Résumé : L’objectif principal de cette thèse est d’approfondir l’étude des modules de dimension projective infinie sur les algèbres inclinées-amassées. Dans un premier temps, nous bornerons la fonction [o barré] d’Igusa-Todorov dans le cadre des algèbres inclinées-amassées de type An et ~ An. Subséquemment, nous donnerons une preuve combinatoire de la périodicité des premiers syzygies des modules de corde et de bande sur de telles algèbres. Grâce à cette périodicité, nous serons en mesure de borner supérieurement la [o barré]-dimension d’Igusa-Todorov. Nous caractériserons, dans une deuxième partie, les modules de dimension projective infinie de l’algèbre d’endomorphismes End C (T), où C’est une catégorie triangulée possédant un objet T maximal 1-orthogonal. Nous montrerons qu’un End C(T)-module M est de dimension projective infinie si et seulement si son idéal de factorisation IM End C(T[1]) est non nul. De plus, inspirés par les travaux sur les hamacs de Brenner, Ringel et Vos- sieck ([7], [26]), nous décrirons et regrouperons les modules de dimension projective infinie en un nouvel ensemble, appelé balançoire, particulièrement localisable dans le carquois d’Auslander-Reiten de End C(T). // Abstract : The writing of this thesis was guided by a single main idea; to go deeper in the study of infinite projective dimension modules on cluster-tilted algebras. At first, we will find an upper bound for the function [o barré] of Igusa-Todorov in the framework of the cluster-tilted algebras of type An and ~ An. Subsequently, we will give a combinatorial proof of the periodicity of the first syzygy of a string and a band module on such algebras. With this periodicity, we will be able to bound the [o barré]-dimension of Igusa-Todorov. In the second part, we will characterize infinite projective dimension modules by explaining their exact positions in the Auslander-Reiten quiver of the algebra End C(T), where C is any triangulated category and T a 1-maximal orthogonal object of C. We show that an End C(T) -module M is of infinite projective dimension if and only if its factorization ideal IM End C(T [1]) is nonzero. In addition, inspired by the works on hammocks by Brenner, Ringel and Vossieck ([7], [26]), we will describe and regroup in a new set, called a swing, the modules of infinite projective dimension especially localizable in the quiver of Auslander-Reiten of End C(T). [Symboles non conformes].

No description available.

Denna uppsats behandlar Joseph Sheridan Le Fanus kortroman ”Carmilla”(1871-72). Berättelsen handlar om hur den unga kvinnan Laura lär känna den mystiska Carmilla, och de tycks forälska sig i varandra. Men Carmilla visar sig vara en vampyr, och hon dödas. Tolkningar av verket har gått isär kring huruvida berättelsen ska forstås som ”queer” och transgressiv, eller som patriarkal och konservativ. I min läsning av verket utgår jag från Tzvetan Todorovs undersokning av den fantastiska genren i boken The Fantastic: A Structural Approach to a Literary Genre(1975). Den fantastiska genren karaktäriseras enligt Todorov av en hermeneutisk tvekan mellan olika förklaringar av en övernaturlig händelse. Jag undersöker hur ”Carmilla” passar in i denna genre, samt undersöker huruvida Lauras känslor inför Carmilla, där hon tvekar mellan skräck och kärlek, kan förstås som en form av fantastik. Slutsatsen är att en fantastisk läsning av ”Carmilla” kan belysa hur verket undflyr en tolkning som ser verkets ideologiska innehåll som fast och entydigt. Istället menar jag att tolkningsarbetet kan ses som ett begär efter kunskap, som speglas av hur Lauras eget begär gestaltas i berättelsen, samt hur själva läsakten kan ses som meningsskapande.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, Departamento de Processos Psicológicos Básicos, Programa de Pós-Graduação em Ciências do Comportamento, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-02-15T17:05:46Z No. of bitstreams: 1 2016_LeandroSchroderdePaula.pdf: 1117322 bytes, checksum: c5c57bf5a6313bed75761987e58698f7 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2017-03-23T21:56:28Z (GMT) No. of bitstreams: 1 2016_LeandroSchroderdePaula.pdf: 1117322 bytes, checksum: c5c57bf5a6313bed75761987e58698f7 (MD5) / Made available in DSpace on 2017-03-23T21:56:28Z (GMT). No. of bitstreams: 1 2016_LeandroSchroderdePaula.pdf: 1117322 bytes, checksum: c5c57bf5a6313bed75761987e58698f7 (MD5) / Este estudo investigou, em um esquema múltiplo com componentes de curta