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1
Buhre, Frida. "Speaking the Anachronisms : Arendt, Politics, Temporality." Licentiate thesis, Uppsala universitet, Avdelningen för retorik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-271591.
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Roquet, Nicholas. "Life in costume:the architecural fictions and anachronisms of William Burges." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103483.
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This dissertation examines the uses and purposes of history in the graphic works and the domestic interiors of nineteenth-century British architect William Burges (1827-1881). Burges is recognized in contemporary historiography as one of the major figures of the Gothic Revival in Britain—in particular the period of stylistic eclecticism and experimentation known as High Victorian Gothic (circa 1850-1870)—but his work has frequently been faulted for a lack of authenticity. In a marking series of studies on historical representation begun in the 1980s, art historian Stephen Bann has claimed that all encounters with the past are ultimately personal in nature. Building on this hypothesis, the author of the dissertation argues that Burges's interiors and decorative objects constitute the visible trace of a life-long quest for identity. The research project first examines Burges's connections to a tradition of antiquarian scholarship. It then traces the nature of Burges's identification with the medieval past over a period of approximately twenty years, from the initial ordering of his topographical albums (circa 1858) to the building of his home of Tower House in London (1875-1878). The author works with notions of fantasy, dream, and fiction to explain the relation between this nineteenth-century architect and his medieval persona, as well as that between his historicist decors and their architectural support. In the context of this research, a fiction is conceived as a world made up of elements both imaginary and real, but which operates under different rules than external reality.Cette dissertation analyse l'utilisation et le sens de l'histoire dans les œuvres graphiques et les décors intérieurs d'un architecte britannique du XIXe siècle, William Burges (1827-1881). Burges est reconnu par l'historiographie contemporaine comme l'un des acteurs majeurs du mouvement néogothique en Angleterre, particulièrement de la phase éclectique et expérimentale connue sous le nom de « High Victorian » (circa 1850-1870). Pourtant, son travail a souvent été taxé d'inauthenticité. Au fil d'études marquantes sur les représentations de l'histoire qu'il a entamées vers 1980, l'historien de l'art Stephen Bann a affirmé que toute rencontre avec le passé est ultimement de nature personnelle. S'appuyant sur cette hypothèse, l'auteur de la dissertation argumente que les intérieurs et les objets décoratifs de Burges constituent la trace visible d'une longue quête d'identité. La recherche aborde en premier le rapport qu'entretient Burges avec la tradition historiographique des antiquaires. Elle retrace ensuite sur une période de vingt ans le processus par lequel Burges s'identifie avec le passé médiéval – soit d'une première mise en ordre de ses albums topographiques (vers 1858) à la construction de Tower House, sa maison à Londres (1875-1878). L'auteur utilise les notions de fantasme, de rêve et de fiction pour expliquer la relation entre cet architecte du XIXe siècle et son alter ego médiéval, ainsi qu'entre ses décors historicistes et leur support architectural. Dans le contexte de cette recherche, la fiction est comprise comme un monde constitué d'éléments imaginaires et réels, mais qui opère selon des règles différentes de la réalité quotidienne.
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Lima, Ãrico Oliveira de AraÃjo. ""Numa cama, numa festa, numa greve, numa revoluÃÃo: o cinema se bifurca, o tempo se abre"." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11842.
