Thesis (doctoral)--Rijksuniversiteit te Leiden, 1861.

Made available in DSpace on 2018-08-01T23:41:46Z (GMT). No. of bitstreams: 1 tese_7676_Dissertacao_Juliana Pereira Torres.pdf: 1306725 bytes, checksum: 7b2565093f864c11da317eebbf071bf8 (MD5) Previous issue date: 2015-05-26 / A presente pesquisa se propôs a estudar a conjugalidade em recém-casados buscando compreender de que maneira as mudanças sociais interferem o início da conjugalidade. Utilizou-se como base a Teoria das Representações Sociais (TRS), que constitui um modelo teórico para compreensão e explicação da construção do conhecimento leigo. Dentro da TRS, enfatizou-se a abordagem Societal de Willem Doise, que propõe estudar o fenômeno a partir de quatro níveis de análise: intraindividuais; interindividuais e situacionais; intergrupais e societal. Participaram da pesquisa dez casais de classe média, selecionados a partir dos seguintes critérios: deveriam ter no máximo quatro anos de união civil registrada em cartório - sendo esta a primeira de ambos (1); não deveriam ter filhos (2) e deveriam ter morado com os pais antes do casamento (3). Foram realizadas entrevistas semiestruturadas que tiveram duração de 13 a 51 minutos e foram gravadas em áudio com o consentimento dos participantes. Os resultados indicam que a conjugalidade atual é permeada tanto pelas antigas quanto pelas novas representações sociais, podendo coexistir na dinâmica marital. Vale ressaltar que um mesmo elemento de representação apresentou significados diferentes para homens e mulheres. Na análise intraindividual foram identificados os elementos mudança de status e influência familiar surgidos no convívio, até então, inédito. Nas análises interindividual e situacional destacou-se o elemento busca pela boa convivência, ou seja, verifica-se que diante dos desafios da conjugalidade os casais buscam o equilíbrio recuperando e balanceando os aspectos positivos da relação, visando a manutenção satisfatória do casamento. Na análise intergrupal foram identificadas diferentes direções de influência das representações sociais na forma com que os casais representam o casamento em relação à família e às redes sociais. Quanto ao trabalho, notou-se que os casais já traziam representações que influenciam a forma como lidam com ele. Por fim, em relação aos amigos foram observados dois vieses: a forma como representam o casamento e os amigos solteiros. A análise societal possibilitou compreender as representações sociais identificadas nos três níveis de análise por meio da identificação de dois metas-sistemas (Doise, 2014). Foram eles: os padrões tradicionais, representados pelos papéis a serem desempenhados por homens e mulheres; e, em sentido contrário, os padrões emergentes, quebrando as fronteiras dos papéis exercidos e promovendo a busca da igualdade na relação no nível profissional, no cuidado com os filhos e com a casa, dentre outros. As representações sociais da conjugalidade apresentaram também elementos que caracterizam a afetividade positiva e a vontade dos casais na construção da vida em conjunto, seja no sentido da partilha do investimento na vida profissional, em busca de um padrão de vida melhor, seja no lazer e na perspectiva de dar boas condições aos filhos que pretendem ter. O desafio dos casais consiste em equilibrar as conquistas em meio aos diversos elementos que interferem na conjugalidade e promover os esforços necessários à conquista dessas metas.

Elsschot word dikwels 'n siniese skrywer genoem. Alvorens die geldigheid, al dan nie, van hierdie stalling nagegaan word, volg 'n aantal definisies om te probeer bepaal wat sinisme is. Van Dale gee die volgende verklaring van die woord CYNISCH: "schaamteloos ongevoelig, een stuitend of pijnlijk ongeloof in het goede aan den dag leggende, niet gelovende aan oprechtheid of deugd bij de motieven en daden der mensen en dit met spottende lach of op scherpe,sarcastische wijze laten blijken". Intro., p. 1.

Proefschrift--Letteren--Katholieke universiteit Nijmegen, 2001. / Bibliogr. p. 365-394.

Proefschrift--Universiteit van Amsterdam, 2002. / Bibliogr. p. [338]-364. Index. Résumé en anglais.

Proefschrift Universiteit van Amsterdam. / Met lit. opg., reg. - Met samenvatting in het Engels.

Proefschrift Universiteit van Amsterdam. / Omslagtitel: Kunsthandel & diplomatie. Auteursnaam op rug en omslag: Koenraad Jonckheere. Met lit. opg. - Met samenvatting in het Engels.

Thesis--Rijksuniversiteit, Utrecht, 1978. / Summary in English. Vita. "Bibliografie van Willem Banning: " p. 213-217. Includes bibliographical references (p. 219-225).

Proefschrift--Sociale wetenschappen--Utrecht, 1978. / Bibliogr. des œuvres de W. Banning p. 213-217. Bibliogr. p. 219-225. Résumé en anglais.

