I have examined Waugh’s Brideshead Revisited by reading it as a tragedy and looking at the motif of the tragic fall of the Marchmain family as a response to the challenges of modernity. Most academic works on Brideshead Revisited are religious readings that focus on the role of Catholicism in the narrative. I argue that the novel portrays modernity and as such, calls for the necessity of being able to change with the times. Approaching the narrative as a tragedy highlights this interpretation and allows for an exploration of the characters’ attitudes to modernity through their tragic fall. I have investigated the role and implications of tragedy in modern secular times and applied it to Brideshead Revisited, focusing on the Aristotelian theory of tragedy and employing Schopenhauer’s and Nietzsche’s understanding of tragic action to explain the effect of the tragic fall on the spectator or reader. The Marchmains can be seen as Aristotelian tragic heroes that experience a fall due to their mistaken views that are founded on tradition and thus distance them from the modern world. The fall of the Marchmains and the looming disintegration of their social stratum are indicative of broader social change in interwar. For Charles Ryder, the narrator of Brideshead Revisited, the Marchmains’ tragic fall serves as a tool that allows him to see life from a different perspective and reconcile nostalgia and modernity. Brideshead Revisited is therefore not only a Catholic novel, but also a detailed image of interwar England, the shifts in its social structure, and the importance of accepting change.

Under 1900-talet publicerades två romaner som skilldrade homoerotiska relationer under den Edwardianska perioden delvis utspelade i universitetsmiljö, Brideshead Revisited av Evenlyn Waugh och Maurice av E.M Forster. Men trots likheter i handling och karaktärsarketyper har de båda romanerna djupt skillda perspektiv på den miljö och de ideologiska system romanerna båda skilldrar. Genom en närläsning av romanerna som utgår från kattegorierna klass, kön, sexualitet och intersektionen mellan dem framgår verkens ideologiska skillnader tydligt. Waugh skilldrar en miljö han sörjer har försvunnit och inte kan återkomma, en tydlig överklassmiljö, där de aristokrater som lever i den är de enda som kan förstå värdet av konst och kultur. På grund av detta blir den arbetarklass som vardagen på godset Brideshead är beroende av i en form av tystnadens politik helt avhumaniserad, och ses som funktioner snarare än subjekt. Det finns inte heller plats att ifrågasätta de möjligheter kvinnan har i systemet, utan fokus lägs istället på att visa hur den moderna borgarklassen bör förvalta arvet från aristokratin. I Forsters roman kritiseras istället samma system och genom karaktären Maurice roll som både förtryckare och förtryckt öppnar romanens ideologi för en diskusion om intersektionalitet. Här väljer den moderna borgarmannen att avsäga sig sin roll i systemet snarare än att förvalta det. / During the 20th century two novels depiciting homoerotic relationships in an Edwardian university setting were published, Brideshead Revisited by Evelyn Waigh and Maurice by E.M Forster. But despite the similarities in plot and characters the two novels show two very diferent perspectives on the idological systems they depict. Through reading the novels through the lenses of gender, class, sexuality and the intersection between them it is evident that the ideology at the heart of the novels differ greatly. Waught depicts a time and place which he mourns the loss of, where the aristocrats who live in it are the only ones who can understand art and culture, but are doomed in the modern world. With this worldview the servants who are responible for the day to day opperations of the countryhouse Brideshead are dehumanised in a politic of silence, where they are seen as functions, as opposed to subjects. Nor is there space to question the role of women in this system, as focus is on showing how the modern urban man must keep the aristocratic worldview alive. The same system which is upheld and tressured in Waughs novel is criticized in Forsters, and thoguht the roll of Maurice as booth oppressed and opressor the idology of the novel opens for a conversation about intersectionality. Here the same man who upholds the aristocratic system in Brideshead choses to reject it.

This study is an examination of the protagonists in Evelyn Waugh's Decline and Fall, A Handful of Dust, and Brideshead Revisited. The purpose of this study is to show how each novel displays the same type of character progressing towards heroism. This type of heroism is explained by using Carol Pearson's The Hero Within: Six Archetypes We Live By. Using Pearson's archetypes to discuss these protagonists gives one a better understanding of the characters and their development as they move towards self-knowledge. The introduction explains the term hero and gives a brief review of Pearson's book. Chapters two, three and four are each devoted to one of the specified novels and contain an examination of how the protagonist progresses through Pearson's archetypes. Chapter five is the conclusion, which summarizes this study and states the usefulness of archetypes in understanding the development of a character, as well as the importance of taking the heroic journey.

