Made available in DSpace on 2015-01-26T13:21:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-07-08Bitstream added on 2015-01-26T13:30:23Z : No. of bitstreams: 1 000804512.pdf: 1142881 bytes, checksum: 98d8f4d4d831108d36c638a82c9f6a23 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente tese foi escrita orientada por três objetivos principais, quais sejam: investigar a natureza da Crítica e da Teoria Literária, expondo os seus estatutos, suas limitações e pretensões; dentro desse cenário, realizar o recenseamento de toda a produção crítica e teórica do professor Harold Bloom (1930), da Universidade de Yale – figura eminente e controversa dos Estudos Literários hoje – por meio da exposição, levantamento da fortuna crítica e comentário referente a cada uma das obras. A análise dos vinte e um livros apresentados aponta três fases predominantes na carreira do crítico norte-americano: uma fase em que predominam os estudos sobre o Romatismo inglês, a fase do desenvolvimento da teoria da angústia da influência e a fase da defesa do cânone literário fora das Universidades; por fim, o terceiro objetivo é analisar uma obra de Crítica Literária de cada uma das fases evidenciadas – a saber, The Visionary Company (1961), Poesia e Repressão (1976) e Como e por que ler (2000), respectivamente – de modo a identificar o fundamento da crítica agonística de Harold Bloom e seus rivais. Ao fim, será possível verificar que as performances críticas de Harold Bloom sempre se oferecem como alternativas às maiores correntes críticas que predominam ou já predominaram nos Estudos Literários norte-americanos: o New Criticism, a Desconstrução e os Estudos Culturais / The present Doctoral Dissertation was written guided by three main aims, which are: to investigate the nature, statutes, limitations of and claims made by Literary Criticism and Theory; that being done, to carry out a survey of all the critical and theoretical publications by professor Harold Bloom (1930), from Yale University – eminent and controversial figure of Literary Studies nowadays – by means of expounding, collecting the wealth of critical acclaim of, and commenting on every work. The analysis of the twenty one books presented points out three predominant phases in the critic´s career: a phase in which studies of English Romanticism prevail, the phase of the development of the anxiety of influence theory, and the phase of the literary canon defense outside the Universities; at last, the third aim is to analyze one work of Criticism by each one of the phases pointed out – namely The Visionary Company (1961), Poetry and Repression (1976) and How to Read and Why (2000), respectively – in order to identify the foundations of Harold Bloom´s agonistic criticism and its rivals. By the end, it will be possible to verify that Harold Bloom´s critical performances always offered themselves as alternatives to major Literary Criticism trends that prevail or had prevailed in American Literary Studies: New Criticism, Deconstruction and Cultural Studies

Harold Shapero’s Sonata for Trumpet in C and Piano is a significant work that it is rarely performed and studied. Shapero’s composition contains musical attributes that demand artistically accurate choices if the style of this jazz-influenced sonata is to be achieved. Written in 1940 in dedication to Aaron Copland, the Sonata for C Trumpet and Piano makes use of a variety of stylistic influences, blending those of early 20th century jazz with Stravinsky-influenced neo-classicism. The intent of this study is to examine the unique performance practice implications and musical considerations of Harold Shapero’s Sonata for C Trumpet and Piano in correlation to the composer’s implementation of jazz idiomatic elements within the constructs of neo-classicism. The first section of this study examines the historical context necessary for understanding the social and musical conditions of the early to mid 1940s. The second section addresses the musical elements that characterize this work; the primary focus of this section is an exploration of Harold Shapero’s implementation of jazz idioms into his first composition for trumpet. The final section of the study interprets the utilization of idiomatic jazz elements within the work so as to allow the trumpet player with little jazz experience to accurately perform the piece.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / L. Harold DeWolf's participation in the Cooperative Curriculum Project is examined in order to set forth the mutual relationship between theology and religious education described in DeWolf's thoughts. DeWolf's emphasis on experience and relationships in both educational and theological questions offsets the programmatic curriculum approach characteristic of the project. [TRUNCATED] / 2031-01-01

A description of the artistic education and development of the author, William Harold Hopper, along with an account of how he conceived of and created several paintings. / "August, 1960." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Karl Zerbe, Professor Directing Paper.

