Thesis (Ph. D.)--Bryn Mawr College, 1946. / Includes bibliographical references (p. 203. Bibliographical footnotes).

Thèse--Université de Paris.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2002. / Vita. Includes bibliographical references (leaves 82-87).

Thesis (Ph. D.)--Berne. / "Bibliographie": p. [199]-207.

Inaugural-dissertation (Ph. D.)--Friedrich-Wilhelms-Universität zu Berlin, 1915. / Includes bibliographical references (p. [5]-6).

Thesis (doctoral)--University of Göteborg, 1991. / Added t.p. with thesis statement and abstract in English inserted. Summary in English. Includes bibliographical references (p. 306-316) and index.

Theses (M.A.)--Marshall University, 2007. / Title from document title page. Includes abstract. Document formatted into pages: contains v, 149 pages. Bibliography: p. 142-149.

In my thesis, I aim to show that a focus on liminality in contemporary Scottish fictional texts illustrates underlying developments of relevant social phenomena with regard to class issues, gender and sexual identity. The anthropological concept of liminality looks at a situation of “being between”. The liminar faces a situation of having to renegotiate their values and perceptions in order to proceed. Liminality always involves the existence of limits which have to be transgressed and against which the individual negotiates a personal situation. I further hypothesise that the transgression of limits can be seen as an instrument to create order. I take an anthropological approach to my thesis. Arnold van Gennep’s early studies on rites of passage and Victor Turner’s study of liminality originate in the observation of tribe-internal, social structures of personal development. Van Gennep assumes a tripartite structure among which liminality is the middle stage, the phase in which the initiand has to perform tasks to re-enter and become part of the community. Turner isolates the middle stage and transfers this concept to western societies. This theory is taken up and developed further by several literary critics and anthropologists. While the transgression of limits is often regarded as a violation of those norms which regulate societies, the transgression of limits in a rite of passage and connected with liminality is a vital aspect and socially necessary. Several concepts are related to this theory, which will play a major role in my thesis: Turner’s permanent liminality, Mikhail Bakhtin’s carnivalesque as well as Foucault’s transgression. In the first chapter, I contrast two of Alasdair Gray’s novels, stating that the most powerful message of social and capitalist criticism is not just visible on the surface of the hyperbolic texts, but particularly prominent in liminal passages. The theories of Bakhtin and Turner plays the most important role in this chapter. In the second chapter, A. L. Kennedy’s novels are contrasted. In So I am Glad a difficult psycho-social issue is solved by a liminal trigger-figure, Paradise is an example of the destructive and restrictive effects of permanent liminality. In chapter three, I deal with the issue of passing and an individual redefinition of gender identity. The performativity of masculinity reveals ambiguous definitions of gender and morale. The Wasp Factory portrays a form of masculinity which has destructive effects on the individual and its environment. It is the tension in the liminal situation of a gender myth, a brutally performed masculinity and the character’s biological sex which expresses a harsh criticism of society’s definition of masculinity. In Trumpet, the binary model of gender is questioned. The text suggests a different definition of identity as fluid, passing between the two ‘extremes’, formulating the possibility of a state of being ‘something in-between’. It is the confrontation with this ‘otherness’ which provokes a wave of rejection and protest in the environment of the individual passing as a member of the ‘other sex’. In this case, it is not the obvious liminal individual, but his son who undergoes a process of change and thus a process of renegotiating his strict value system. The final chapter deals with liminal spaces and how these reflect and support the internal development which the protagonists undergo. The choice of Orkney as a mystical place and the fictional setting in a war game show that liminal spaces – both real and fictitious – trigger a personal development and reconnect present day life in Scotland with historical events which have had a shaping role for Scottish and European life.