duração, (i) se a distribuição de respostas seria prevista de forma mais acurada pela frequência, pela magnitude, ou pelo tempo de acesso ao reforço; (ii) o valor das medidas de sensibilidade à frequência, magnitude e tempo de acesso ao reforço e (iii) comparar os valores de sensibilidade obtidos em esquema múltiplo, com componentes de curta duração, com os obtidos em esquema concorrente, realizado por Todorov (1973) utilizando-se do mesmo procedimento. Quatro pombos foram expostos a seis condições, utilizando três valores de frequência e de magnitude do reforço. Em cada condição as sessões foram divididas em três fases que consistiam de um esquema múltiplo intervalo variável (VI) VI. Entre fases e condições, os pombos foram expostos à 18 diferentes combinações de esquemas com diferentes frequências e magnitudes do reforço. Para todos os sujeitos, a magnitude e frequência do reforço foram melhor preditores de distribuição de respostas entre os componentes que o tempo total de acesso ao reforço, sendo a sensibilidade à frequência (M = 0,57; SE =0,004) maior que a sensibilidade à magnitude (M = 0,17; SE =0,001). / The present study aimed to verify, on multiple schedules with short component duration, (i) if response distribution would be better described by frequency and magnitude of reinforcement as two independent variables or by the total access to reinforcement, (ii) the value of behavioral sensitivity to reinforcement and (iii) to compare the values of sensitivity to frequency and magnitude of reinforcement on multiple schedules, with short duration components, with those obtained in a concurrent schedule (Todorov, 1973). Four pigeons were exposed to six conditions, manipulating three degrees of both frequency and magnitude of reinforcement. Sessions of each condition were subdivided in three phases, each composed by a mult VI VI schedule, such that subjects were exposed to all possible combinations pairs of frequency-magnitude (i.e., eighteen). For all pigeons, the data was better predicted by frequency and magnitude as two different variables. Sensitivity to reinforcement frequency (M = 0,57; SE = 0,004) was greater than sensitivity to reinforcer magnitude (M = 0,17; SE = 0,001).

Embora a quantidade de publicações que trazem à capa a denominação contos fantásticos ou, ainda, que tratem do insólito como temática tenha crescido nos últimos anos na literatura brasileira, nota-se que há muito que se definir para que se chegue a uma classificação que evite generalizações simplificadoras. Portanto, esta dissertação pretende discutir e apontar alguns elementos que, de acordo com o arcabouço teórico-metodológico de Tzvetan Todorov e de Filipe Furtado, se configuram como estratégias de construção do discurso literário de narrativas do gênero Fantástico. Para isso, foram trazidos os estudos de Sigmund Freud e de Jean Paul Sartre para problematizar os conceitos e visões que se têm do gênero e, em seguida, selecionaram-se cinco antologias que discorrem sobre a temática do insólito e, após minuciosa e atenta leitura crítico-interpretativa de cada prefácio e/ou introdução, foram confrontadas as ideias, ali expostas, com a que se adotou nesta pesquisa como norte. Em seguida, fez-se a apreciação dos contos de literatura brasileira e ficou constatado que o conteúdo das antologias selecionadas não condiz com a nomenclatura sustentada na capa dos volumes / Aunque la cantidad de publicaciones que aportan la piel a la designación de cuentos fantásticos , o incluso tratar de inusual como temática ha crecido en los últimos años en la literatura brasileña, se establece una clasificación que evitar generalizaciones de simplificación. Por lo tanto, este documento pretende discutir y señalar algunos elementos que, de conformidad con el marco teórico-metodológico de Tzvetan Todorov y Filipe Furtado, configurar como estrategias de construcción de relatos de discurso literario de género de la fantasía. Para ello, fueron llevados a los estudios de Sigmund Freud y Jean Paul Sartre para cualquier problema puede ser conceptos elevados y visiones que tienen género y, a continuación, seleccionan cinco antologías que abordan el tema de inusual y, después de que completa y cuidadosa lectura crítica-interpretativa cada prefacio o la introducción, fueron enfrentados ideas, expresadas con la que adoptó esta búsqueda como norte. Luego hubo el aprecio de los cuentos de la literatura brasileña, y se encontró que el contenido de las antologías seleccionadas encaja con la nomenclatura sostenida en la portada de volúmenes

