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Oliveira, Luciano Dutra de. "As estruturas de sentimento: história e desenvolvimento da noção cultural por Raymond Williams." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19979.
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Previous issue date: 2017-03-30<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This work has as main purpose to discuss the notion of "Structures of Feeling" developed by Raymond Williams (1921-1988) in the period from 1950 to 1977. Its aim, therefore, is to find such a theoretical formulation in the joint production of the author about themes linked to culture, politics, literature and communication, identifying, in some measure, its historical genesis (especially in his first four books) their development in later works, and deployed aspects of its interpreters, as Terry Eagleton, John Higgins and Fred Inglis. For its proper implementation will be carried out the immanent analysis of all sources (literature, periodicals, newspapers, dissertations, etc.) already consulted in the Raymond Williams Archives (Archives Wales - Swansea University - Wales) on visits from August to September 2013<br>A presente dissertação tem como escopo principal discutir a noção de “Estruturas de Sentimento” desenvolvida por Raymond Williams (1921-1988) no período compreendido entre 1950 e 1977. Seu objetivo, portanto, é localizar tal formulação teórica no conjunto da produção do autor acerca de temas interligados como cultura, política, literatura e comunicação, identificando, em alguma medida, sua gênese histórica (especialmente em seus quatro primeiros livros) seu desenvolvimento nas obras posteriores, além de aspectos desdobrados por seus intérpretes, como Terry Eagleton, John Higgins e Fred Inglis. Para sua adequada execução, será efetuada a análise imanente do conjunto de fontes (bibliografia, periódicos, jornais, teses, etc.) já consultado no Acervo Raymond Williams (Archives Wales – Swansea University – País de Gales), em visitas realizadas entre agosto e setembro de 2013
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Jackson, D. "Ilya Repin : ideology and aesthetics in Russian art." Thesis, University of Edinburgh, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.652898.
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This thesis aims to seek a more judicious appreciation of Repin's worth through a comprehensive survey of his life and work, utilising as reference points the twin constituents of painting, form and content, which find reflection in the East/West proclivity towards ideology and aesthetics. The first chapter deals with Repin's early development, from his birth in 1844 into a provincial military settlement, to his enrolment in 1864 at the Imperial Academy in St. Petersburg, and considers the relative influences of the Academy, the secessionist <i>Artel</i> based around Ivan Kramskoy, and the emerging Peredvizhniki. Chapter 2 covers Repin's residency in Paris, 1873-1976, a period of conflicting interests during which his allegiance to the nascent Russian school of critical realism was called into question by contact with Western art. The central chapters, 3-6, consider the chief genres within Repin's output: history painting, scenes from contemporary life, political themes, and portraiture, and considers to what degree ideological and formal considerations shaped his mature work. Chapter 7 deals with reactions to artistic innovations from the 1890s onwards, a period of avowed aestheticism on Repin's part, which saw his resignation from the Petedvizhniki, transference to the reformed Academy, and a brief liaison with Diaghilev's <i>Mir iskusstva</i>, but which ended in acrimonious public disputes with the forces of 'modernism'. Chapter 8 is devoted to the last decade of Repin's life, spent on his estate on the Finnish Gulf, a period of physical decline and post-Revolutionary isolation, during which he worked obsessively on recurrent themes with a discernibly freer style. The concluding chapter considers some of the East/West uses, abuses, and misunderstandings which have dogged Repin's work, before assessing the strengths and weaknesses, consistencies and contradictions within his oeuvre, based on the findings of previous chapters.
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Brookes, Les. "Gay male fiction since Stonewall : ideology, conflict, and aesthetics /." New York : Routledge, 2009. http://catalogue.bnf.fr/ark:/12148/cb413280741.
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Dorsey, James. "An intersection of aesthetics and ideology : Kobayashi Hideo, 1922-1942 /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11111.
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Pang, Lai Kwan. "China's left-wing cinema movement, 1932-1937 history, aesthetics, and ideology /." online access from Digital Dissertation Consortium access full-text, 1997. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9807778.
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Pickard, Martin John. "The operas of J.N. von Poissl (1783-1865) : aesthetics and ideology." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3353/.
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The Bavarian composer Johann Nepomuk von Poissl was regarded by many in the second decade of the nineteenth century as German opera’s greatest hope. Though neglected by later musicology, in his day Poissl was a central figure in the aesthetic discourses surrounding opera, being prominent as a composer, librettist, translator, journalist and director of the Munich Court Theatre. He was also a profoundly ideological artist, expressing in his operas a distinctive vision of Bavarian nationhood and of the wider German identity. This thesis represents the first substantial study of Poissl’s operatic oeuvre. It is based on a detailed reading of his thirteen surviving operas, all unpublished. It uses many previously untranscribed and untranslated sources. It shows how Poissl, in his prose writings as well as his operas, addressed what he and his contemporaries saw as the fundamental aesthetic values of opera. It also shows that several of Poissl’s works were a response to specific political, ideological and cultural issues. These include the Franco-Bavarian alliance, the post-Napoleonic settlement and the Catholic restoration of Bavaria under King Ludwig I. These threads are drawn together in a case study of Poissl’s opera Athalia (1814). This considers not only the literary and musical form of this piece but also its ideological content. It shows how Poissl’s particular vision of nationhood and faith was embedded not only in Athalia’s text but also in its music. It clarifies the dialogue-based form in which the opera was originally performed. It suggests that Poissl’s later addition of recitatives to Athalia not only obscured the dramatic and musical strengths of this particular work, but also gave rise to musicological misconceptions which have distorted and restricted our view of Poissl’s oeuvre as a whole.
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Adams, Bella. "A post-colonial aesthetic? : ideology and representation in the novels of Amy Tan." Thesis, University of Sunderland, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301958.
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Uran, Chad Scott. "The aesthetics and politics of Ojibwe language revitalization." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1780.
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This is an investigation into language ideologies, and the significance of same, among activists working to revitalize the Ojibwe language. Better inclusion of indigenous community members is necessary to spread the Ojibwe language. Improved competence in using--and strategically chging--language ideologies is necessary by language activists. Matters of orthography, storytelling, Elder status, state institutionalization, indigenous leadership, and decolonization reveal underlying ideologies of language, any of which can help or hinder efforts to reverse language shift. This is shown through participant observation in and around an Ojibwe language immersion school in Wisconsin.
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Parsons, Lisa. "Re-framing the dancer : the critical evaluation of an aesthetic and ideology for integrated dance." Thesis, University of Central Lancashire, 2007. http://clok.uclan.ac.uk/20275/.
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This research contextualises, evaluates and critically examines specific methodologies for integrated/mixed-ability dance that pertain to re-framing the dancer. Integrated/mixed-ability dance is committed to inclusive practice thereby changing the old order of aesthetics in favour of a new approach. It is this innovative work that this study has documented. The body (in dance) is understood as a complex phenomenon that engages with issues of consciousness, perception and temporality. The synthesis of philosophy (most specifically phenomenology), structuralist theory (with reference to Althusser and Foucault) and creative practice (with specific reference to the work of two contrasting integrated/mixed-ability practitioners), evolves an ideology and aesthetic for integrated/mixed-ability dance that will determine the extent to which - changing the beauty aesthetic in dance can be achieved. The core enquiry is based upon the critical evaluation of the integration of disabled and non-disabled dancers within the practices of Adam Benjamin and Alito Alessi. Their overlapping but divergent methodologies stress issues of embodiment and identity and make a plea for different forms of thinking about how the body is represented in dance. I argue that within integrated/mixed-ability dance, improvisation is an effective learning tool wherein bodily activity is conceptualised as multi-dimensional, inter-modal activity that pertains to ethical and social facilitation. The critical reflective practice and cross-evaluation (from a phenomenological perspective) presents research findings that provide subjective (experiential) and philosophical evidence that contributes to the field of integrated/mixed-ability dance and the wider scholarship of Western contemporary dance. My thesis concludes that: Benjamin and Alessi's methodologies amount to a phenomenological understanding of the dancers' experiences that is significant for evolving integration. I argue that is achieved through perceptual processes and provides effective understanding of the embodied structure of experiences (consciousness) in the space. Concurrently, critical and philosophical analysis presents substantial evidence for the role of sensori-motor (body schema) activity and for the re-conceptualisation of body image. That argument highlights the complexity of the relation between body schema, body image and habit, and pertains to both aesthetic and ethical considerations.