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Alors que les hypothèses de valence et de dominance hémisphérique droite ont longtemps été utilisées afin d’expliquer les résultats de recherches portant sur le traitement émotionnel de stimuli verbaux et non-verbaux, la littérature sur le traitement de mots émotionnels est généralement en désaccord avec ces deux hypothèses et semble converger vers celle du décours temporel. Cette dernière hypothèse stipule que le décours temporal lors du traitement de certains aspects du système sémantique est plus lent pour l’hémisphère droit que pour l’hémisphère gauche. L’objectif de cette thèse est d’examiner la façon dont les mots émotionnels sont traités par les hémisphères cérébraux chez des individus jeunes et âgés. À cet effet, la première étude a pour objectif d’évaluer l’hypothèse du décours temporel en examinant les patrons d’activations relatif au traitement de mots émotionnels par les hémisphères gauche et droit en utilisant un paradigme d’amorçage sémantique et une tâche d’évaluation. En accord avec l’hypothèse du décours temporel, les résultats obtenus pour les hommes montrent que l’amorçage débute plus tôt dans l’hémisphère gauche et plus tard dans l’hémisphère droit. Par contre, les résultats obtenus pour les femmes sont plutôt en accord avec l’hypothèse de valence, car les mots à valence positive sont principalement amorcés dans l’hémisphère gauche, alors que les mots à valence négative sont principalement amorcés dans l’hémisphère droit. Puisque les femmes sont considérées plus « émotives » que les hommes, les résultats ainsi obtenus peuvent être la conséquence des effets de la tâche, qui exige une décision explicite au sujet de la cible. La deuxième étude a pour objectif d’examiner la possibilité que la préservation avec l’âge de l’habileté à traiter des mots émotionnels s’exprime par un phénomène compensatoire d’activations bilatérales fréquemment observées chez des individus âgés et maintenant un haut niveau de performance, ce qui est également connu sous le terme de phénomène HAROLD (Hemispheric Asymmetry Reduction in OLDer adults). En comparant les patrons d’amorçages de mots émotionnels auprès de jeunes adultes et d’adultes âgés performants à des niveaux élevés sur le plan comportemental, les résultats révèlent que l’amorçage se manifeste unilatéralement chez les jeunes participants et bilatéralement chez les participants âgés. Par ailleurs, l’amorçage se produit chez les participants âgés avec un léger délai, ce qui peut résulter d’une augmentation des seuils sensoriels chez les participants âgés, qui nécessiteraient alors davantage de temps pour encoder les stimuli et entamer l’activation à travers le réseau sémantique. Ainsi, la performance équivalente au niveau de la précision retrouvée chez les deux groupes de participants et l’amorçage bilatéral observé chez les participants âgés sont en accord avec l’hypothèse de compensation du phénomène HAROLD. / While the right hemisphere and valence hypotheses have long been used to explain the results of research on emotional nonverbal and verbal stimuli processing, the literature on emotional word processing is highly inconsistent with both hypotheses, but appear to converge with the time course hypothesis. The time course hypothesis holds that in the processing of some parts of the semantic system the time course of activation is slower in the right hemisphere compared to the left hemisphere. The goal of this thesis was to find insight into the ways in which words with emotional words are processed in the cerebral hemispheres in young and older individuals. To this end, the first study investigated the time course hypothesis looking at the activation pattern of emotional words in the left and right hemispheres, using the priming paradigm and an evaluation task. Consistent with the time course hypothesis, the results in males revealed an early and later priming in the left and right hemispheres, respectively. The results for females, however, were consistent with the valence hypothesis, since positive and negative words were optimally primed in the left and right hemispheres, respectively. As females are considered more emotional than males, their results may be due to the nature of the task, which required an explicit decision concerning the target. The second study looked at the possibility that the preservation with age of the ability to process emotional words would follow the compensatory role of bilateral activation in high performing older individuals known as the HAROLD phenomenon (Hemispheric Asymmetry Reduction in OLDer adults). Comparing the pattern of emotional word priming in a group of equally high performing older and younger, it was shown that while priming occurred unilaterally in young participants, the pattern of priming in older participants appeared to be bilateral. The occurrence of priming in older adults occurred with a tiny delay, though, that may be due to an increase in sensory thresholds that causes older adults to need more time to encode stimuli and start activation through the semantic network. Thus, the bilateral pattern of priming and the equivalent level of performance in older adults provide behavioral evidence supporting the compensatory role of the HAROLD phenomenon.