Embora a quantidade de publicações que trazem à capa a denominação contos fantásticos ou, ainda, que tratem do insólito como temática tenha crescido nos últimos anos na literatura brasileira, nota-se que há muito que se definir para que se chegue a uma classificação que evite generalizações simplificadoras. Portanto, esta dissertação pretende discutir e apontar alguns elementos que, de acordo com o arcabouço teórico-metodológico de Tzvetan Todorov e de Filipe Furtado, se configuram como estratégias de construção do discurso literário de narrativas do gênero Fantástico. Para isso, foram trazidos os estudos de Sigmund Freud e de Jean Paul Sartre para problematizar os conceitos e visões que se têm do gênero e, em seguida, selecionaram-se cinco antologias que discorrem sobre a temática do insólito e, após minuciosa e atenta leitura crítico-interpretativa de cada prefácio e/ou introdução, foram confrontadas as ideias, ali expostas, com a que se adotou nesta pesquisa como norte. Em seguida, fez-se a apreciação dos contos de literatura brasileira e ficou constatado que o conteúdo das antologias selecionadas não condiz com a nomenclatura sustentada na capa dos volumes / Aunque la cantidad de publicaciones que aportan la piel a la designación de cuentos fantásticos , o incluso tratar de inusual como temática ha crecido en los últimos años en la literatura brasileña, se establece una clasificación que evitar generalizaciones de simplificación. Por lo tanto, este documento pretende discutir y señalar algunos elementos que, de conformidad con el marco teórico-metodológico de Tzvetan Todorov y Filipe Furtado, configurar como estrategias de construcción de relatos de discurso literario de género de la fantasía. Para ello, fueron llevados a los estudios de Sigmund Freud y Jean Paul Sartre para cualquier problema puede ser conceptos elevados y visiones que tienen género y, a continuación, seleccionan cinco antologías que abordan el tema de inusual y, después de que completa y cuidadosa lectura crítica-interpretativa cada prefacio o la introducción, fueron enfrentados ideas, expresadas con la que adoptó esta búsqueda como norte. Luego hubo el aprecio de los cuentos de la literatura brasileña, y se encontró que el contenido de las antologías seleccionadas encaja con la nomenclatura sostenida en la portada de volúmenes

Made available in DSpace on 2015-05-14T12:39:50Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 768629 bytes, checksum: 60aaa63aa1f35ff8cea03c8cb26bd4e9 (MD5) Previous issue date: 2013-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research intends to analyze the short-stories As formigas , O encontro , A mão no ombro A estrela branca e Lua crescente em Amsterdã , written by the brazilian author Lygia Fagundes Telles. We believe that the mentioned narratives can be used to evaluate the theories of the fantastic in this case, especially, the theory presented by the franco-bulgarian philosopher Tzevtan Todorov. Thus, we propose to observe how the fantastic is constructed, focusing on what we find in The fantastic: a structural approach to a literary genre. According to presented in this study, we believe that some Todorov s assertions about the fantastic can be reviewed. We inquire many structural factors presented in the definition of fantastic proposed by the theorist. As we can see in Telles short-stories, such a theory not always seems to include all the aesthetical resources used to create the fantastic. In the end of research, we also comment the social function of the genre, once that Todorov believes that the fantastic is attached only to the literary production found in the centuries XVIII and XIX. Telles short-stories show that contemporary writers continue to explore the themes of the fantastic however, they present new ways of composition. / Esta pesquisa pretende analisar os contos As formigas , O encontro , A mão no ombro , A estrela branca e Lua Crescente em Amsterdã , da escritora brasileira Lygia Fagundes Telles. Acreditamos que os contos mencionados podem ser usados para avaliar as teorias do fantástico neste caso, mais especificamente, a do filósofo búlgaro-francês Tzvetan Todorov. Sendo assim, propomos a observação da construção do fantástico, baseando-nos no que encontramos em Introdução à literatura fantástica. Conforme o que apresentamos neste estudo, acreditamos que algumas afirmações de Todorov sobre o fantástico devem ser revistas. Destacamos o questionamento de muitos fatores de ordem estrutural apresentados na definição de fantástico proposta pelo teórico. Como vemos ao analisar os contos de Telles, tal teoria nem sempre parece dar conta dos diversos recursos estéticos utilizados na criação do fantástico. Por fim, também comentamos a função social do gênero fantástico, uma vez que Todorov acredita que o fantástico se limita à produção dos séculos XVIII e XIX. Os contos de Telles mostram que os escritores contemporâneos continuam explorando os temas do fantástico entretanto, apresentando apenas novas formas de composição.