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Templeton, Michael William. "Poetic confrontations with the real the British romantic period and spaces of literary/political conflict /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1102003034.
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Templeton, Michael W. "Poetic Confrontations with the Real: The British Romantic Period and Spaces of Literary/Political Conflict." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1102003034.
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Dematagoda, Udith Haritha. "'The loathsome tint of social intent' : ideology and aesthetics in the work of Vladimir Nabokov, 1926-1939." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/7137/.
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This thesis is dedicated to the proposition that ideology is a spectrum through which the work of Vladimir Nabokov has not previously been considered. It is the first unambiguous attempt at a reading which foregrounds questions of politics and ideology, and one which does not conform to the intentional narrative of the author’s self-designated political provenance. In this sense, it represents an original contribution to the field. The work of Louis Althusser, in addition to other critics under the aegis of Marxist criticism such as Pierre Macherey and Fredric Jameson, are used to interrogate issues of ideology in Nabokov’s early career; a period between 1926-1939 which coincides with the publication of his first Russian novel to the completion of his first in English.
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Staskievicz, Jurata. "Aesthetic and ideological functions of time and space shifts in the postmodernist narrative." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_174222-28427.
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The purpose of this study was to analyze aesthetic and ideological functions of time and space shifts in the postmodernist narrative. The paper investigates the problems of time and space relationships in literary discourse and is based on the material of famous postmodern novel by Kurt Vonnegut, Jr. Slaughterhouse – Five Or The Children’s Crusade A Duty – Dance With Death. The textual features expressed by space and time relations have not received enough attention in English critical literature. However, provides a continual response to the importance of time and space notions which are often included as part of the themes in the genre of novels. The method chosen for the study was descriptive. The paper consists of two basic parts and their subdivisions. The first part examines the differerences between traditional and postmodernist narrative discourse. The second focuses on the aesthetic and ideological functions of time and space shifts in the above mentioned novel by Kurt Vonnegut, Jr. In the introduction some general characteristics of the narrative structure are outlined. A narrative structure is usually defined as a story which develops in time and space. But the simpliest way of conceiving a narrative is presenting it as a series of events in specific order with a beginning, a middle and an end. The structuralist theoretician Genette distinguishes such features of a narrative: discourse, story and narration.
The theoreticians ( Paul Ricoeur, Mikhail... [to full text]<br>Laiko kaita naratyve yra neatsiejama nuo erdvės, nes laiko poslinkiai visada sukelia erdvės pasikeitimą. Šiame darbe siekiama atskleisti laiko ir erdvės kaitos estetines ir ideologines funkcijas postmodernistiniame Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi. Laiko ir erdvės kaita romane apsprendžia jo struktūrines, semantines ir stilistines savybes. Pagrindinis metodas naudojamas šiame darbe yra aprašomasis. Darbas susideda iš dviejų dalių bei jų poskyrių. Pirmoje dalyje nagrinėjami skirtumai tarp tradicinio bei postmodernistinio literatūrinio diskurso. Pristatomos bendros žinios apie narratyvą bei tradiciniai ir postmodernistiniai požiūriai į literatūrinį diskursą. Tradiciniai naratologai kreipia dėmesį į romano struktūrą, laiką, įvykių seką, siužeto liniją, pasokotojo funkcijas. Postmodernistai yra priešingi tradiciniams požiūriams į naratyvo struktūrą. Jie neigia ne tik naratyvo linijiškumą bet ir pačio naratyvo ir jo elementų esmę. Postmodernistai pačiuose savo veikaluose nagrinėja kūrinio diskursą. Antroje darbo dalyje analizuojamos estetinės bei ideologinės laiko ir erdvės kaitos funkcijos Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi.
Romanas Skerdykla Nr.5 – pati ryškiausia antikarinė rašytojo knyga, kurią Vonnegutas komponuoja pasakojimo pasakojime principu, fragmentiškai pateikia sukurtą Bilio Pilgrimo istoriją ir į ją įaudžia dokumentinį... [toliau žr. visą tekstą]
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Oliveira, Luciana Indaia Perdonsini de. "A ideologia da encena??o: uma an?lise dos aspectos c?nico/ideol?gicos da encena??o produzida pela ind?stria cultural." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12456.
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Previous issue date: 2013-04-11<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>The research that led to this dissertation adopted a set of scenic/ideological aspects inherent to the productions of the Culture Industry as its object of research. The intellectual output of Theodor W. Adorno and Max Horkheimer underscored the approaches on this subject, since it provides the same set of scenic/ideological features to be explored because, according to the authors, scenes produced by the culture industry are linked to the dominant ideology, since they act in favor of maintaining the status quo. The first objective was the definition this set of features inherent to the scene produced by the culture industry, through the exploration of literature produced by Adorno and Horkheimer, so it was possible to define a set composed of nine elements: Construction of characters as characteristic types; Stereotypes; Naturalization of Stereotyped language; Simplistic playwriting; Reuse dramatic formula; Love and sexuality as themes of plots; Utilization of tragic element; Objetive representation; Approximation of fiction and reality. The second goal was the analysis of scene produced by the culture industry nowadays, so that it was possible to verify if any scenic/ideological aspects indicated by Adorno and Horkheimer in the mid-twentieth century were present among the productions from this beginning of the twenty-first century. Through the analysis of three soap operas produced in Brazil in 2012, it was found that the nine scenic/ideological aspects as indicated by Adorno and Horkheimer appeared in the observed productions. Additionally, a new scenic/ideological feature, not indicated by Adorno and Horkheimer is present: the merchandising<br>A pesquisa que deu origem a essa disserta??o adotou um conjunto de aspectos c?nico/ideol?gicos, inerentes ? encena??o produzida pela ind?stria cultural, como objeto de investiga??o. A produ??o intelectual de Theodor W. Adorno e Max Horkheimer norteou as abordagens sobre o objeto, providenciando o conjunto de caracter?sticas c?nico/ideol?gicas a ser explorado, pois, de acordo com os autores, encena??es produzidas pela ind?stria cultural est?o atreladas ? ideologia dominante, visto que agem em favor da manuten??o do status quo. O primeiro objetivo proposto consistiu na defini??o desse conjunto de caracter?sticas inerentes ? encena??o produzida pela ind?stria cultural, atrav?s da explora??o de bibliografia produzida por Adorno e Horkheimer, de modo que foi poss?vel definir um conjunto formado por nove elementos: Constru??o de personagens como tipos caracter?sticos; Estere?tipos; Naturaliza??o de linguagem estereotipada; Dramaturgia simpl?ria; Reutiliza??o de f?rmulas dram?ticas; Amor e Sexualidade como temas dos enredos; Utiliza??o do elemento tr?gico; Representa??o objetiva; Aproxima??o de fic??o e realidade. O segundo objetivo consistiu na an?lise de encena??es produzidas pela ind?stria cultural atualmente, a fim de que fosse poss?vel verificar se algum dos aspectos c?nico/ideol?gicos, indicados por Adorno e Horkheimer em meados do S?culo XX, fazia-se presente em meio a encena??es produzidas no in?cio do S?culo XXI. Atrav?s da an?lise de tr?s telenovelas, produzidas no Brasil no ano de 2012, foi poss?vel verificar que os nove aspectos c?nico/ideol?gicos buscados, indicadas por Adorno e Horkheimer, apareceram nas encena??es observadas. Al?m disso, uma nova caracter?stica c?nico/ideol?gica, n?o indicada por Adorno e Horkheimer, se faz presente: o merchandising
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Casallo, Víctor. "Estética e ideología: Perspectivas comunicacionales." Conexión, 2018. http://repositorio.pucp.edu.pe/index/handle/123456789/114721.
