The author's Habilitationsschrift--Universität München. / Includes indexes. Includes bibliographical references (p. [213]-223).

Thesis (MA (Visual Studies))--University of Pretoria, 2008. / Includes bibliographical references.

In hierdie studie word die manifestasies en ontwikkelings van mens-masjien-verhoudinge in die Afrikaanse poësie vanaf 1990 tot 2012 ondersoek. Relevante uitgangspunte van die fenomenologie, posthumanisme en transhumanisme dien as teoretiese begronding om die gekompliseerde en gevarieerde aard van mens-masjien-verhoudinge in die Afrikaanse poësie te bestudeer. Die studie beoog om deur kwantitatiewe data-analise die manifestasie van tegnologiese terme en verwysings na tegnologiese objekte in Afrikaanse poësie vanaf 1990 tot 2012 te karteer. Hierbenewens word deeglike kwalitatiewe ondersoek gedoen na die verskillende representasies van mens-masjien-verhoudinge in geselekteerde Afrikaanse gedigte. Laastens word rolle en metaforiese betekenisse van digitale tegnologie in posthumane subjekte se belewing op drie tematiese vlakke ondersoek, naamlik liefde en seks, spiritualiteit en die dood. / In this study the different manifestations of human-machine relationships in Afrikaans poetry between 1990 and 2012 are investigated. Relevant viewpoints from the phenomenology, posthumanism and transhumanism form part of the theoretical framework in which the often complicated and varied nature of human-machine relationships are studied. It is the goal of this study to map the manifestations of technological terms and references to technological objects in Afrikaans poetry from 1990 to 2012, utilising quantitative data analysis. Furthermore, the in-depth qualitative analysis will investigate various representations of human-machine relationships in selected Afrikaans poems. The roles and metaphorical meanings of digital technology within the experiences of posthuman subjects are investigated on three thematic levels, namely love and sex, spirituality and death. / Afrikaans and Theory of Literature / M. A. (Afrikaans)

A presente pesquisa de cunho descritivo-analítico, de natureza qualitativa procura discutir as teorias do filósofo russo Mikhail Bakhtin no que se refere ao dialogismo e à polifonia no poema Morte e Vida Severina, de João Cabral de Melo Neto. Objetivamos analisar as categorias dialógicas e polifônicas de algumas estrofes do referido poema, especificamente, o sujeito como representação de um coletivo social, a intertextualidade e a intergenericidade poética, pois acreditamos que esse sujeito é parte indissociável entre as coisas do mundo e as coisas que o cercam. Nosso arcabouço teórico foi constituído a partir das ideias de Bakhtin (1998, 2005, 2011); e as de Volochinov, no que diz respeito aos aspectos discursivos, e das ideias de Candido (2010), de Secchin (2003), de Teles (1977) e as do próprio Cabral (2015), no que diz respeito aos aspectos literários. Nossas análises apontam para o estudo do dialogismo discursivo presente no poema e suas marcas discursivas que se entrelaçam com valores históricos, culturais e ideológicos, caracterizando, assim, um texto com grande riqueza discursiva. A presença da polifonia é outra marca presente neste estudo apontando a formação de sujeitos sociais que refletem um discurso de coletividade, sempre aberto à múltiplas possibilidades, cujas personagens sendo apontadas em um processo de evolução inacabado. Tal conceito passa a ser tomado na análise do poema como a posição tomada por parte do narrador personagem -como um regente de um grande coro de vozes que participam da construção estética. As relações intertextuais também fazem parte da nossa pesquisa, e foi possível encontrá-las na presença de elementos da cultura medieval e religiosa, que, influenciaram bastante os escritos cabralinos, além, dos aspectos do folclore e da cultura popular; todos em sintonia com a elaboração do poema. Por fim, o aspecto múltiplo do corpus em análise evidencia-se também nas relações intergenéricas, por se tratar de um texto teatral feito em versos, o que caracteriza-o como poema dramático.