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CoordenaÃÃo de AperfeiÃoamento de NÃvel SuperiorNuma cama, numa greve, numa festa ou numa revoluÃÃo: era assim que Glauber Rocha imaginava que A Idade da Terra (1980), seu Ãltimo filme, poderia ser experimentado. A obra leva ao limite um processo de pesquisa que radicalizava o fazer cinema e inventava novos possÃveis para a experiÃncia estÃtica. à um trabalho que tento pensar junto a duas outras obras do realizador, Claro (1975), filmado durante o exÃlio em Roma, e Di Cavalcanti (1977), curta-metragem que ele produziu no impulso, ao saber da morte do amigo pintor. Cada um desses filmes desencadeia procedimentos singulares de ocupaÃÃo do mundo e de invenÃÃo de caminhos para o cinema. Eles sÃo entendidos aqui como bifurcaÃÃes em formas configuradas de sensibilidade, na medida em que embarcam na proliferaÃÃo de veredas para a fabricaÃÃo fÃlmica. Trata-se de uma preocupaÃÃo mais ampla em discutir as polÃticas dos filmes, maneiras singulares pelas quais o cinema pode inscrever no mundo uma operaÃÃo de rotura estÃtica que à jà uma polÃtica. Nesse sentido, cabe pensar com as obras algumas figuras que afirmam o cinema como campo de resistÃncias. Uma das questÃes que norteiam as discussÃes deste trabalho à a dimensÃo de um devir minoritÃrio, pensado a partir de Deleuze e Guattari, um movimento no qual o cinema pode se engajar para tensionar com um visÃvel e um audÃvel que se apresentam como fatos majoritÃrios. Nesse processo, à a prÃpria vida em comum que està em jogo. Essas operaÃÃes de invenÃÃo se dÃo em um emaranhado de temporalidades, o que leva a uma abordagem metodolÃgica que se coloca como assumidamente anacrÃnica, na medida em que tenta pensar o que uma obra faz agitar no tempo e como ela pode fazer esse tempo se abrir, numa articulaÃÃo que tento fazer com os pensamentos de Benjamin, Warburg, Didi-Huberman e Agamben. Dessa maneira, cabe investigar a dimensÃo de uma contemporaneidade desse cinema de Glauber, na medida em que as proliferaÃÃes buscadas pelas formas fÃlmicas nÃo estÃo circunscritas a um instante de uma cronologia de eventos sucessivos, mas se espalham rizomaticamente pelos tempos, em movimento proliferante e diferenciante. A polÃtica e a estÃtica seriam questÃes de como fazemos pontes nas temporalidades, de quais traÃados sÃo arrancados como possÃveis. Ou de como os engajamentos no tempo podem suscitar acontecimentos e instaurar resistÃncias em devir.
In a bed, a strike, a party or a revolution: that was how Glauber Rocha once thought that his last film, A Idade da Terra (1980), could be experienced. The work takes to the limit a research that turns making cinema a process more radical. It also invents news possibilities to aesthetic experience. Itâs a film that I try to think with two others works from Glauber: Claro (1975), shot when he was in exile in Rome, and Di Cavalcanti (1977), a short film that he produced on an impulse, when he heard that his painter friend had died. Each of these films triggers singular procedures on occupying the world and on inventing paths to the cinema. They are taken here as bifurcations on configured forms of sensibility, as they try to proliferate ways of making a film. This is a broader concern in discussing the politics of films, singular ways in which cinema can inscribe in the world an operation of aesthetic fracture that is already political. In this sense, it is thinking with the works that we can propose some figures who claim cinema as field of resistances. One of the questions that guide the discussions of this work is the concept of a becoming minority, thought from Deleuze and Guattari, a movement in which cinema can engage to create tension with a visible and an audible that present themselves as major facts. In this process, it is common life that is at stake. Those operations of invention are taken in a entanglement of temporalities, which leads to an approach frankly anachronistic, on thinking what a work can shake in time and how it can open this time, in which I try to articulate with the thoughts of Benjamin, Warburg, Didi-Huberman and Agamben. Thus, the idea is to investigate how we could consider a contemporaneity in this cinema of Glauber, in that the proliferations researched by filmic forms are not restricted to a chronology of successive events, rather they spread in a rhizomatic way through temporalities, a proliferative and differentiating movement. Politics and aesthetics would be questions of how we bridge the temporalities, of which tracings are turn into possibilities. Or how the engagements in time can raise events and create resistances in becoming.
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Lima, Érico Oliveira de Araújo. "Numa cama, numa festa, numa greve, numa revolução: o cinema se bifurca, o tempo se abre." www.teses.ufc.br, 2014. http://www.repositorio.ufc.br/handle/riufc/8575.