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The “ideology” notion has been decontextualized from its critical function to be employed as a discrediting maneuver that disregards debate. This article posits ideological analysis within the basic idea of a critical theory to point out the problems inherent to its dependency to the modern subjectivity paradigm. Afterdiscussing two attempts to preserve some form of ideological analysis by means ofa reconsideration of the aesthetical, we claim the pertinence of a communicationalinterpretation of the critic, ideology and aesthetics notions, which refers them to its founding and normative dimension in the very constitution of the self and its community.<br>La noción de ideología se ha descontextualizado de su función crítica para emplearse como una descalificación que prescinde del debate. En este artículo,situamos el análisis ideológico al interior de la idea básica de una teoría crítica para mostrar los problemas inherentes a su dependencia del paradigma moderno de lasubjetividad. Asimismo, luego de discutir dos esfuerzos por mantener alguna formade análisis ideológico a través de una reconsideración de lo estético, argumentamosla pertinencia de una interpretación comunicacional de las nociones de crítica, ideología y estética, que las refiera a su dimensión fundante y normativa en la constitución misma del yo y su comunidad.
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Feng, Wei. "An examination of Chinese pre-modern visual media, its influence on landscape ideology, aesthetics and relationship to landscape experience." Thesis, University of Sheffield, 2005. http://etheses.whiterose.ac.uk/6072/.
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In landscape history, visual media have played and are still playing very important roles in landscape design. Visual media work not only as tools in analysis, decision making and design presentation in landscape design process, but also more importantly as paradigms which influence landscape ideology and aesthetics. In contemporary landscape design and education, visual media has been gradually separated from profound landscape experience, especially via perspective-based drawing. The need to rethink perspective-based visual media, and some new insights on landscape experience became the context and motivation of this research. Through the study of three important visual media in pre-modern China landscape history (before the 20th century): map, landscape painting, and visual illustrations in prints, I attempt to highlight the influence of these visual media on Chinese landscape ideology, aesthetics and the development of landscape design profession. The strong connection between these pre-modern visual media and landscape experience is a central issue of this research. Via an exploration of spatiality, temporality and bodily experience in these pre-modern visual media, I aim to link pre-modern visual media and landscape experience to contemporary landscape theoretical discourse. Finally, through a comparative study on engaged seeing in Chinese pre-modern visual media and journey in landscape experience, I attempt to identify the performative feature of them and potential of connecting visual media and landscape experience.
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Rodriguez, D. Maria Angelica. "Performing Whiteness: An Interdisciplinary Analysis of Racism in Ballet." Thesis, Linköpings universitet, Avdelningen för migration, etnicitet och samhälle (REMESO), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177980.
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This thesis is a study of race and ethnicity in culture and the arts. It discusses whiteness and racism in ballet and addresses a gap in the literature for both disciplines Ballet and Race and Ethnic Studies. Even if ballet is a privileged art form that for centuries has served statecraft, survived revolutions, and political instability the problem of race in ballet is jeopardizing its validity and acceptance in the contemporary world. I ask if racism in ballet is more than behaviors, if it designates ideology, or if it is a matter of visuality and aesthetics. I do this to provide insight into how race is projected in and through the art form in question. The need to transcend the scope of a single discipline brought me to adopt interdisciplinary research to analyze ballet right at the intersection with crossing perspectives linked to the body, aesthetics, performance, privilege, race, and gender. The thesis shows that ballet gives material expression to whiteness as ideology and is compliant with an exclusive approach to an idea of the body and beauty that presupposes racist attitudes and behaviors. At the institutional level, the experience of ballet is whiteness -unnamed, unmarked, universal. But for those bodies outside the constructs of whiteness, the experience is marked by racism and objective barriers. The study informs that an exclusive discourse of the body, often disguised as aesthetic discourse, translates into limited access to ballet education, body shaming, harassment, and fewer job opportunities. However, ballet is an art form, it is more than whiteness or racism. It creates beauty in the body of the dancer which is both instrument and object of art. Ballet dancers invest their lives learning and performing an art form that some other people cherish, but how come a space of whiteness and racism is perceived as beautiful? The thesis elucidates the importance of this reflection also.
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Mdaka, Sibizwa Solomzi. "A comparative study of ideology and aesthetics in the novels of selected South African isiXhosa-language writers and Kenyan African authors in English." Doctoral thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/11033.
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Includes bibliography.<br>Although scholars such as Gerard (1981) and Perera (1991) have long been advocating the creation and adoption of a comparative methodology for the study of African literature, little scholarly effort has thus far been exerted to establish such a methodology. This study aims to make a small contribution in this direction by elaborating an appropriate comparative method and demonstrating its efficacy by applying it in the comparative assessment of ideology and aesthetics in South African isiXhosa-language novels and Kenyan African novels in English. The authors chosen for this purpose are Ngugi wa Thiong'o and Meja Mwangi from Kenya, and A.C. Jordan, P.T. Mtuze and R Siyongwana from South Africa. The methodology is grounded in the materialist ideological analysis of the Marxist theorist Frederic Jameson. It incorporates a strong emphasis on characterisation and rhetoric, drawing on Classical European and African oral tradition. In eschewing altogether the modernist and postmodernist European literary paradigms, it seeks to synthesize a critical approach consonant with certain core principles of African culture, including a respect for the heroic idiom and a firm belief in the ethical and socially instructive value of art.
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Cronin, Maurice. "From the image of the reader to the figure of the writer : a Pragmatic Approach to the Question of Aesthetics and Ideology in the Work of Flannery O'Connor." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA128.
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Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor<br>The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature
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Kissas, Angelos. "Ideology in the age of mediatized politics : a study on the aesthetics and politics of charisma, ordinariness, and spectacle from the 2015 election advertising campaigns in the UK and Greece." Thesis, London School of Economics and Political Science (University of London), 2018. http://etheses.lse.ac.uk/3698/.
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This thesis seeks to explore the place and role of ideology in political communication under conditions of mediatization. Exploring the place of ideology, as I will argue, involves exploring the ways political meaning is produced through the mediatic practices of personalisation, conversationalisation and dramatisation, while exploring its role involves exploring the ways political power is exercised through these practices. Particularly, the thesis builds upon an analytics of mediatization according to which ideology lies in, the textually-discursively organised and ordered, performative capacity of mediatic practices to recall and rework institutional symbolisms from the past serving the institutional exercise of power in the present, or the recontextualizing dynamic of media performativity. To operationalise this analytical approach, the thesis employs a paradigmatic case study; the study of political advertisements produced by the two major political parties in Greece and the UK in the run-up to the January and May 2015, respectively, General Elections. The empirical analysis seeks to demonstrate that central to all the ideological mediatic practices is the fusion of the private with the public through different aesthetic regimes, such as the authenticity of charisma, the intimacy of ordinariness, and the ritualism of spectacle, each emerging invested with its own recontextualizing dynamic – the politics of mission, everyday life and belonging. Each, in other words, has its own capacity to emotive-cognitively and spatiotemporally rework institutionally symbolic meanings from the past enacting different forms of institutional agency (e.g. partisan or cross-partisan) and ordering (e.g. displacement, temporalisation or eternalisation) in the present. The overarching contribution of this analysis is to argue/establish that we cannot gain a full understanding of how political parties’ ideology is renegotiated nowadays without a critical interrogation of the recontextualizing dynamic of mediatic performances. Nor can we gain a full understanding of how parties and other political institutions ideologically deal with the pragmatic challenges of the present without a critical interrogation of the aestheticity and affectivity of (mediatized) political discourse.
