Historiographie de la campagne électorale de 2016 aux États-Unis, une entreprise documentaire afin de comprendre les événements, et un effort d’analyse du discours de deux animateurs avec les outils, notamment, de la théorie des affects.

Designing the elements of a theatrical production is a unique and often experimental process. This process changes from show to show, and it can be difficult for a viewer to differentiate mistakes from design choices without a background in lighting. That is why it is important to take a look at the design process step by step. Two goals I strove for when designing Savage In Limbo were, how the director's concept blended with a design and if the integrity of the designer's vision was evident on stage. To explore these goals, script analysis and consideration of the director's vision are two very important processes. Additionally, an exploration of the design process will better describe the growth and personal achievements of the design. This thesis will show the process of the lighting design for The University of Central Florida's 2011 production of John Patrick Shanley's Savage In Limbo. The project will highlight the design achievements and the goals explained previously, and create a formal dialogue on this specific design in order to provide insight into the process. When analyzing the design it was important that I assessed the process as well as the product by looking at whether the design met the expectations of the script and audience. This thesis will also explore how my past experiences, education and current skill level have prepared me for this design process in order to create a guideline for others interested in the development of knowledge needed for design.

[pt] Essa dissertação defende a tese de que há três sentidos principais em que figura o problema do tempo no livro Os detetives selvagens (2006), de Roberto Bolaño. O tempo do retorno, o tempo da polifonia e o tempo da construção. Ao menos desde a célebre formulação de Gyorg Lukács, segundo quem, dada a separação entre sentido e vida, toda a ação interna do romance talvez pudesse ser lida como uma luta contra o poder do tempo, revelando-o como princípio constitutivo da forma, o tema é incontornável no debate sobre a forma romance. Constituído por três eixos, sendo o intermediário um conjunto de entrevistas recolhidas ao longo de um período de vinte anos (1976-96), e os restantes anotações pessoais - em forma diário - do jovem poeta Juan García Madero, que compreendem os últimos meses de 1975 e os primeiros de 1976, o livro escrito por Roberto Bolaño toma forma às custas das aproximações e distanciamentos entre as histórias, bem como através da ordenação temporal heterodoxa e multifacetada, objeto de nosso estudo, que assim pretende abordar filosoficamente – através de autores como Lukács, Adorno e Rancière – a literatura de Os detetives selvagens, de Bolaño. / [en] This work claims that Roberto Bolaño s The savage detectives features the problem of time in three major procedures. The time of return, the time of polyphony and the time of construction. Ever since Gyorg Lukács notorious remark, according to which, given the separation between meaning and life, one could almost state that the entire inner action of the novel is nothing but a struggle against the power of time, unveiling it as a constitutive principle of form, the matter has become mandatory for the debate over the form of the novel. Split into three chapters, the intermediate one consisting in a set of interviews collected over two decades (1976-96) and the remaining two Juan García Madero s diary, which portrays the last months of 1975 as well as the early months of the following year, Roberto Bolaño s book takes shape not only through the similarities and dissimilarities between the stories but also due to the original and rather complex experiences of time elicited by them, subject of our study, which, therefore, aims at a philosophical approach - through names such as Lukács, Adorno and Rancière - of Bolaño s The savage detectives.

Murderer, bastard, spy: Richard Savage was no stranger to scandal and controversy. And yet, for a man who lived such a varied life, little is known for certain about him. There are rumors, suggestions, and accusations, but little that can be said without debates and arguments. It certainly does not help that Savage is often marginalized in eighteenth-century scholarship as scholars seek to discover and analyze all they can about his more famous, and more upstanding, contemporaries. While Savage's relationship with Johnson is well known and discussed frequently, all that is known of his relationship with Pope is that he contributed information to Pope's Dunciad Variorum (1729) and that Pope later contributed large sums to Savage's support. Pope was the driving force behind Savage's retirement to Wales, possibly alluded to in Johnson's London (1738), as well as the chief financial contributor to this retirement plan. No serious effort has been made to connect these two important episodes in Savage's life, perhaps because no serious effort has been made to establish the extent of his involvement with the Dunciad. It may have been this connection with Pope that drew Johnson to Savage in the first place. The intent of this thesis is to clarify the nature of Savage's collaborations with Pope and the extent of his contributions to the Dunciad Variorum of 1729. The Dunciad seeks to make fun not only of Pope's critics, but of writers who write for bread, the "hack writers" of Grub Street. It was here that Pope would most likely turn to Savage for information; Savage was much better acquainted with those writers than was Pope. But Savage may have done more than simply supply Pope with gossip, and I will consider the possibility that he had a more active role in the publication of the Dunciad Variorum. / Master of Arts

Chilean author Roberto Bolaño (1953-2003) has achieved considerable critical and commercial success among a global English readership. Breaking into the US market, which has an important mediating role for the international circulation of texts, is a rare feat for a non-Anglophone author and requires some explanation. In the spirit of Pascale Casanova’s international criticism, this paper looks at Bolaño’s work as world literature and his persona as a world-literature figure against which theories on the subject can be measured. Furthermore, I will partly use his posthumous novel, 2666, as an example of a work that arises out of this process of becoming-world-literature. The success of Bolaño more or less conforms to the main theories of world literature (Casanova, Moretti, Thomsen), but it also reveals interesting mismatches and problematic aspects that show a need to update existing theories.