Made available in DSpace on 2014-12-17T15:07:05Z (GMT). No. of bitstreams: 1 EduardoJPSL.pdf: 687770 bytes, checksum: ea9efa61b72d97e3eb90288327c79c87 (MD5) Previous issue date: 2006-12-19 / The present dissertation analyses the philosophy of Friedrich Nietzsche (1844-1900) and the short story written by Jo?o Guimar?es Rosa (1908-1967), A hora e vez de Augusto Matraga (1946) seeking to point out the possibility of the philosophic application of some Nietzschean ideas to enlarge the aesthetic value of the short story. It has been especially aimed at applying the concept of the noble superior being described by Nietzsche, the ubermensch, to the hero s ontological nature, Augusto Matraga. Nietzsche s postulates of the will to power, the elements suggested of the trial between Dionysus and Apollo and the ascetic ideal, will be especially relevant to this work, which intends to establish until what point the hero can be conceived as a good ascetic person, in so far as his noble ontological nature trespass the Christian morality, bringing him closer to the man who, according to Nietzsche, is beyond good and evil. Some Heideggerian concepts will also be relevant in order to reinforce the idea that the judgment created about Matraga is just an appearance that does not contemplate his essential Being, contributing to veil his real tragic-ontological valour, what implies that the aesthetic power of the short has been under valued / O presente trabalho tem como objetivo comparar a filosofia de Friedrich Nietzsche (1844-1900) e o conto de Jo?o Guimar?es Rosa (1908-1967), A hora e vez de Augusto Matraga (1946), no intuito de revelar a possibilidade da aplica??o da filosofia nieztscheana para expandir o valor est?tico do conto e possibilitar a compreens?o do protagonista, Augusto Matraga, como o prot?tipo do ser superior nobre descrito por Nietzsche, o ubermensch. Considerando os conceitos do fil?sofo sobre a vontade de pot?ncia, os elementos dionis?aco e apol?neo, bem como o ideal asc?tico, pretende-se estabelecer at? que ponto o protagonista pode ser concebido como um bom asceta, na medida em que, devido a sua natureza ontol?gica nobre, transgride a moral crist? e se aproxima do conceito do homem que est? al?m do bem e do mal. Al?m da filosofia de Nietzsche, usar-se-? alguns postulados filos?ficos de Martin Heidegger (1889-1976) para refor?ar a id?ia de que o ju?zo criado sobre Matraga ? apenas uma apar?ncia que n?o contempla a ess?ncia do seu Ser, contribuindo para camuflar seu car?ter tr?gico-ontol?gico, o que implica na diminui??o da for?a est?tica do conto

Qu'en est-il de la communication de l'impossible dans son rapport au pouvoir du langage ? En révélant la face a-dialectique du langage littéraire, Maurice Blanchot et Georges Bataille, liés par une amitié essentielle, ont redéployé l’espace désoeuvré de l’Impossible comme espace scripturaire. La présente étude s’est articulée en trois parties, regroupant chacune quatre chapitres. La première s’est intéressée à la nomination comme stricte révélation de la négativité, d’une part, et de l’altérité, d’autre part. Elle a analysé les stratégies de contestation du discours dialectique adoptées en vue de redessiner un nouvel espace communautaire grevé d’absence. Cette dernière, induisant par ailleurs le mouvement infini de la répétition, ouvre l’exigence scripturaire à l’in-fini du re-dire. La seconde a mis au centre de ses préoccupations, à l’exemple des auteurs eux-mêmes, la mort. Liée au déploiement scripturaire, la mort creuse littéralement le Dire dans lequel domine l’oscillation entre pouvoir et impouvoir. La dimension thanatique des œuvres des deux auteurs convoque les notions de limite, de transgression, de dehors, de chance et de neutre qui envisagent toutes l’ouverture de l’expérience scripturaire sur son impossible horizon. La dernière partie, quant à elle, a mis en évidence la manière dont l’écriture, en son mouvement disjoint et imaginaire, s’abstrait du domaine du possible en s’ouvrant finalement sur le silence dont elle se fait complice pour ouvrir le Dire au partage de l’Impossible. / This thesis discusses the saying of the Impossible in its relationship to the power of language in the works of Maurice Blanchot and Georges Bataille. By unveiling the a-dialectical aspect of the literary language, Maurice Blanchot and Georges Bataille, who were bound by an essential friendship, deployed anew the idle space of the Impossible as a writerly space. This study is composed of three parts, each divided into four chapters. The first part discusses nomination as a strict unveiling of negativity on the one hand, and of alterity on the other hand, before analysing the strategies of contesting the dialectical discourse which were adopted by both writers with a view of delineating a new community space marked by absence. By inducing an endless movement of repetition, absence is shown to open the writerly exigence to the infiniteness of re-saying. The second part focuses on death as explored by both writers themselves. As linked to the writerly deployment, death literally enacts a saying dominated by the oscillation between Power and Unpower. The thanatical dimension of the works of both authors relies on the notions of limits, transgression, exteriority, chance and neutre, all of which lead to the opening of the writerly experience on its impossible horizon. The third part highlights how writing, in its disjointed and imaginary movement, abstracts itself from the realm of the possible by opening itself to the silence and becoming thus its accomplice to open the saying to the sharing of the Impossible.