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LIMA, Érico Oliveira de Araújo. Numa cama, numa festa, numa greve, numa revolução: o cinema se bifurca, o tempo se abre. 2014. 208f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2014.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-04T14:59:11Z No. of bitstreams: 1 2014_dis_eoalima.pdf: 1651935 bytes, checksum: 4bd50acc541319d070f4328aa52784d1 (MD5)
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In a bed, a strike, a party or a revolution: that was how Glauber Rocha once thought that his last film, A Idade da Terra (1980), could be experienced. The work takes to the limit a research that turns making cinema a process more radical. It also invents news possibilities to aesthetic experience. It’s a film that I try to think with two others works from Glauber: Claro (1975), shot when he was in exile in Rome, and Di Cavalcanti (1977), a short film that he produced on an impulse, when he heard that his painter friend had died. Each of these films triggers singular procedures on occupying the world and on inventing paths to the cinema. They are taken here as bifurcations on configured forms of sensibility, as they try to proliferate ways of making a film. This is a broader concern in discussing the politics of films, singular ways in which cinema can inscribe in the world an operation of aesthetic fracture that is already political. In this sense, it is thinking with the works that we can propose some figures who claim cinema as field of resistances. One of the questions that guide the discussions of this work is the concept of a becoming minority, thought from Deleuze and Guattari, a movement in which cinema can engage to create tension with a visible and an audible that present themselves as major facts. In this process, it is common life that is at stake. Those operations of invention are taken in a entanglement of temporalities, which leads to an approach frankly anachronistic, on thinking what a work can shake in time and how it can open this time, in which I try to articulate with the thoughts of Benjamin, Warburg, Didi-Huberman and Agamben. Thus, the idea is to investigate how we could consider a contemporaneity in this cinema of Glauber, in that the proliferations researched by filmic forms are not restricted to a chronology of successive events, rather they spread in a rhizomatic way through temporalities, a proliferative and differentiating movement. Politics and aesthetics would be questions of how we bridge the temporalities, of which tracings are turn into possibilities. Or how the engagements in time can raise events and create resistances in becoming.
Numa cama, numa greve, numa festa ou numa revolução: era assim que Glauber Rocha imaginava que A Idade da Terra (1980), seu último filme, poderia ser experimentado. A obra leva ao limite um processo de pesquisa que radicalizava o fazer cinema e inventava novos possíveis para a experiência estética. É um trabalho que tento pensar junto a duas outras obras do realizador, Claro (1975), filmado durante o exílio em Roma, e Di Cavalcanti (1977), curta-metragem que ele produziu no impulso, ao saber da morte do amigo pintor. Cada um desses filmes desencadeia procedimentos singulares de ocupação do mundo e de invenção de caminhos para o cinema. Eles são entendidos aqui como bifurcações em formas configuradas de sensibilidade, na medida em que embarcam na proliferação de veredas para a fabricação fílmica. Trata-se de uma preocupação mais ampla em discutir as políticas dos filmes, maneiras singulares pelas quais o cinema pode inscrever no mundo uma operação de rotura estética que é já uma política. Nesse sentido, cabe pensar com as obras algumas figuras que afirmam o cinema como campo de resistências. Uma das questões que norteiam as discussões deste trabalho é a dimensão de um devir minoritário, pensado a partir de Deleuze e Guattari, um movimento no qual o cinema pode se engajar para tensionar com um visível e um audível que se apresentam como fatos majoritários. Nesse processo, é a própria vida em comum que está em jogo. Essas operações de invenção se dão em um emaranhado de temporalidades, o que leva a uma abordagem metodológica que se coloca como assumidamente anacrônica, na medida em que tenta pensar o que uma obra faz agitar no tempo e como ela pode fazer esse tempo se abrir, numa articulação que tento fazer com os pensamentos de Benjamin, Warburg, Didi-Huberman e Agamben. Dessa maneira, cabe investigar a dimensão de uma contemporaneidade desse cinema de Glauber, na medida em que as proliferações buscadas pelas formas fílmicas não estão circunscritas a um instante de uma cronologia de eventos sucessivos, mas se espalham rizomaticamente pelos tempos, em movimento proliferante e diferenciante. A política e a estética seriam questões de como fazemos pontes nas temporalidades, de quais traçados são arrancados como possíveis. Ou de como os engajamentos no tempo podem suscitar acontecimentos e instaurar resistências em devir.
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Wolf, Salome. "Rechtsirrtum im Privatrecht : Argument oder Anachronismus? /." Basel [u.a.] : Helbing & Lichtenhahn, 2003. http://www.gbv.de/dms/spk/sbb/recht/toc/374662673.pdf.
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Poulard, Étienne. "Untimely aesthetics : Shakespeare, anachronism and prescence." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/53954/.