Este estudo tem como objetivo central propor uma leitura diferente para a peça The Homecoming, escrita por Harold Pinter. Desde sua estreia nos palcos ingleses, em 1965, a fortuna crítica da obra tende a partir de dois diferentes vieses para analisá-la: por um lado, parte da crítica enxerga a peça através das características do Teatro do Absurdo termo estabelecido por Martin Esslin para um grupo de peças do período pós-guerra europeu em seu livro The Theatre of the Absurd (1961) ; por outro, um grupo de críticos tenta definir a peça através dos conceitos da psicanálise freudiana enfocando o Complexo de Édipo. Nossa proposta de leitura para a peça contrapõe o texto teatral a seu momento sócio-histórico e cultural, tentando relacioná-los e indicar de que modo estes se influenciam mutuamente. Uma breve contextualização geral das obras de Harold Pinter e das características que a tornaram tão célebre, assim como um breve panorama do teatro inglês nas décadas de 1950 e 1960 iniciam nosso estudo para que a importância de Harold Pinter seja compreendida. A partir daí, o texto de The Homecoming será analisado tendo como ponto de partida a teorização de Peter Szondi (2001) acerca do drama burguês, do Teatro do Absurdo e do contraste com o momento sócio-histórico da Inglaterra na década de 1960. Por fim, um levantamento acerca da primeira montagem de The Homecoming no Brasil, traduzida como A Volta ao Lar em 1968, e de seu processo de censura durante a Ditadura Militar será fornecido, retomando a importância da obra para o teatro brasileiro e sua história. / This study proposes a different interpretation of Harold Pinters play, The Homecoming. It premiered in 1965 and most of the critical works on it usually tend to examine the play through two different biases: on one hand, some critics use the theory established by Martin Esslin in The Theatre of the Absurd (1961) where he evaluates a group of post-war European plays to analyze the play; on the other, different critics apply concepts from Freudian psychoanalysis especially the ones related to the called Oedipus complex to comprehend the play. Our proposed interpretation analyzes the dramatic text considering its socio-historical and cultural moment, relating such fields and identifying how they influence one another. A brief overview on Harold Pinters works and their celebrated characteristics, as well as a panorama on British drama in the 1950s and 1960s decades will open our study, so that Harold Pinters significance can be understood. Later, The Homecoming will be analyzed through the ideas of Peter Szondi (2001) on bourgeois drama, the concept of the Theatre of the Absurd and the relations between the text and the British socio-historical moment during the 1960s. Finally, a survey on the first Brazilian production of The Homecoming, translated as A Volta ao Lar in 1968, and on its censorship by Brazilian military dictatorship will be presented in order to stress the importance of the play to Brazilian theater\'s history.

This essay examines how the meaning of an absurd play may be affected by how the reader understands the text. To address this problem I have turned to Wolfgang Isers theory of reception. Primarily I have taken on that the creation of meaning comes about when the reader fills in blanks in the text. I have also used Martin Esslins work on the theater of the absurd. I have mainly studied his research on Harold Pinter. Based on these two theories I have suggested a interpretation model that focuses on the interaction between reader and text. The interpretation model contains how the reader analyses blanks through observing the wandering view alternatively understanding the implied reader. The interpretation model also discusses how the reader can fill in blanks by using the relationship between character and environment, the final junction, turning points and uncertainties. I tested this interpretation model on Harold Pinters play A kind of Alaska. In my ideation of the play I realized it was about the loneliness of ageing and changing. I used these results to evaluate the usefulness of the interpretation model. / Denna uppsats undersöker hur läsarens uppfattning av en absurdistisk pjäs påverkar dess betydelse. För att angripa det här problemet har jag dels vänt mig till Wolfgang Isers receptions teori. Jag har främst tagit fasta på hur meningskapande sker när läsaren fyller i luckor i texten. Jag har även vänt mig till Martin Esslins forskning om den absurdistiska teatern. Där har jag främst studerat hans undersökning av Harold Pinters dramatik. Utifrån dess två teoretiska ingångar la jag fram ett förslag till en tolkningsmodell som utgår från läsarens interaktion med texten. Tolkningsmodellen innehåller bland annat hur man kan analysera luckor utifrån läsarens rörliga perspektiv alternativt utifrån en underförstådd läsare. Tolkningsmodellen tar också upp hur läsaren kan fylla i luckor genom att använda sig av karaktärens relation till rummet, knutpunkter, vändpunkter och osäkerheter. Jag har testat tolkningsmodellen på Harold Pinters pjäs A kind of Alaska. I min ideation av pjäsen kom jag fram till att den handlade om ensamheten i åldrande och förändring. Jag använde resultatet av analysen för att utvärdera tolkningsmodellens användbarhet.