Made available in DSpace on 2016-08-29T11:11:49Z (GMT). No. of bitstreams: 1 tese_6543_Juliana Contti Castro.pdf: 16831275 bytes, checksum: ad35f1163c6c804e92081423222af060 (MD5) Previous issue date: 2013-03-26 / Este trabalho examina a construção do discurso pedagógico na revista Nova Escola, os procedimentos discursivos utilizados nessa construção, e o quadro de valores no qual esses discursos se inserem. Para tanto, toma como corpus principal de análise as edições do quadriênio 1997-1998 e 2011-2012. Com ênfase para a análise dos editoriais, das capas e das publicidades veiculadas por Nova Escola, investiga os efeitos de sentido que esses textos produzem a partir de sua construção discursiva. Utiliza a semiótica francesa e o seu modelo de análise da significação proposto por A. J. Greimas, juntamente com a semiótica visual, com as contribuições de J.-M. Floch, para descrição e análise dos textos verbo-visuais. Objetiva, ainda, traçar um panorama do surgimento das revistas e sua similaridade com o gênero jornal; localizar o surgimento das publicações pedagógicas brasileiras; investigar o surgimento e a consolidação da Editora Abril como expressiva empresa de comunicação; examinar a criação da Fundação Victor Civita e, por fim, investigar o simulacro de professor reiterado e fortalecido pelo discurso de Nova Escola. A análise realizada indica o reforço a um simulacro que vê a docência, principalmente a dos anos iniciais de escolaridade, como vocação e missão, sobrelevando a dimensão instrumental em detrimento da conceitual. As questões de gênero também são importantes, sobretudo pelo fato do simulacro da mulherprofessora ser reiterado continuamente no discurso da mídia em questão. Em termos de procedimentos discursivos, o jogo entre objetividade e subjetividade, reforça tanto o discurso científico, quanto a relação de aproximação que a revista instaura com o seu leitor. Verificase, pois, a ausência de qualquer lexema que trate das questões associativas e sindicais tendo em vista a profissão docente. A reiteração do vermelho, no que se refere aos aspectos plásticos, e da feição passional dos textos dão a tônica do discurso verbo-visual de Nova Escola, intrinsecamente ligado ao reforço da relação amor-dedicação-educação.

Made available in DSpace on 2015-03-03T11:52:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-30Bitstream added on 2015-03-03T12:07:27Z : No. of bitstreams: 1 000809956.pdf: 11088567 bytes, checksum: f61da15ba3a27fcc67b4127bc0f80c4a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O objetivo deste estudo é analisar a categoria da espacialidade e o procedimento grotesco nos romances Notre-Dame de Paris (1831) de Victor Hugo e A tale of two cities (1859) de Charles Dickens, mostrando como esses procedimentos narrativos auxiliam na projeção das ações das personagens e como produzem efeito de sentido, revelando assim uma das infinitas leituras oferecidas pelas referidas obras. Em Notre-Dame de Paris (1831), Victor Hugo revela a miséria humana por meio da marca dos sentimentos opostos que habitam no homem; as contradições desses sentimentos existentes uma ao lado da outra, e não no predomínio de uma sobre a outra. Os espaços da narrativa hugoana são configurações de um novo tempo-espaço marcado pela modernidade da época, e representam uma extensão dos personagens desse romance. Em A tale of two cities (1859), Charles Dickens expressa a miséria que permeia as cidades em crise diante da mesma modernidade, evidenciando que a fome, a ausência de liberdade e de condições de vida adequadas para se viver na urbe moderna transformam o homem em um ser irracional e insensível / This study aims to analyse the spatiality category and the grotesque procedure in the novels Notre-Dame de Paris (1831) written by Victor Hugo and A tale of two cities (1859) written by Charles Dickens, the intention is to show how these narrative procedures help in the projection of the characters actions and how they can produce meaning effect, thereby revealing infinite readings which are offered by the referred works. In Notre-Dame de Paris (1831), Victor Hugo reveals the human misery through the opposite feelings which inhabit the human mind; the contradictions of those feelings exist one alongside another and not on the dominance of one over the other. The spaces in Hugo’s narrative are configurations of a new time-space defined by the modernity era, and they represent an extension of the characters in this novel. In A tale of two cities (1859), Charles Dickens expresses the misery that permeates the cities facing crisis in the same modernity, emphasizing that hunger, the lack of freedom and the appropriate living conditions in order to inhabit the modern metropolis transform man into an irrational and insensitive human being