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Lima, Edilson Vicente de. "A modinha e o lundu: dois clássicos nos trópicos." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-29102010-130411/.
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A tese por nós defendida no texto que se segue tem como objetivo o estudo de dois importantes gêneros musicais, a modinha e o lundu, cujos processos de elaboração iniciam-se a partir da segunda metade do século XVIII no seio da sociedade luso-brasileira. Com o intuito de possibilitar uma reflexão mais abrangente do assunto, muito caro à historiografia musical em língua lusófona, são levados em consideração aqui, aspectos históricos, estilísticos e identitários. A fim de abordarmos de modo adequado a complexidade de nosso objeto de estudo, calcamos nossa metodologia, sobretudo, no estudo da história, articulado à musicologia histórica, à musicologia sistemática e à etnomusicologia. Partindo do reconhecimento de que os gêneros em questão, objeto de nosso estudo, estão ligados às transformações ocorridas no mundo luso-brasileiro e na transformação das concepções estéticas internacionais, procuramos identificá-los com o que acabou por denominar-se estética do sentimento ou sentimentalismo e com o estilo clássico que se desenvolveu na Europa durante o século XVIII, tanto na poesia quanto na música, e que paulatinamente forjaram outras formas de produção e recepção, identificadas com um novo modo de sociabilidade burguesa que dominará o século das luzes. Por outro lado, buscamos, igualmente compreender em que aspecto a cultura popular participou, contribuindo de modo significativo, para a formação desses gêneros e, por conseqüência como se dá este impacto na expressividade musical, manifesta já no período de sua formação. A partir do estudo da historiografia, buscamos estabelecer como a modinha e o lundu participam das discussões sobre uma pretensa identidade nacional, ainda calcada em pressupostos positivistas e nacionalistas do século XIX, pressupostos estes que se mantém em parte significativa na literatura do século XX. Finalmente, ao discutirmos sobre a performance, utilizando como fontes registros musicais a partir da década de 1950, procuramos identificar correntes estéticas e ideológicas presentes nesses registros, os quais denominamos paradigmas interpretativos.<br>The thesis we put in the following text aims to study two important musical genres, the modinha and lundu, whose process of preparation to start on the second half of the eighteenth century in Luso-brasilian society. In order to provide a more comprehensive discussion of the subject, the historical, stylistic and identity aspects that are very important to the historiography of music in Portuguese speaking countries, are taken into consideration here. In order to observe address the complexity of our object of study, we based our methodology especially in the study of history, combined with historical musicology, systematic musicology and also to ethnomusicology. Acknowledging that the genres in question, the object of our study are related to the transformations in the Luso-Brazilian society and in the international aesthetic conceptions, we identify them with what turned out to be called the aesthetic sentiment or sentimentalism, and the classical style that developed in Europe during the eighteenth century, both in poetry and music, and that built, gradually other modes of production and reception, identified with a new way of bourgeois sociability that will dominate the century of the enlightenment. On the other hand, we seek also to understand what aspect of popular culture participated for the formation of these genres, and consequently how is this impact on musical expression common to both already evident in the period of their origin. From the study of historiography related to the genres in question, as we seek to establish how modinha and lundu have participated in the discussions about national identity, yet steeped in positivist and nationalists thoughts of the 19th century that remains in significant part of the the literature of the 20th century. And finally, when we discuss about the performance, using sources such as musical recordings from the 1950s, sought to identify aesthetic and ideological currents present in these records, which we shall call interpretative paradigms.
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Ortiz, de Pinedo Aitor. "Jean Etxepareren "Beribilez" (1931) : bidaia eta ideologia." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30027/document.
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Dans cette thèse est analysé le deuxième et dernier livre Beribilez (En voiture) de Jean Etchepare (1877-1935). Le but de la recherche est d’établir l'idéologie de l'auteur à l’âge adulte et l’image qu’il donne tout au long de ce récit de voyage, fait en voiture à travers le Pays Basque. On a utilisé deux méthodologies principalement : la sémiotique (Philippe Hamon) et l´imagologie (Daniel-Henri Pageaux). On a relu les critiques portant sur l´œuvre de cet auteur pour les comparer avec nos intuitions. Nous avons sondé la formation intellectuelle de Jean Etchepare, et nous avons vu qu'au Pays Basque du Nord, il était confronté à la pensée traditionnelle, dominante à cette époque. Durant la confrontation entre l'État et l'Église autour de la laïcisation, Etchepare a choisi une voie indépendante inspirée souvent par la philosophie allemande. Dans le domaine de la pensée esthétique, la vision du paysage basque est plutôt économiciste, l'appréciation des terres rurales se combine avec un mysticisme poétique. Au sein des beaux-arts, il critique l'enthousiasme théâtral du luxe religieux baroque qu'il voit dans le Sanctuaire de Loyola; dans l´aspect du savoir-vivre il s'éloigne modérément de l'ascétisme confessionnel traditionnel, donnant dans le texte une place inhabituelle jusqu’alors, aux petits plaisirs des sens (gastronomie, danse…). Dans le domaine de l'éthique, il critique la croissance urbaine de Saint-Sébastien : il proclame la spiritualité laïque contre le matérialisme et la dégénérescence de la haute bourgeoisie. Il prophétisa la Seconde Guerre mondiale qui s´approchait, parce qu'il voyait les êtres humains sans respect mutuel. En tant que positiviste, il critique aussi toute croyance irrationnelle. Enfin, il indique qu'à l'âge adulte il s'est aligné sur la philosophie grecque de la mesure. A propos du Pays Basque, il entend promouvoir la solidarité entre les deux versants basques des Pyrénées, en réinterprétant les avatars de l'Histoire de manière diplomatique. L'attitude envers le Sud-est de filia (Pageaux). En conclusion, on peut dire que l'écrivain dans ce livre a modélisé soigneusement l´expression de sa pensée, car il ne voulait pas que l´ouvrage soit rejeté, comme ce fut le cas avec le premier (Glanes, 1910)<br>The second book ((original Basque title) Beribilez; (engl.) By car) by Jean Etxepare (1877-1935) is analysed in this doctoral thesis. The aim of this research is to define the author’s ideology/ in his intellectual maturity and his image of the Basque Country, along the journey made by car through the Southern Provinces. Semiotic Methodology (Philippe Hamon) and Imagology (Daniel-Henri Pageaux) have been used as a study method. We have looked at the academic training of Jean Etxepare, and we have seen that in the Northern Basque Country he was confronted with the hegemonic traditional catholic way of thinking. During the years of dissent between the State and the Church, Etxepare chose the free-thinking path, inspired by German philosophy. In the area of aesthetics, his view of the Basque landscape is mostly economicist. His perspective of the appreciation of rural lands combines with a poetic mysticism. He considers the display of Baroque religious luxury that he sees in the Sanctuary of Loyola, spiritually deficient; we can see that, on the one hand, we are dealing with an intellectual author of petit bourgeois standing and sound artistic judgement... On the other hand, even if he proves to be a knowledgeable person, he is very capable of enjoying the small pleasures of life as gastronomy, wines, dances and eroticism in a harmonious and measured way. He moves moderately away from traditional confessional asceticism, giving in his book to the pleasures of the body an unusual and enlightening place unknown to the catholic dominant literature. In the field of ethics, he criticizes the urban growth of San Sebastian: he proclaims secular spirituality against the materialism and degeneration of the high bourgeoisie. He prophesied that there would be the Second World War, because he saw the human beings lacking mutual respect. As a positivist, he criticizes any irrational belief. Finally, he indicates that in adulthood he has been aligned with the Greek philosophy of measure, in spite of his non-conformist youth. About the Basque Country, he intends to promote solidarity between the two sides of the frontier, reinterpreting the history passages in a diplomatic way. His attitude towards the South is of a philia one (Pageaux). As a conclusion, we can say that the writer measured the expression of his dissident way of thinking, because he did not want his second book to be rejected as had been the case with the first one (Buruxkak, 1910)
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.<br>East Asian Languages and Civilizations
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Martins, de Souza Luiz Carlos 1968. "Cartas para quem? = o funcionamento discursivo da "falta" no filme Central do Brasil." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268941.