<p>The purpose of this dissertation is to study the fantastic in the tales of the Italian children’s author Gianni Rodari. This analysis is grounded in the hypothesis that the fantastic is primarily characterized by two <i>esthetic qualities</i>, play and lightness, both of which are manifested at different levels in these texts, as well as in the relation between children and adults.</p><p>As a background for the textual analysis in the present work, an introductory review is provided of previous research, followed by a historical and theoretical consideration of fantastical children’s literature, together with a study of Rodari’s own relation to the fantastic. For previous research, the results clearly indicate an arbitrary relationship to Rodari’s texts, such that the fantastic is admittedly recognized, but is often confused with the fairy-tale. However, the present review of the history of Italian fantastical literature for children indicates that Rodari is writing in a fantastical and humorous tradition that begins with <i>Pinocchio</i>, a tradition that is <i>inter alia </i>characterized by its ability to bridge the gap between children’s and adult literature. Based on theoretical definitions of the fairy-tale (Propp, Thompson, Lüthi) and the fantastic (Todorov, Rabkin, Jackson, Held), the present work presents its own model for the study of Rodari’s texts, which are also compared with the author’s own poetics,<i> The Grammar of Fantasy.</i></p><p>A narratological analysis of a tale with both a children’s and an adult version (in itself an example of <i>crosswriting</i>) demonstrates that the fantastic and the humoristic are given freer rein when Rodari is writing for children. This appears to be linked to his concept of the child as the ideal reader, a reader primarily defined by an open and unprejudiced attitude to literature, rather than by age <i>per se</i>. The dissertation’s study of play and lightness (lack of weight) clearly confirms the hypothesis that these elements are a major component of the fantastic in Rodari’s texts; the results nevertheless indicate that play dominates on the level of language, and lightness on that of content.</p><p>One of the most important results of this dissertation is that Rodari’s texts, in addition to possessing certain stylistic characteristics, do not demonstrate any deeper similarities to fairy tales. Instead, the author’s tales share numerous characteristics with the traditional concept of the fantastic such as a clear reaction to the supernatural element, and a particular interest in both the material nature of language and existential liminal regions. At the same time, the results indicate several specific characteristics that distinguish the fantastic in Rodari from that which is written for adults, such as its explicit grounding in the child’s everyday existence and imaginative world, as well as its backgrounding of frightening aspects, with prominence instead being given to playfulness.</p>

The present dissertation investigates the use of the fantastic and its functions in contemporary prose, the initial hypothesis being that the fantastic is not historically exhausted, but continues to be productive. The major part of this study consists of a close reading of four novels printed between 1995 and 2001: Marie Hermanson’s Värddjuret (1995), Majgull Axelsson’s Aprilhäxan (1997), Karen Duve’s Regenroman (1999) and Elfriede Kern’s Schwarze Lämmer (2001). Tzvetan Todorov’s definition of the fantastic as structural ambiguity is fundamental to the dissertation. In order not to bind the definition to a normative concept of genre, the fantastic is in this study considered as a narrative strategy. The dissertation’s analyses demonstrate that in these contemporary novels there is considerable variation of narrative devices, as