Historical notions of Noble Savagery have been contemporarily translated and massified in popular culture so that traits that “Indigenous People” are believed to possess, are conflated with those of the Noble Savage of lore and taken for granted as truth. The Noble Savage is the embodiment of the tourist’s notion of the authentic; the more traits Indigenous people are assumed to share with the western notion of the Noble Savage the more authentic they are deemed, and the more attractive they are to the visiting tourist. In Saraguro tourism and incanismo mutually validate and reinforce each other. Tourists valorize their own preconceived notions of indigenous culture, and in turn validate incanismo through participation in Incaic cultural performances. Neo-Incans are objectifying and consuming their own dreams though the tourist gaze, and the resultant cultural commodification and the (re)appropriation of a nobler past has led to cultural revalorization of an indigenous elite. / viii, 213 leaves; 29 cm

The purpose of this work is to measure the influence of the Dialogues of Lahontan (1702--3) on contemporary thought relative to the myth of the Noble Savage. The text is divided into two parts: (1) Lahontan and the idea of the "noble savage" at the beginning of the 18th century in which we deal with the life of Lahontan, the historical and cultural background in New-France and in Europe at the turn of the 18th century, the Indian tribes of Northeastern America, and finally the Dialogues of Mr le Baron de Lahontan et d'un Sauvage, which consist in a comparison between two ways of life: the "civilized" i.e., European and the "savage" i.e., Amerindian. (2) The idea of the "noble savage" in the XXth century: a study of four representative authors. This part is divided in four chapters relative to the authors chosen. In chronological order: Charles Eastman who published his works at the beginning of the century, Sun Bear in the 70s, Georges Sioui and Jean Pictet after 1970. Each author's ideas are compared with those of Lahontan and, where it applies, with those of the other authors. / The conclusion underlines the fact that the ideas expressed in the four contemporary texts, having of course characteristics marking them as belonging to their specific historical milieu, borrow much from Lahontan and finally go back to a trend of thought that originated in Antiquity.

This work is centered in the analysis of characters in the novel The Savage Detevcives written by Roberto Bolaño. The thesis has no purpose in the biografic analysis of its authors life. It represents a detailed research and identification of characters that were (and still are) attached to our delimited context which is centered in the years of the development of the plot (1975-1976) and the years after while the movement infrarrealsim lasts. Its purpose is the analysis of each selected character. In order to fulfill it I have created the concept of the "infra-grafía". An infra-grafía is some kind of curriculum of each character that helps to respond the question that this work arises: which characters are fictional and which are infra-real? Because real is none of them.

No description available.

Como sabemos, as reflexões do filósofo político e contratualista Jean-Jacques Rousseau tornaram-se referência para muitos escritores que o sucederam, principalmente no que concerne às suas considerações a propósito da vida em sociedade, ambiente vil que degenera o homem, ser bom e piedoso por natureza. Tratase do célebre conceito rousseauniano do bom selvagem, teoria cuja repercussão pode ser encontrada em obras de muitos autores do período oitocentista, entre as quais podemos destacar a do romancista francês Honoré de Balzac e a do ficcionista português Camilo Castelo Branco. Isto porque, a partir de um estudo comparativo realizado entre volumes balzaquianos e camilianos, levantou-se a hipótese de que estes escritores, ao tecerem suas críticas sociais, dialogam com a mencionada teoria de Rousseau, muito embora cada um o faça a seu modo e finde por concatenar mundividências literárias distintas, únicas e inovadoras, que particularizam, de forma marcante, ambos os cânones ficcionais. Assim posto, e levando em consideração a ausência de estudos críticos a esse respeito, nosso intento é o de analisar uma questão inédita no que concerne à comparação entre a ficção balzaquiana e a camiliana: a diferente concepção que os respectivos narradores apresentam acerca dos efeitos sociais no homem, a partir de um diálogo estabelecido por ambos com o conceito rousseauniano do bom selvagem. Vale ressaltar que o estudo comparativo aqui proposto seguirá alguns pressupostos básicos da Literatura Comparada, sendo o principal deles a busca pelas particularidades de cada literatura (Cf. ABDALA Jr., 2003). / As we know, the reflections of the political and contractualist philosopher Jean- Jacques Rousseau became reference for many writers who succeeded him, mainly as concerns the considerations regarding the life in society, a vile ambience that degenerates man, a good and pious living being by nature. This is the renowned Rousseaunian concept of the noble savage, theory that can be found reverberated in many works of 19th century authors, among which we can highlight the one of the French novelist Honoré de Balzac and the one of the Portuguese fictionist Camilo Castelo Branco. That is because, from a comparative study realized between Balzacian and Camilian works, we hypothesized that these writers dialogue, as they construct their social criticisms, with the mentioned Rousseaus theory, although each one does it in his own way and ends by concatenating distinct literary worldviews, unique and innovative, that particularize, markedly, both of the fictional canons. Therefore, and taking into consideration the absence of critical studies regarding this, our intent is to analyze an unprecedented issue concerning the comparison between Balzacian and Camilian fiction: the different conception the narrators present about the social effects in man, through a dialogue established by both of them with the Rousseaunian concept of the noble savage. It is worth to stress that the comparative study proposed here will follow some basic assumptions of Comparative Literature, the main one being the research for the particularities of each literature. (Cf. ABDALA Jr., 2003).