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Orientador: Suzy Maria Lagazzi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-20T05:11:48Z (GMT). No. of bitstreams: 1
MartinsdeSouza_LuizCarlos_D.pdf: 3983729 bytes, checksum: 646abf82afc9908b41ae8e482668e965 (MD5)
Previous issue date: 2012<br>Resumo: Prezado viajante, Este bilhete lhe dá direito a uma viagem pela estrada metodológica da Análise de Discurso Materialista para que você contemple o filme em DVD ?Central do Brasil?, de Walter Salles Jr. Você passará por três estações a partir da ausência do pai como principal metáfora articuladora dos trilhos narrativos, para que você veja o entrecruzamento entre dois caminhos: o discurso religioso e o discurso psicanalítico, na estruturação do funcionamento da falta metaforizada nessa ausência, movimentando o político no social. Inicialmente você verá os mapas da viagem, circunscritos na perspectiva materialista de Análise de Discurso: a apresentação do corpus, e a indicação dos principais conceitos nele operacionalizados. Em seguida a viagem se dará em três ?estações? através do batimento sinuoso entre descrição e interpretação: na primeira estação se dá a descrição da estrutura organizacional da superfície linguageira em suas condições de produção e circulação, e a formulação narrativa da falta, lhe direcionando para o deslocamento desta em objetos discursivos. Na estação seguinte você se deterá na observação dessa falta nos dois significantes representados como sujeitos: Dora e Josué. Vendo isso, você estará apto para a próxima estação: a inscrição da falta em metáforas e metonímias discursivas: nas imagens de Santa Maria e de Jesus Cristo, em relação a Dora e a Josué, no pai e nas cartas, e noutros objetos cênicos, como um pião e um lenço, objetos discursivos visibilizados nos planos como unidades de significação pela fragmentação da montagem do filme. Esperamos que você perceba que o Cristianismo intervém na superfície textual e discursiva, como também a Psicanálise, no tratamento dado às constelações familiares, à Metáfora Paterna, à lettre lacaniana (carta, letra, significante) e às projeções entre Dora e Josué. Não se assuste: há um embate do sujeito com o Real, em derivas e deslocamentos em torno de posições de sujeito. Entenda conosco quais processos discursivos estão em jogo nessa viagem, tomando a falta como um gesto estruturante do político nas relações sociais. Na chegada possível, você verá que os sentidos são possíveis pela relação e determinação entre o Real da história, o Real da linguagem e o Real do inconsciente, de forma que as condições sócio-históricas são constitutivas das significações do texto. Agradecemos sua preferência. Boa viagem<br>Abstract: This work assumes the Materialist Discourse Analysis methodology to analyze the DVD movie "Central Station", by Walter Salles Jr. Taking into consideration that the father's absence is the main metaphor that articulates the narrative surface, the intention was to understand this absence in the intersection between religious discourse and psychoanalytic discourse, asking about the politics in social relations. The introduction circumscribes the materialist perspective of Discourse Analysis, and presents the corpus, and the main concepts employed into it. The following chapters are formulated as "stations" around the stages of analysis: on the first step the language's organizational structure surface is described under certain conditions of production and circulation, the narrative design of the ?lack? and its displacement as discoursive objects. Observing the treatments in the screenplay, it was noticed the inscription of the sense effects on the names of biblical characters (Joshua, Jesus, Moses, Isaiah, Hannah, Pedrão - Big Peter), references to images of St. Mary and Jesus Christ - stage props noticed as units of meaning in the fragmentation of the shots of film edition. Psychoanalysis derives from the treatment given to family constellations, to the Paternal Metaphor, to the lacanian letter and to the projections between Dora and Joshua. From the crossing between description and interpretation, it was intended to give evidence to the clash between the subject and the Real, drifts and shifts in the subject positions. The last step of the analysis examines the discursive processes, which make the ?lack? a structuring gesture of the politics in social relations. The audiovisual, object of aesthetic completion and an important commodity in the contemporary world, acts as a massive investment in the subject, determining, renewing and contradicting the circulation of capital, and the effects of the spectacle's ideology, imposed by the logic of the market. The [meanings] senses are possible through the relation and the determination between the Real from the History, the Real from the language and the Real from the unconscious, so that the socio-historical conditions constitutes the meanings of the text<br>Doutorado<br>Linguistica<br>Doutor em Linguística
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Sousa, Izaura Vieira Mariano de. "A metalinguagem na construção da narrativa em São Bernardo e Vidas secas: uma reflexão estética e ideológica." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6926.
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O período de transição da década de 20 para a de 30 dentro do Modernismo brasileiro é muito estudado por críticos. Por um lado, defende-se a ideia de que ambas as décadas pertencem a um mesmo movimento, mas com perspectivas diferentes. Por outro, cogita-se que os dois momentos constituem movimentos literários distintos. Para João Luiz Lafetá, a geração de 20 e a de 30 fazem parte de um mesmo movimento, contudo, há uma distinção entre elas: a década de 20 caracterizou-se por uma ênfase em um projeto estético, em que predomina o trabalho com a língua e a sua forma, e a geração de 30, por uma proeminência de um projeto ideológico, que priorizou a discussão social. Luís Bueno defende a ideia de que a literatura produzida nos dois decênios se comportou de forma muito divergente e que as duas décadas não são parte de um mesmo momento literário, ainda que se reconheça o valor da geração de 20 para a subsequente. Nesse trabalho, veremos como na obra de Graciliano Ramos esses dois projetos que Lafetá propõe são indissociáveis, sobretudo pelo trabalho do autor com a metalinguagem, entendida como um processo presente em todos os atos da consciência, como defende Harald Weinrich. Observar-se-á em São Bernardo e Vidas secas como a reflexão metalinguística por meio dos narradores e personagens evidencia o trabalho com a língua estética e ideologicamente<br>The transition from the 20s to the 30s in the Brazilian Modernism is much studied by critics. On one hand, it is defended the idea that both decades belong to the same movement, with different perspectives. On the other hand, it is thought that the two decades are distinct literary movements. To João Luiz Lafetá, the generation of the 20s and the 30s are part of the same movement, however, there is a distinction between them: the generation of the 20s was characterized by an emphasis on an "aesthetic project" in which the work with language and its form predominated, and the generation of the 30s, by a prominence of an "ideological project" which prioritized a social discussion. Luís Bueno supports the idea that the literature produced in these two decades behaved in very different ways, and that they are not part of the same literary moment, despite of his recognition on the value of the generation of the 20s to the subsequent one. In this work, it will be seen how in Graciliano Ramos opus these two projects that Lafetá proposes are inseparable, especially if it is considered the authors work with metalanguage, understood as a process present in all acts of consciousness, as Harald Weinrich defends. It will be observed in São Bernardo and Vidas secas how the the narrators and characters metalinguistic reflection show the work with language, aesthetically and ideologically
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Ågerup, Karl. "Didafictions : Littérarité, didacticité et interdiscursivité dans douze romans de Robert Bober, Michel Houellebecq et Yasmina Khadra." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-94770.