In this dissertation a comparative study is undertaken of an Afrikaans novel, Willem Anker’s Buys: ’n Grensroman (2014) and an American novel, Cormac McCarthy’s Blood Meridian, or The Evening Redness in the West (1985). The study focuses on the nature and function of carnivalesque elements in the portrayal of violence in the two novels. The theory of the carnivalesque, as developed by Mikhail Bakhtin in Rabelais and His World (1984), serves as a broad theoretical point of departure, while Steven Frye’s article “Blood Meridian and the Poetics of Violence” (2013) serves more specifically as a theoretical approach for the investigation into the protrayal of violence in the two novels. Following on Frye’s view of the carnivalesque as an “aesthetic strategy”, reference is made to the views of Terry Eagleton, Kenneth Burke and Fredric Jameson who regard the text as a strategic reaction to a given situation or context. The novels are consequently approached with due consideration to the violent contexts in which they were written, namely America in the wake of the Vietnam War in the case of Blood Meridian and the violence-ridden postcolonial South Africa in Buys’s case. Connections between the carnivalesque and postcolonial discourse as well as between the carnivalesque and violence are explored. The aestheticisation of extreme violence in Blood Meridian and Buys through the utilisation of carnivalesque images coupled with poetic, richly imagistic language which involves the reader emotionally, is briefly demonstrated. Ethical reservations regarding the aestheticisation of violence in literature are explored, while the ethical value Kearney atrributes to a narrative approach to historical violence is also considered. This is followed by a comparative analysis of violent scenes in the two novels in which the grotesque body, carnivalesque clothing, the carnivalesque blending of the kitchen with the battlefield and carnivalesque language occur. Finally the study concludes that the utilisation of carnivalesque imagery in scenes of violence in Blood Meridian and Buys is an aesthetic strategy whereby the reader’s experience of those historic atrocities are intensified as a result of being emotionally drawn to the events. This hightens the reader’s consciousness of the historical reality of moral transgression – a function performed by the original Medieval carnival – and calls attention to the fact that the violence demands an ethical response. / In hierdie verhandeling word ’n vergelykende studie onderneem van ’n Afrikaanse roman, Willem Anker se Buys: ’n Grensroman (2014), en ’n Amerikaanse roman, Cormac McCarthy se Blood Meridian, or The Evening Redness in the West (1985). Die studie fokus op die aard en funksie van karnavaleske elemente in die uitbeelding van geweld in die twee romans. Die teorie van die karnavaleske, soos ontwikkel deur Mikhail Bakhtin in Rabelais and His World (1984) dien as breë teoretiese vertrekpunt, terwyl Steven Frye se artikel “Blood Meridian and the Poetics of Violence” (2013) meer spesifiek as teoretiese invalshoek dien vir die ondersoek na die uitbeelding van geweld in die twee romans. Na aanleiding van Frye se beskouing van die karnavaleske as ’n “estetiese strategie” word daar ook aansluiting gevind by Terry Eagleton, Kenneth Burke en Fredric Jameson se sienings van die literêre teks as ’n strategiese reaksie op ’n gegewe situasie of konteks. Die romans word dus benader met inagneming van die gewelddadige kontekste waarbinne hulle gestalte gekry het, te wete Amerika in die nadraai van die Viëtnam-oorlog in die geval van Blood Meridian en die geweldgeteisterde postkoloniale Suid-Afrika in Buys se geval. Verbande word getrek tussen die karnavaleske en die postkoloniale diskoers, asook tussen die karnavaleske en geweld. Daar word kortliks aangetoon hoedat ekstreme geweld in Blood Meridian en Buys verestetiseer word deur karnavaleske beelde wat gepaard gaan met poëtiese, beeldryke taalgebruik wat die leser emosioneel betrek. Daar word stilgestaan by etiese voorbehoude oor die verestetisering van geweld in literatuur, terwyl die etiese waarde wat Kearney heg aan ’n narratiewe benadering tot historiese geweld ook onder die loep kom. Dit word gevolg deur ’n vergelykende ontleding van geweldstonele in die twee romans waarin die groteske liggaam, karnavaleske kleredrag, die karnavaleske vermenging van die kombuis en die slagveld en karnavaleske taalgebruik voorkom. Ten slotte word tot die gevolgtrekking gekom dat die aanwending van karnavaleske beelde in geweldstonele in Blood Meridian en Buys ’n estetiese strategie is waardeur die leser se ervaring van daardie geweldsvergrype in die verlede geïntensiveer word deurdat hy emosioneel daarby betrek word. Dit verhoog die leser se bewustheid van die historiese werklikheid van morele transgressie – ’n rol wat ook deur die oorspronklike karnaval in die Middeleeue vertolk is – en maak ’n appèl op die leser dat die geweldsvergrype ’n etiese respons vereis. / Dissertation (MA)--University of Pretoria, 2017. / Suid-Afrikaanse Akademie vir Wetenskap en Kuns / Afrikaans / MA / Unrestricted