Este trabalho examina a representação das cidades na obra de Woody Allen. No intuito de compreender a saída do cineasta patrimônio da cidade de Nova York para a Europa, retoma-se criticamente a questão da Era da Lista Negra, das runaway productions e dos blockbusters. Para analisar os filmes de Allen na Europa considera-se importante entender como a cidade de Nova York configura-se no início da carreira do diretor, notadamente, em filmes que estabelecem um contraponto entre o Brooklyn e Manhattan. Em seguida, examina-se a questão crítica fundamental do trabalho: o cartão-postal corporativo na Europa. Nesse sentido, propõe-se a análise dos cartões-postais de Barcelona, Paris e Roma. O filme Vicky Cristina Barcelona adquire centralidade nesta pesquisa por apresentar de maneira exemplar a paisagem postiça da cidade encarcerada sob intervenção corporativa. / This research examines the representation of cities in Woody Allens work. In order to understand Allens European sojourn, it discusses the Blacklist Era, the runaway production and the impact of the blockbuster productions in the industry. The work understands New York as the quintessential frame of Allens depiction of cities overseas, notably in the early films that juxtapose Brooklyn and Manhattan. Henceforth, the key critical core of this work is presented: the corporate postcard in Europe. In this sense, it proposes an analysis of the postcards of Barcelona, Paris and Rome. The film Vicky Cristina Barcelona presents in an exemplary manner the cityscape under corporate intervention.

The abundance and spatial heterogeneity of coarse woody debris (CWD) on the forest floor is a prominent feature of Pacific Northwest (PNW) forest ecosystems. The effect of CWD on soil solution chemistry, nutrient cycling and availability, soil physical structure and formation of soil organic matter, however, remains unknown. Therefore, studies on the spatial and temporal imprint of CWD on forest soils are timely and can fill critical gaps in our understanding of the role of CWD in PNW forest ecosystems. I investigated the effect of CWD on soils and soil solution at the H.J. Andrews Experimental Forest in a two-part study. Mineral soils were sampled beneath CWD to a depth of 60 cm. The top 15 cm of soil was also repeatedly sampled for seasonal differences. Control leachate, CWD leachate and soil solution from control soils and from under CWD were collected from the fall of 1999 until the spring of 2001. Results indicated that CWD leachates were much more acidic than water leaching from the forest floor without CWD. Intermediate stages of CWD decomposition had the highest concentrations of hydrophobic compounds and polyphenols of all stages of decay. Correspondingly, surface soils sampled from under well-decayed CWD were more acidic and had more exchangeable acidity and aluminum, and a lower percent base saturation than soils under the forest floor. Nutrient pools were not different under CWD, although nitrogen fluxes were slower under CWD. Although we had hypothesized that the spatial variability of CWD inputs may affect forest soils under CWD, we found that the spatial variability is much more temporal than I had hypothesized and is limited to the top five centimeters of the underlying soil. / Graduation date: 2002

Thesis (doctoral)--Swedish University of Agricultural Sciences, 2003. / Appendix includes reprints of five manuscripts, four co-authored with others. Includes bibliographical references. Also partially issued electronically via World Wide Web in PDF format; online version lacks appendix.

Thesis (M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (ℓ. 69-74)

Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 124-142).

Thesis (M.S.)--Oregon State University, 1989. / Typescript (photocopy). Includes bibliographical references. Also available on the World Wide Web.

Thesis (Ph. D.)--Oregon State University, 2006. / Printout. Includes bibliographical references (leaves 161-174). Also available on the World Wide Web.

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O objetivo desta dissertação é apontar para a duplicidade narrativa a partir da qual a história Zelig (1983) é contada. Por um lado, tem-se um narrador tradicional de um documentário em voz over, no entanto, sua forma de narrar acaba por revelar aspectos deste gênero como produção dentro da Indústria Cultural. Por outro lado, tem-se outra instância narrativa, conhecida como autor implícito, que coloca elementos em cena para que o espectador consiga ter uma leitura totalizadora da obra. Ademais, o filme Zelig, como produção cultural do início dos anos 1980, revela os desdobramentos e consequências de viver segundo uma ordem social pós-moderna. Observa-se, dentre outros fatores, a forma-mercadoria dominando todas as instâncias da vida social, além da espetacularização da sociedade presente em diversos aspectos da vida moderna. / The aim of this dissertation is to point to the narrative duplicity from which the story Zelig (1983) is told. On the one hand, there is a traditional voiceover documentary narrator, however, his way of narrating ends up revealing aspects of this genre as a production within the Cultural Industry. On the other hand, there is another narrative instance, known as implied author, who adds elements in the scene so that the viewer can have a totalizing reading of the work. Furthermore, Zelig, as cultural production from the early 1980s, reveals the ramifications and consequences of living according to a post-modern social order. We observe, among other factors, the commodity-form dominating all levels of social life. Moreover, the spectacularization of this society found in many aspects of modern life.

Puis-je croire ce que je vois ? Cette question surgit dans la religion, la science et l'art. Elle persiste, comme si la focale d'une caméra pouvait mesurer la distance entre la justice et la justesse. En effet, existe-t-il une éthique de la création cinématographique, interrogée tant du côté du travail d'un cinéaste que du côté de la réception, c'est-à-dire dans la façon de rendre compte d'une expérience de cinéma ? Si oui, cette éthique dérive-t-elle toujours d'un engagement politique préalable qui la guiderait ? Ou bien, son origine est-elle d'un tout autre type ? Cette thèse en esthétique du cinéma pose ces questions et confronte quelques-uns des films les plus énigmatiques et puissants du septième art avec les notions clé du philosophe français E. Levinas. La relecture serrée de son œuvre, sa critique du "dévoilement" heideggérien, jalonne les analyses détaillées de films comme Solaris, Les harmonies Werckmeister ou encore Zelig. Progressivement, chacun d'entre eux révèle sa profonde affinité avec les autres, même si tous n'appartiennent pas à la même période, ni au même style ou genre. La cohérence de l'ensemble est dans la problématique, dont chaque chapitre s'efforce d'éclairer un nouvel aspect. Ainsi, la recherche de l'autre et la pensée de Dieu représentent des points nodaux du texte sans que l'on y ait recours aux "images sacrées". / Can I believe what I see ? This question occurs in religion, science and art. As if pulling a camera's focus could measure the distance between justice and justness. Actually, is there any ethics of creation in cinema questioned from a filmmaker's inner motivation, as well as from the possibilities of transcription of such an experience ? If so, are ethics always directed by prior political involvement ? Or by another type of instruction ? This thesis in film studies asks these questions and confronts some of the most demanding and multi-leveled films by great authors with the key notions of E. Levinas (1906-1995), one of the most important French philosophers in the 20th century. Reading closely the thinker's oeuvre, his criticism of Heidegger's unveiling, this thesis offers a detailed analysis of Solaris, Werckmeister Harmonies and Zelig. Step by step, they reveal their deep-rooted affinities with each other, even though they do not all belong to the same period, style or genre. They are also connected to metaphysics in an innovative way. Both, seeking for the other and thinking of God, represent main points in this exposé without referring to holy images.