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Using as example twelve novels by Robert Bober, Michel Houellebecq and Yasmina Khadra, the dissertation discusses the aesthetic and pragmatic implications of integrating didactically historical reference in fictional narrative and personal theme. Rather than reducing the works of Bober, Houellebecq and Khadra to tendency novels sculptured to pass on a predetermined message, the study discusses the aesthetic values created by didactical play. Not only does historical reference form the setting of the novels but the feelings and ideas expressed by the characters also point outwards, challenging journalistic discourse and historical fact. After underlining the obvious heritage from social realism, littérature engagée and Tendenzliteratur, the study points to the possibility of a reading mode that uncannily marries self forgetting imaginary and historical learning. Finding no comprehensive description within existing theories of genre, the thesis proposes the neologism “didafiction” for a subcategory to the novel that, by systematic interdiscursive play, call for engagement without subscribing to pre-existent doctrines. The lessons given by this literature, rather than operating through a traditionally pedagogic rhetoric, work through sophisticated artistic procedures that integrate encyclopaedia and ethics in a personal theme structure.
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Karakaya, Emel. "Construction Of The Republic In City Space: From Political Ideal To Planning Principles." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612489/index.pdf.
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After the establishment of the Republic of Turkey, urban planning was one of the
main instruments for the development of national economy. In this respect, urban
plans for numerous cities and towns were prepared between 1923 and 1940 in
Turkey.
This thesis reveals the reflections of Republican ideology to urban planning
principles. The aims of this study are to clarify the political concepts that were active
in the Early Republican Period, translation of political concepts to spatial context and
to reveal the relation between urban planning experiences and political ideology
between 1923 and 1940 in the Republic of Turkey.
For this reason, this thesis study examines the construction of Republican ideology in
city space via urban planning. The construction of the Republican Revolution in city
space is examined in terms of planning practices and evolution of urbanism. The
examples of cities planned at that period are evaluated in the context of political
ideals and planning principles that were operative in urban planning between 1923
and 1940 in Turkey.
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Bargel, Antoine. "Jorge Semprun, le roman de l’histoire." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20037/document.
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Jorge Semprun, survivant de Buchenwald, entend « faire [du] témoignage un espace de création ». L’inventivité formelle du roman lui permet d’exprimer la vérité de l’expérience vécue, en créant un espace textuel réflexif où auteur et lecteur, l’un mis en scène dans l’acte d’écriture, l’autre appelé à prendre conscience de son rapport actif à la constitution du sens du récit, se rencontrent dans la relation éthique du témoignage. Mon travail concerne les caractéristiques formelles de ce roman de l’histoire, pour expliciter sa relation au discours politique en particulier, et mettre en relief l’autonomie esthétique du roman, sur laquelle repose la spécificité du rapport littéraire à l’histoire. Semprun met en place cette esthétique au moyen de multiples innovations narratives et d’une conception du récit comme performance, où le Dire est distinct du Dit (Levinas) : cette dimension performative du récit est décrite dans cette étude au moyen d’une approche phénoménologique de la lecture, centrée sur les dynamiques interprétative et imaginaire mises en œuvre par le sujet lisant. Le contraste entre esthétique narrative et discours idéologique définit non seulement les stratégies d’écriture de Semprun, mais également le rôle attribué au lecteur : ce dernier, prenant conscience des motivations et procédés rhétoriques de l’auteur, qui multiplient explicitement les trajectoires interprétatives au sein du texte, réalise que l’enjeu du témoignage réside dans l’acte de lecture, une lecture engagée, participative et en perpétuel renouvellement<br>Jorge Semprun, survivor of Buchenwald, intends to « make testimony a space of creation ». The formal inventiveness of the novel allows him to express the truth of his experience, by creating a reflexive textual space in which the author is presented in the act of writing, and the reader is called to realize his/her active part in the constitution of narrative meanings. Author and reader thus collaborate on establishing the ethical relationship of testimony. My dissertation examines the formal characteristics of this novel of history, to describe its relationship to political discourse in particular, and to highlight the aesthetic autonomy of the novel, which defines the specificity of literature’s approach of history. Semprun develops this aesthetics through multiple narrative innovations and a conception of narration as performance, where Saying is distinct from the Said (Levinas) : this performative dimension of the narration is described in this work through a phenomenological notion of reading, centered on the interpretative and imaginary activities brought into play by the reading subject. The contrast between narrative aesthetics and ideological discourse does not only define Semprun’s writing strategies, but also the function attributed to the reader in these texts. Becoming aware of the author’s motivations and rhetorical processes, which explicitly multiply interpretative trajectories within the text, the reader realizes that the stakes of testimony reside in the act of reading, a reading that is engaged, participative, and perpetually renewed
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Popa, Marius. "Présence du classicisme français dans la critique littéraire roumaine (de la Révolution de 1821 à la fin du communisme)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL020.
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La présente thèse se propose de répertorier et d’analyser les références au classicisme français et le rôle qu’il a joué dans la critique littéraire roumaine, depuis la Révolution de Tudor Vladimirescu (1821) jusqu’à la chute du régime communiste (1989). Après avoir replacé la réception du modèle dans le cadre de l’histoire de la Roumanie et de ses relations politiques et intellectuelles avec la France (notamment par une étude de la traduction des classiques français en langue roumaine) et après une analyse généalogique et esthétique du concept de « classicisme français », on s’est efforcé de restituer, dans le contexte de chaque grande époque de la modernité roumaine, puis, pour chacune de ces périodes, à travers l’étude plus spécifique de quelques écrivains et critiques choisis comme les plus représentatifs en cette matière, la persistance et le renouvellement de l’image du classicisme français, lui-même fréquemment perçu et analysé comme l’expression nationale d’un classicisme « universel ». Ce cheminement chronologique a permis de dégager les trois usages majeurs que la critique roumaine a faits de la référence à cette notion : celui de modèle pour une création littéraire qui se cherchait, celui de critère pour son évaluation et celui d’enjeu dans le cadre des débats suscités par les courants nouveaux qui auront animé la vie littéraire roumaine depuis son émergence jusqu’à la presque fin du XXe siècle<br>The present thesis proposes to catalogue and analyze references to French classicism and the role it has played in the Romanian literary criticism, from the Wallachian Uprising of 1821, led by Tudor Vladimirescu, to the fall of the communist regime (1989). After placing the reception of the model in the context of the history of Romania and its political and intellectual relations with France (including a study of the translation of French classics in Romanian) and after a genealogical and aesthetic analysis of the "French classicism" concept, we tried to reconstruct, in the context of each period of Romanian modernity, and, for each of these periods, through the more specific study of certain writers and critics considered the most representative in this matter, the persistence and renewal of the image of French classicism, itself frequently perceived and analyzed as the national expression of a "universal" classicism. This chronological process made it possible to identify the three manners in which the Romanian criticism used the reference to this notion: that of a model for a literary creation that sought itself, that of criterion for its evaluation and that of subject within the framework of debates aroused by the new currents that have animated the Romanian literary life since its emergence until the end of the twentieth century
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Landau, Gallaye-Joachim. "Les impacts de la démocratisation sur un secteur culturel : le cinéma sud-africain post-apartheid." Thesis, Bordeaux 4, 2012. http://www.theses.fr/2012BOR40020/document.
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Cette thèse met en avant, d’une part, les bouleversements qui parcourent le secteur cinématographique en Afrique du Sud depuis 1994 : volontés d’autonomie esthétique et économique, recherches de voix authentiques, formation d’une nouvelle famille de cinéastes.D’autre part, cette recherche révèle le rôle de l’État Sud-Africain dans la définition de la fonction du cinéma au sein de la démocratie contemporaine : Organes spécialisés de l’État, politiques publiques, idéologies, relations avec les professionnels du secteur<br>This thesis highlights on one hand, changes that run through the film industry in South Africa since 1994 : wills of aesthetic autonomy and economic, research of authentic voices, growth of a new family of filmmakers. Moreover, this research reveals the role of government in the South African definition of the function of cinema in the contemporary democracy: specialized organs of the State, public policies, ideologies, relationships with industry professionals
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Jeannerod, Aude. "La critique d'art de Joris-Karl Huysmans. Esthétique, poétique, idéologie." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30064.