Made available in DSpace on 2017-06-01T18:25:07Z (GMT). No. of bitstreams: 1 luiz_fernando_lopes.pdf: 1017570 bytes, checksum: c969f16a7168a4f5e3b90a108e48ff17 (MD5) Previous issue date: 2016-08-12 / This research descriptive and analytical, qualitative discusses the theories of the Russian philosopher Mikhail Bakhtin regarding the dialogic and polyphony in the poem Morte e Vida Severina, of João Cabral de Melo Neto. We aimed to analyze the dialogic and polyphonic categories of some stanzas of that poem, specifically, the subject as a representation of a social collective, intertextuality and poetic intergenericidade because we believe that this guy is an inseparable part of the things of the world and the things that surround. Our theoretical framework was made from Bakhtin's ideas (1998, 2005, 2011); and the Voloshinov in respect of discourse aspects, and Candido ideas (2010) of Secchin (2003), Teles (1977) and Cabral itself (2015), with regard to literary aspects. Our analysis points to the study of discursive dialogism present in the poem and its discursive marks that intertwine with historical, cultural and ideological values, featuring thus a text with great discursive richness. The presence of polyphony is another brand present in this study indicating the formation of social subjects that reflect a community of discourse, always open to multiple possibilities, whose characters being pointed in an unfinished process of evolution. This concept shall be taken in poem analysis as the position taken by the narrator - character-as a conductor of a large chorus of voices participating in the aesthetic construction. The intertextual relations are also part of our research, and it was possible to find them in the presence of elements of medieval and religious culture, which, quite influenced cabralinos writings, beyond the aspects of folklore and popular culture; all in line with the development of the poem. Finally, the multiple aspect of corpus analysis also shows up in the intergeneric relationships, because it is a theatrical text made in verse, which characterizes it as a dramatic poem. / A presente pesquisa de cunho descritivo-analítico, de natureza qualitativa procura discutir as teorias do filósofo russo Mikhail Bakhtin no que se refere ao dialogismo e à polifonia no poema Morte e Vida Severina, de João Cabral de Melo Neto. Objetivamos analisar as categorias dialógicas e polifônicas de algumas estrofes do referido poema, especificamente, o sujeito como representação de um coletivo social, a intertextualidade e a intergenericidade poética, pois acreditamos que esse sujeito é parte indissociável entre as coisas do mundo e as coisas que o cercam. Nosso arcabouço teórico foi constituído a partir das ideias de Bakhtin (1998, 2005, 2011); e as de Volochinov, no que diz respeito aos aspectos discursivos, e das ideias de Candido (2010), de Secchin (2003), de Teles (1977) e as do próprio Cabral (2015), no que diz respeito aos aspectos literários. Nossas análises apontam para o estudo do dialogismo discursivo presente no poema e suas marcas discursivas que se entrelaçam com valores históricos, culturais e ideológicos, caracterizando, assim, um texto com grande riqueza discursiva. A presença da polifonia é outra marca presente neste estudo apontando a formação de sujeitos sociais que refletem um discurso de coletividade, sempre aberto à múltiplas possibilidades, cujas personagens sendo apontadas em um processo de evolução inacabado. Tal conceito passa a ser tomado na análise do poema como a posição tomada por parte do narrador personagem -como um regente de um grande coro de vozes que participam da construção estética. As relações intertextuais também fazem parte da nossa pesquisa, e foi possível encontrá-las na presença de elementos da cultura medieval e religiosa, que, influenciaram bastante os escritos cabralinos, além, dos aspectos do folclore e da cultura popular; todos em sintonia com a elaboração do poema. Por fim, o aspecto múltiplo do corpus em análise evidencia-se também nas relações intergenéricas, por se tratar de um texto teatral feito em versos, o que caracteriza-o como poema dramático.

Mgr. et Mgr. Magdalena Garbacik-Balakowicz Filozofické souvislosti v literárním díle Sándora Máraiho The Philosophical Dimension of Sándor Márai's Work Školitel: PhDr. Evžen Gál, Ph.D. Abstract The present thesis explores the relationship between literature and philosophy in the works of a Hungarian prose writer Sándor Márai (1900-1989). The first chapter presents the methodology applied in the thesis. I discuss the main questions of hermeneutics as methodology of literary studies. As an example, I depict and critically reflect on three attempts to develop hermeneutics on a strictly literary academic ground - the approaches of Hans Robert Jauss (Aesthetic of Reception and his Literary Hermeneutics), Peter Szondi (Material Literary Hermeneutics), and Richard Palmer (A Hermeneutical Manifesto). In Hans Georg Gadamer's hermeneutics, however, I seek his propounded literary theory, i.e. Gadamer's approach to the interpretation of a literary work. On this basis I present the principles of the hermeneutic model of the analysis of literary texts that I will use to analyse Márai's work. Next part addresses the issue of the relationship between philosophy and literature. In a triple, thematically narrowing perspective, I deal with the relationship between literature and knowledge in general, then with the issue of...

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Indiana University-Purdue University Indianapolis (IUPUI) / In his novels Slaughterhouse-five and The Sirens of Titan, Kurt Vonnegut explores issues of cultural identity in technologically-advanced societies post-World War II. With the rise of globalization and rapid technological advancements that occurred postwar, humans worldwide were mitigating the effects of information overload and instability in cultural identity. The influx of cultural influences that accompany a global society draws attention to the fluidity and inevitability of cultural change. A heightened awareness of cultural influences—past and present—creates anxiety for the generation living postwar and before the dawn of the Information Age. This generation suffers from “cultural schizophrenia”: a fracturing of the psyche characterized by anxiety over unstable cultural identities and agency. With the characters of Billy Pilgrim and Winston Niles Rumfoord, Vonnegut explores the different reactions to and consequences of cultural schizophrenia. His unique writing style is an effective hybrid of science fiction conventions and the complexities of human culture and society. Ultimately, Vonnegut explores the dangers of detachment and the complicated nature of agency with novels that are both innovative and accessible.