Jean Ahn (b. 1976) is one of the active Korean woman composers in the U.S. Ahn’s goal is to introduce her works in the U.S. by composing pieces that combine Korean musical elements with Western compositional techniques. The purpose of this study is to provide an introduction to and analysis of Folksong Revisited for solo piano by Jean Ahn. This work demonstrates how Jean Ahn integrates Korean traditional musical elements and Western musical compositional techniques. For better understanding of Ahn’s three Korean folksong arrangements in the Folksong Revisited, this document provides brief information about Korean traditional music and explores elements of it. This document also examines the folksong sources of each piece and Ahn’s compositional approaches to them, and then provides performance suggestions.

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An analysis on Evelyn Waugh's novels: Brideshead Revisited, Decline and Fall, and Vile Bodies as well as their film and television adaptations. The paper relates all of these works to Waugh's idea that the true value and reason why students should attend university is not because their degree will earn them a massive salary, but because it allows for another four years of sequestered development away from adult society. Waugh stated that the true value of his time as an undergraduate at Oxford was because it provided him with the opportunity to drink, throw parties, discover art, etc...which therefore gave him an appropriate amount of time to grow up gradually. All of these novels, films, and television series provide substantial evidence as to why Waugh's point was correct and is still valid.

248 p. / Submitted by Santiago Fabio (fabio.ssantiago@hotmail.com) on 2012-12-18T16:44:31Z No. of bitstreams: 1 fagner_cordeiro_dantas.pdf: 2110154 bytes, checksum: 4b173b189518f8827016edff85deed7c (MD5) / Made available in DSpace on 2012-12-18T16:44:32Z (GMT). No. of bitstreams: 1 fagner_cordeiro_dantas.pdf: 2110154 bytes, checksum: 4b173b189518f8827016edff85deed7c (MD5) Previous issue date: 2012 / A presente dissertação busca elucidar a seguinte questão: ““Quais os resultados verificáveis da Política Industrial, Tecnológica e de Comércio Exterior - PITCE sobre a intensidade tecnológica das exportações brasileiras nos anos 2000?” Essa pergunta surge no bojo de uma série de fatores que se apresentaram ao longo da primeira década deste século: o acirramento da crítica mundial ao ideário neoliberal após as sucessivas crises econômicas da década de 1990; uma “guinada a esquerda”, principalmente na América Latina, com destaque para a eleição do Luiz Inácio Lula da Silva, em 2002; o lançamento, no início do primeiro mandado do presidente Lula, da Política Industrial, Tecnológica e de Comércio Exterior (PITCE); o sucessivo esforço de vários acadêmicos no sentido de resgatar e atualizar o legado desenvolvimentista que marcou o período de 1930 a 1980, no Brasil, etc. A retomada das discussões em torno de uma presença mais relevante do Estado na economia despertou o interesse de olhar para um lado até então pouco considerado nas discussões eminentemente econômicas das releituras desenvolvimentistas: o lado sócio-político. Nesse sentido, questões como a resiliência patrimonialista, a balcanização do Estado e a captura das políticas públicas por grupos de interesse voltam a ter importância em um contexto de ampliação da presença do Estado na economia. Diante das oportunidades trazidas por uma nova política industrial com foco na inovação e na intensidade tecnológica da produção nacional e dos riscos dos velhos problemas brasileiros obstaculizarem a consecução dos objetivos dessa nova política é que se coloca o presente estudo. Sua intenção é tentar identificar, por um lado, evidências empíricas de um melhor desempenho em termos de intensificação tecnológica da nossa pauta de exportações ao longo do período de vigência da PITCE (2004-2008), e, de outro, evidências heurísticas que permitam correlacionar, ainda que sem uma certeza estatística, os eventuais resultados positivos encontrados e as medidas vinculadas à PITCE. / Salvador

The ubiquity of the ‘Nazi’ – the fictional Doppelgänger of the historical Nazi – in the various media of popular culture is both disturbing and fascinating. There is an important relationship between the ‘Nazi’ and its audience; related to but separate from the historical Nazi, the creation and reception of the ‘Nazi’ both enables and exemplifies the continual processing of the past. Using a purpose-built framework (concept and terminology) for the study of the ‘Nazi’ as a phenomenon in and of itself, in combination with Freud’s concept of the uncanny, this thesis examines the dynamics of the relationship between the ‘Nazi’ and its audience in four examples: television episodes “Deaths-Head Revisited,” “He’s Alive” (The Twilight Zone), and “Patterns of Force” (Star Trek); and Serdar Somuncu’s performances/readings of Mein Kampf. The temporal and geographical context of the episodes (1960s America) seem far removed from Somuncu’s performances (1990s/2000s Germany), but analysing the production and effects of the uncanny moments generated in each case reveals a provocative raison d’être that spans across the geographical and temporal divide. / Graduate / 0311 / 0900

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