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Étudier la critique d’art de Joris-Karl Huysmans soulève des enjeux esthétiques, poétiques et idéologiques. Si elle constitue un genre à part entière, que l’auteur a pratiqué en tant que tel, la critique d’art entretient des relations de complémentarité et d’interférence avec le reste de l’œuvre. S’y élabore en effet une esthétique, qui à son tour définit une poétique : parce que le critique est également écrivain, la réflexion qu’il mène au sujet des arts plastiques – peinture, sculpture, architecture – se développe parallèlement à sa pratique d’écriture. Ses options critiques reposent sur une analogie entre les arts, s’inscrivant en cela dans une longue tradition, qui va de l’ut pictura poesis horatien aux correspondances baudelairiennes, en passant par le paragone de la Renaissance. Aussi regarde-t-il l’art en tant qu’écrivain, y cherchant tantôt la confirmation de ses idées sur la littérature, tantôt un modèle d’écriture. Mais parce que la critique engage des valeurs et des convictions, elle se fait aussi la chambre d’écho des options idéologiques de son auteur, aux plans socio-économique, politique et épistémique. Huysmans regarde l’art à travers une idéologie qui se décline en un certain nombre de valeurs et de contre-valeurs : héritier d’un siècle de romantisme, il entretient un rapport douloureux avec son temps, en délicatesse avec la pensée de son époque. Cette idéologie – à la fois anticapitaliste, antibourgeoise et antimoderne – filtre donc le regard qu’il pose sur l’art : elle détermine en partie ses jugements esthétiques, elle les oriente de façon diverse et souvent contradictoire<br>In Joris-Karl Huysmans’s art criticism, aesthetics, poetics and ideology are at stake. Though art criticism is a genre in its own right, which the author used as such, it maintains close relations with his other works: they complete one each other as well as they interfere together. In his art criticism, Huysmans develops aesthetics, which define in its turn poetics: because the critic is also a writer, his thinking about visual arts – painting, sculpture, architecture – runs parallel with his writing process/practice. His critical assessments rest upon a comparison between the arts and therefore form part of a tradition which roots in Horace’s maxim ut pictura poesis, crosses the Renaissance period with the paragone and leads to Baudelaire’s correspondances. When watching a painting, Huysmans remains a writer: he’s looking for a confirmation of his ideas about literature or a model for his writing. But because art criticism puts values and beliefs at stake, it echoes the ideological choices of its author, on socio-economic, political and epistemic levels. Huysmans sees the arts through an ideology which comes in various values (et contre-valeurs): heir of a century deeply marked by romanticism, he maintains painful relationships with his time, in trouble with modern ideas. His ideology – against capitalism, bourgeoisie and modernity – filters the way he considers the arts; it partly determines and influences, in various but often opposing ways, his aesthetic judgement
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Zhu, Lei. "La peinture moderne chinoise est-elle née d'une idéologie politique?" Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030054.
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En Chine, à partir du XXe siècle, une tentative de modernisation dans la peinture chinoise ne cesse de la rapprocher de l‘Occident. Cette modernité, pour des artistes chinois, passe par l‘étude de la science et de la technique en Occident. Car l‘art en Occident est depuis longtemps lié à la science, fondé sur une technique et considéré comme une imitation du monde réel par la représentation de la perspective, de la couleur, de la lumière et de l‘ombre. En revanche, l‘art en Chine, de sa naissance à son autonomie, s‘est développé à partir d‘une interaction mutuelle, de l‘image de la nature : (la montagne, la forêt, la rivière...) et de la philosophie, la littérature, la poésie, la calligraphie… Du fait qu‘une expression due sentimentale aux artistes lettrés s‘attache à la fusion de l‘harmonie entre l‘homme et la nature. Mais, comment est-ce que ces deux notions, de l‘héritage traditionnel et de la modernité occidentale, s‘articulent-elles dans l‘art chinois lors de l‘introduction de la science et la technique de l‘art occidental ? La fréquentation de l‘occident par les artistes chinois le conduit-il à un rejet de ses propres valeurs au profit d‘une occidentalisation ? Ou bien une fusion s‘est-elle manifestée, fondant un art académique chinois ? Enfin, comment la synthèse chinoise de l‘art occidental et de la tradition traverse-t-elle les bouleversements politiques de la Chine au XXe siècle ?<br>In China, from the twentieth century, in an attempt to modernize Chinese painting isn't stopping to get closer to the West. This modernity, for Chinese artists, passes through the study of science and technology in the West. But how do these two concepts, the traditional legacy and Western modernity, have articulated in modern Chinese painting? A frequentation of the West by the Chinese Artistes has entrained a rejection of its own values in favour of Westernization? Or a merger has been manifested, founding a Chinese academic art? Finally, how the synthesis of Chinese and Western art tradition has crossed the political upheavals of the twentieth century in China?
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LeBlanc, Jacqueline Christine. "Critique in aesthetic ideology: Aesthetic politics in Romanticism and critical theory." 1996. https://scholarworks.umass.edu/dissertations/AAI9638987.
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This dissertation addresses an intensely contested issue in the Romantic and postmodern imaginations: the relation of literary aesthetics to political critique. Examining the aesthetic theories of Friedrich Schiller, William Wordsworth, Helen Maria Williams, and Percy Bysshe Shelley, as well as four theorists of the twentieth century, I devise a theory of "Romantic aesthetic politics," an aesthetic interpretation of politics for reformist critique. While critics of "Romantic ideology" have interpreted Romantic theory as an obstacle to political action, I contend that Romanticism extends the possibilities for political action by refusing a narrow field of empiricism. The political force of Romanticism, I argue, is the extent to which it forces a rethinking of the terms of the political. The diverse set of writers gathered in my dissertation converge on one point: not only is all literature necessarily political, they argue, but all politics is necessarily literary. Part One of my dissertation investigates a Romantic theory that champions aesthetic formalism as revolutionary politics. Schiller, Wordsworth, Williams, and Shelley shift the field of the political from its common institutional manifestations--government, war, law--to a field of the symbolic--beauty, metaphor, verse. Each author finds in the aesthetic a model for an anti-absolutist, democratic state. Schiller states this position most succinctly in claiming that "it is only through Beauty that man makes his way to freedom." Similarly, Williams reads the early years of the Revolution as an aesthetic-political landscape where symbolism serves as a discursive means to political dispersal and plurality. Part Two of my dissertation examines the resonances of Romantic aesthetic politics in four aesthetic theories of the twentieth century. Romanticism, I contend, informs the aesthetic theories of the Frankfurt School represented by Herbert Marcuse and Theodor Adorno, who draw on the radical potential of aesthetic subjectivity and irony in opposition to Lukacsian realism. Against the interpretation of deconstruction as politically quietist, de Man presents the aesthetic nature of politics as the very engine of political change, while Carl Schmitt--denouncer of "political Romanticism" and a supporter of Nazism--exposes a continuum between absolutist politics and an anti-aesthetic political critique.
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Gallagher, Patrick J. "Good housekeeping, good homesteading Wendell Berry's domestic-pastoral ideology and literary aesthetic /." 2003. http://purl.galileo.usg.edu/uga%5Fetd/gallagher%5Fpatrick%5Fj%5F200308%5Fphd.
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Rojas-Rimachi, Luisa Maria. "Teaching culture through language and literature: The intersection of language ideology and aesthetic judgment." 2011. https://scholarworks.umass.edu/dissertations/AAI3482660.
