language education can play in young people’s lives. The thesis concludes by discussing educational and research consequences of this finding.

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This dissertation investigates how textual negotiations of "human feeling" and its ethically disruptive potential fundamentally shaped the production of literature in Japan over the early modern-modern divide well into the 20th century. "Human feeling" (Jap. jô, Chin. qing) was a loaded term in traditional Confucian discourses that subsumed amorous sentiment and sexual desire. It was seen as both a powerful force that could reinforce important societal bonds (such as the one between husband and wife) and as transgressive and ethically suspect. While traditional literary discourse, reaching back to the "Great Preface" of the Chinese Classic of Poetry (Shijing), defined poetry as a medium that could channel potentially unregulated emotions and desires, from the 18th century onward a strong awareness of "human feeling" started shaping the production of a broader spectrum of Japanese genres, such as jôruri puppet theater and, especially from the early 19th century, narrative fiction. I argue that the necessity to represent and write about potentially transgressive feelings and desires lies at the heart of major genres in 19th century Japan. At the same time this engendered the often conscious impulse to regulate these feelings ethically, for instance, through the specific dynamics of gender and plot. I define negotiations of "human feeling" as the simultaneous impulse in writing not only to represent but also to ethically and socially regulate and control feelings and desires. Precisely because the representation and negotiation of "human feeling" define the very essence of Japanese poetic writing and, from the 19th century onward, increasingly that of narrative writing as well, I argue that negotiations of "human feeling" are central to the broader emergence and formation of modern literature in Japan. My first chapter examines selected ninjôbon ("human feeling") by Tamenaga Shunsui (1790-1843) and Kyokutei Bakin's (1767-1848) long narrative yomihon ("books for reading") cycle Nansô Satomi Hakkenden (Eight Dog Chronicle of the Nansô Satomi Clan, 1814-42). I examine how both ninjôbon and yomihon writings explore the deep opposition as well as the implicit affinity between "human feeling" and the sphere of Confucian ethics. My second chapter investigates a variety of novels (shôsetsu) written in the "long" decade of the 1880s: the translated novel Karyû shunwa (Spring Tale of Flowers and Willows, 1878-79), political fiction, and Tsubouchi Shôyô's (1859-1935) rewriting and reform of political fiction at the end of the decade. I for instance examine how these novels -- such as Suehiro Tetchô's (1849-96) Setchûbai (Plum Blossoms in the Snow, 1886) or Shôyô's Imo to se kagami (Mirror of Marriage, 1885-86) -- allegorically negotiate both transgressive sexual desire and chaste spiritual love within a teleological plot structure of democratic reform and heroic activity. My third chapter turns to Meiji-period fiction after 1890, in particular to texts that thematize the new medium of art as well as the figure of the artist or the literary writer. I argue that these texts -- Kôda Rohan's (1867-1947) Fûryûbutsu (The Buddha of Romance, 1889), Mori Ôgai's (1862-1922) German trilogy (1889-90), or Tayama Katai's (1871-1930) Futon (The Quilt, 1907) - continue the ethical negotiation between transgressive sexual desire and spiritual feelings within an implicitly allegorical plot structure that points back to 1880s political fiction. My fourth chapter largely focuses on the diversity of Natsume Sôseki's (1867-1916) early literary oeuvre, including various genres of poetry, so-called sketch writing (shaseibun), and novels. I argue that Sôseki's literary experimentation, for instance in Kusamakura (The Grass Pillow, 1906), with various non-novelistic genres stems from the desire to devise an alternative regime of literature that mediates the representation of "human feeling" in a more detached manner than that of the novel. At the same time, Sôseki's novel writing - as I demonstrate through my reading of Sorekara (And Then, 1909) - brings back a non-detached focus on "human feeling" that profoundly echoes the earlier attempt in 19th century fiction to reconcile transgressive feelings with the telos of a heroic and ethically driven plot.

“From Tradition to Brand” examines the construction of a ‘global’ Korean culture in the late 20th and early 21st centuries through the imbrication of cultural production and information technologies. “Global Korea” seeks to transcend the geographic boundaries of the Republic of Korea while simultaneously re-inscribing the limits of ethnonational identity by confusing the temporal distinctions of tradition and ethnic belonging to the geopolitical construct of “Korea.” Globalization was introduced in Korea as a nationalist project that continued on the developmental trajectory that had been pursued by the preceding authoritarian regimes, but the movements of South Korean citizens, diaspora Koreans, and non-ethnic-Korean immigrants in and out of the country has created a transnational community of shared social and cultural practices that now constitute the global image of Korean culture. National culture had been a major site of conflict between authoritarian regimes, opposition groups, and the specter of North Korea over the representation of a unified culture and ethnic heritage. However, civil society and economic successes in the 1990s brought about a crisis of identification, while migration flows began to threaten the exclusive correspondence between citizenship and ethnic identity. Studies of contemporary Korea have recognized the nationalist appropriation of globalization, but I argue that the parallel development of national culture and information technology in South Korea has resulted in a deracinated signifier of “Koreanness” that can be performed through the consumption and practice of mediated “Korean” content. Through a study of cultural policies; international literary events; and literature, film, and popular culture texts, I trace the vicissitudes of intervention and opposition by state, institutional, and individual actors involved in the production and transmission of Korean culture. I begin with the imbrication of national culture and information technology in Chapter 1, from the establishment of the Ministry of Culture and Information in the 1960s, to the application of the country’s well-developed research and technology sectors to the newly defined “cultural industries” in the late 1990s and early 2000s. In Chapter 2, I analyze the proceedings of international literary events held in Seoul from 2003-2011 that protested the instrumentalization of culture while decrying the persistence of a hierarchy of cultural distinction in “World Literature.” These chapters draw out the productive tension between the state’s conception of culture as content or commodity to be regulated, and the international artistic establishment’s view of culture as a “field of struggle.” In the following chapters I chart the intermedial discourse of identity and belonging to communities of ethnicity, gender, sexuality, national origin, and class through cultural texts from the early 2000s. In Chapters 3, 4, and 5, I analyze newly canonized literature and films about migrant laborers to South Korea (Ch. 3); popular TV dramas about Korean cuisine and the culinary industry (Ch. 4), and “historical” narratives that challenge generic boundaries through time travel, hybrid sonic registers, and alternate histories (Ch. 5). South Korea becomes the signifier of an ideal “Korean” space in these texts. It is at once a de-territorialized multi-ethnic space of excessive consumption; an idealistically cosmopolitan, yet ethnically homogeneous space of economic and class mobility; and a socially progressive atemporal space of pre- and post-modern aesthetes. “From Tradition to Brand” builds on critical discourses of multiculturalism, globalization, visual media, genre, narrative, and transnational cultural studies to conclude that South Korean global culture performs a temporal double-bind that erases its present-tense cultural identity in favor of a recuperative past in the utopian future.