well as of intertextual motifs deriving from the ‘archive’ provided by the tradition of the fantastic. The fantastic is to a great extent intertextual, but does not merely function as a “signal of fiction” in a postmodern game where ambiguity is no longer relevant. Instead, the narrated world in these novels is characterized by a deeply-rooted ambivalence, heterogeneity and instability. Both attractive and dangerous, the fantastic corresponds to a meeting with “the other” and the unknown, while dampening the conflict between the supernatural and the natural so clearly seen in Todorov. What is central is not the crisis of perception undergone by the novel’s characters as they choose between two opposing views of reality, but their mental state of mind. These characters are in a condition of “betwixt and between”, which in all four novels is linked to the theme of the artist. Via the fantastic, Regenroman initiates a confrontation with male myths of the artist and images of women. Schwarze Lämmer also engages the romantic fantastic tradition and investigates the link between adolescent delusions of grandeur and artistic creativity. Värddjuret, on the other hand, depicts the genesis of a female artist, while Aprilhäxan presents the female artist’s monstrous image of herself and fantasies of omnipotence. An additional function of the fantastic in these four novels is to thematize a concept of reality that is based, not on the contrast between the natural and the supernatural, but on the possibility of several different realities.

The purpose of this dissertation is to study the fantastic in the tales of the Italian children’s author Gianni Rodari. This analysis is grounded in the hypothesis that the fantastic is primarily characterized by two esthetic qualities, play and lightness, both of which are manifested at different levels in these texts, as well as in the relation between children and adults. As a background for the textual analysis in the present work, an introductory review is provided of previous research, followed by a historical and theoretical consideration of fantastical children’s literature, together with a study of Rodari’s own relation to the fantastic. For previous research, the results clearly indicate an arbitrary relationship to Rodari’s texts, such that the fantastic is admittedly recognized, but is often confused with the fairy-tale. However, the present review of the history of Italian fantastical literature for children indicates that Rodari is writing in a fantastical and humorous tradition that begins with Pinocchio, a tradition that is inter alia characterized by its ability to bridge the gap between children’s and adult literature. Based on theoretical definitions of the fairy-tale (Propp, Thompson, Lüthi) and the fantastic (Todorov, Rabkin, Jackson, Held), the present work presents its own model for the study of Rodari’s texts, which are also compared with the author’s own poetics, The Grammar of Fantasy. A narratological analysis of a tale with both a children’s and an adult version (in itself an example of crosswriting) demonstrates that the fantastic and the humoristic are given freer rein when Rodari is writing for children. This appears to be linked to his concept of the child as the ideal reader, a reader primarily defined by an open and unprejudiced attitude to literature, rather than by age per se. The dissertation’s study of play and lightness (lack of weight) clearly confirms the hypothesis that these elements are a major component of the fantastic in Rodari’s texts; the results nevertheless indicate that play dominates on the level of language, and lightness on that of content. One of the most important results of this dissertation is that Rodari’s texts, in addition to possessing certain stylistic characteristics, do not demonstrate any deeper similarities to fairy tales. Instead, the author’s tales share numerous characteristics with the traditional concept of the fantastic such as a clear reaction to the supernatural element, and a particular interest in both the material nature of language and existential liminal regions. At the same time, the results indicate several specific characteristics that distinguish the fantastic in Rodari from that which is written for adults, such as its explicit grounding in the child’s everyday existence and imaginative world, as well as its backgrounding of frightening aspects, with prominence instead being given to playfulness.