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Teaching about culture at the college level is always a challenge with regards to the heterogeneous reality of Spanish. The debatable status of the language within the United States is not always reflected in the language and literature departments of institutions of higher education. Moreover, standardization has been continuously favored in the context of Spanish teaching and learning. From this perspective, it is challenging for the students coming from the mainstream culture of the United States to approach the culture of everyday life in the Spanish speaking communities inside and outside the country. At the same time, literature has mostly been used a pedagogical tool to promote accuracy in the foreign language. However, in my study, I argue the use of literature as a fundamental teaching / learning tool to expose students to the different aspects of cultural learning. Literature becomes a window to understand the nuances of living in Spanish with a critical look. In this process, cultural learning becomes a dialogic process through which the learners of a foreign language and literature incorporate and readjust their values, perceptions, and practices in a redefined internally persuasive discourse. In this journey, the role of the teacher seems fundamental to connect and dialogize the first culture of the students and the foreign one that progressively gets incorporated as their own in a sort of new space.
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Παπαλεωνιδοπούλου, Νικολίτσα. "Οι μεταλλαγές του Θησέα στο έργο του Ευριπίδη". Thesis, 2008. http://nemertes.lis.upatras.gr/jspui/handle/10889/1767.
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Οι μεταλλαγές του Θησέα στο έργο του Ευριπίδη είναι προϊόντα της δυναμικής διαπραγμάτευσης που ο δημιουργός επιφυλάσσει στην παραδοσιακή εικόνα του μυθικού ήρωα. Συνιστούν μια μορφή που αναγκαστικά διαβάζεται σε όλη την κλίμακα των ιδεολογικών της αποχρώσεων, πρωτογενώς ωστόσο υπαγορεύεται αυστηρά από τις δραματουργικές ανάγκες του εκάστοτε έργου.
Στόχος της παρούσας εργασίας είναι περισσότερο να δείξει τη δραματουργική λειτουργικότητα των διαδοχικών μεταλλαγών του ήρωα, παρά να την αποδώσει σε συνειδητές, ιδεολογικές μεθοδεύσεις του Ευριπίδη. Περισσότερο να περιγράψει την αναγκαιότητά τους και μόνο εν συνεχεία να εξετάσει τις όποιες ιδεολογικές μεταμορφώσεις αποτυπώνει για την εποχή του το ευριπίδειο έργο.<br>The transmutations of Theseus’ icon in euripidean corpus are products of the dynamic negotiation that the dramatist holds in store for the traditional picture of the fabulous hero. They establish a form that can perfoce be read in the whole scale of its ideological connotations, however, this form is strictly dictated by the dramaturgical needs of each work.
Present dissertation’s aim is to show the dramatic function of hero’s successive transmutations, rather than attributing them to Euripides’ conscious, ideological manipulations. It seeks in the first instance to describe their necessity and only in a second level to examine the ideological transfigurations that the euripidean corpus incuses for its era.
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Koster, John M. "Goethe and the Sublime." Thesis, 2013. http://hdl.handle.net/1807/35868.
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The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity.
As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.
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Chang, Chia-Yu, and 張嘉妤. "A study of the mechanism of advertising codes for gender ideology and fashion aesthetics, taking three ads “Big ladies”, “Little Red Riding Hood” and “The Bookstore” from Sunrise Department Store as example." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/4s9w5b.
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碩士<br>國立臺中科技大學<br>商業設計系碩士班<br>101<br>The fashion aesthetics is a miniature of contemporary popular culture. Department store is one of places people can observe. Every department store use advertisement to show its own style. Take Sunrise Department Store as example, they focus on higher income and more cultivated consumers and make many advertisements with feminism ideology and fashion aesthetics.
The purpose of this thesis is to 1) figure out management strategy of Sunrise Department Store from related documents, 2) discuss how Sunrise Department Store use gender ideology and fashion aesthetics to promote, 3) state the factor and principle Sunrise Department Store make people impressive. From awarded printed advertisement and CF of Sunrise Department Store during 1998~2007, I classify as four types: promotion, festival, season, social issue and take some particular texts which use advertising codes for gender ideology and fashion aesthetics as sample. “Big Ladies” and “The Bookstore” are sample for CF and “Natural Beauty”, “Little Red Riding Hood”, and “Lu-yen” are for printed advertisement. Last I analysis these samples in technical and semiotic phase especially using three layers of semiotics – connotation, denotation, and cultural symbols.
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Harasimowicz, Marta Maria. "Československá spartakiáda jako příklad novodobého mýtu." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369846.
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The thesis explores Czechoslovak Spartakiads in the context of modern mythologies theory. The analysis is concerned with reflection on changes of shape and ideological image of the Spartakiad from the 1950s to the 1980s. The thesis explores the Spartakiad as a cultural and sporting event and as an unique type of collective ritual in conditions of socialist dictatorship. The main focus is put on the narratives generated by the Spartakiad tradition and its evolution. Moreover it tries to regard possibilities to define the Spartakiads in the context of aesthetics of performativity. Based on analyzing those signs and cultural meanings, the thesis follows the role of the Spartakiad and Spartakiad-related subjects in formation of mythologies of the changing communist regime and its specific festivity, and also the Spartakiad's function in the process of the dictatorship's self-legitimation and in the promotion of concrete social coexistence models. Particular chapters of thesis are concerned with reflection on Spartakiad narratives in a relation to time and space as principal narratological categories. Last chapter contains a case study dedicated to performances of children and youth in 1955 and 1980 - this case study tries to approximate specific ways of emblematisation of gymnasts in Spartakiad...
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Anyidoho, Paul Kwabla. "Ideologies of language and print media in Ghana." Thèse, 2008. http://hdl.handle.net/1866/6429.
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Martini, Allesandro. "Norms for the evaluation of literature focusing primarily on the Frankfurt School." Diss., 2000. http://hdl.handle.net/10500/18637.
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Critical Theory, as posited by members of The Frankfurt School, was evaluated with the
objective of attaching an implied ethical dimension. This was discovered in their
privileging of a particular type of aesthetic, as evinced in their analysis of certain works
of autonomous High Modernism. This implied ethic, which is one based around the
concept of enlightenment as potential for emancipation, was then applied as a norm for
the evaluation of art. This ethic, however, does not seek to impose a particular reading on
(specifically) literary production: Rather, it seeks to impart the importance of a
commitment by the literary critic in the use of an ethically based norm, an ethic, what is
more, that is based and supported by a discussion of the concepts 'freedom' and
Enlightenment. Finally, with this ethic firmly established, the discussion then attempted
to distinguish between modernism and post-modernism, using this implied ethic as a
guide to separation.<br>Afrikaans & Theory of Literature<br>M.A. (Theory of Literature)
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Lunga, Majahana John Chonsi. "A critical analysis of Wole Soyinka as a dramatist, with special reference to his engagement in contemporary issues." Diss., 1994. http://hdl.handle.net/10500/17262.
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This dissertation is mainly on Wole Soyinka as a dramatist. It aims to show that
Soyinka, far from being an irrelevant artist as some of his fiercest critics have
alleged, is a deeply committed writer whose works are characterised by a strong
sense of concern with basic human values of right and wrong, good and evil.
Furthermore, the dissertation shows that although Soyinka is not an admirer of
Marxist aesthetics, he is certainly not in the art-for-art's-sake camp either,
I
because he is fully aware of the utilitarian value of literature. Soyinka's works are
much influenced by his social and historical background, and the dissertation shows
that Soyinka's socio-political awareness pervades all these works, although it will
be seen that in the later plays there is a sharpened political awareness. Although
largely concerned with his own country's issues, Soyinka also emerges as a keen
observer of humanity universally<br>English Studies<br>M.A. (English)
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Terrell-Curtis, Kara Beth. "Representative form and the visual ideograph : the Obama "Hope" poster." Thesis, 2014. http://hdl.handle.net/1805/3884.
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Indiana University-Purdue University Indianapolis (IUPUI)<br>In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.
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Swanepoel, Andrew Peter. "Repositioning the problematic gender formation of a generation of white South African men through performance art." Diss., 2018. http://hdl.handle.net/10500/25347.
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An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions.
In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military.
I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men.<br>Art History, Visual Arts and Musicology<br>M.V.A.