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For many critics, Hamlet’s famous dictum that ‘The time is out of joint’ is to be read as a social comment on Shakespeare’s own historical moment (Hamlet, 1.5.189). Generally thought to have been written around the same period as Hamlet, Julius Caesar contains a similar statement—‘it is a strange-disposèd time,’ Cicero remarks early on in the play (1.3.33). In 1599: A Year in the Life of William Shakespeare, James Shapiro suggests that, far from being coincidental, this recurring untimeliness in fact pervades the plays Shakespeare wrote at the turn of the seventeenth century—and most notably Henry V, Julius Caesar and Hamlet. For Shapiro, the many anachronisms that can be found in those plays point to a shared, objective core of historical reality (‘Shakespeare came of age when time itself was out of joint,’ the critic argues). The idea that the ultimate meaning of Shakespeare’s dramas is inextricably bound up with the late Elizabethan (or early Jacobean) moment of their production is a central tenet of historicist criticism. Largely due to the hegemonic status of new historicism in the field of Shakespeare studies in the last thirty years or so, this mode of criticism has become, to a great extent, normative. The present work takes issue with the systematic approach that consists in viewing Shakespeare’s plays as mere reflections of an overarching, ‘objective’ historical reality. Specifically, the thesis challenges the default historicist framework in which many of Shakespeare’s plays have been embedded. Thus, Julius Caesar, Hamlet and Henry V are here looked at with a large emphasis on the present of interpretation (as opposed to the authorial moment). A key thread of the thesis is the sense that the meaning of these plays is directly determined by the criticism. In other words, their meaning is essentially constructed in the present—a fundamentally unfixed and ever-moving category. Accordingly, alleged anachronisms are here viewed as by-products of this subjective present. Rather than expressing the objective historical ‘real’ of the dramas, such anachronisms are considered to testify to the intrusion of the viewer within the literary scene. This implies that the dramas are always already infected not so much by their author’s historical moment but by the eye of the critic itself. At the heart of the thesis is the sense that Shakespearean drama can be viewed through the grid of an aesthetics of untimeliness, which manifests itself in various ways. The coexistence of multiple presents of interpretation within the hermeneutic field of the plays is one of the ways in which such an aesthetics can be experienced. For instance, the colossal criticism of Hamlet guarantees that no one historical elucidation of the play can prevail. Alternatively, the diegetic content of the plays can also be used to support the idea of an untimely aesthetics. On many occasions, Shakespeare’s dramas comment on the inherent disjunction that alienates them from the historical past which they (supposedly) purport to stage—this is generally done through the medium of key metadramatic characters like the Chorus in Henry V. In either case, complete historical presence is negated. Thus, the thesis posits the impossibility of presence—or untimeliness—as a valid aesthetic category in view of Shakespeare’s dramas. Each individual chapter illustrates how the dramas can be said to aestheticise the intrinsically differential quality of literature. Ultimately, the thesis also emphasises how différance, to use Jacques Derrida’s celebrated coinage, lies at the heart not only of literature but of all forms of staged entertainment.
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Barker, Tonia G. "Penal colonies for Canada promise or anachronism?" Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4592.
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Bermúdez, Cubas Yaiza. "La música clásica preexistente en el cine ambientado en la segunda mitad del siglo XVIII. Usos estéticos, tópicos y anacronismos." Doctoral thesis, Universitat Ramon Llull, 2014. http://hdl.handle.net/10803/273772.
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Aquesta investigació pretén realitzar un estudi sobre els usos de determinades composicions clàssiques preexistents en pel·lícules històriques ambientades a la segona meitat del segle XVIII. Des d’aquesta franja temporal, pretenem demostrar quines són les relacions que es produeixen entre l’anomenada música del classicisme tal i com se la considera de de la musicologia tradicional i les pel·lícules que recreen aquesta època, a saber, la Il·lustració i Revolució respectivament.Esta investigación pretende realizar un estudio sobre los usos de determinadas composiciones clásicas preexistentes en películas históricas ambientadas en la segunda mitad del siglo XVIII. Desde esta franja temporal, pretendemos demostrar cuáles son las relaciones que se producen entre la llamada música del clasicismo tal y como se le considera desde la musicología tradicional y las películas que recrean esta época, a saber, Ilustración y Revolución respectivamente.
This research looks forward to make a study of the uses of determined preexisting classical composition settled in the second half of the XVIII century in historical movies. From this timeframe, what we hope is to demonstrate which are the relationships that come to life between the classicism music as its considered by traditional musicology and the recreational movies of the Illustration and Revolution respectively.
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Lee, Zane Gardner. "Social identities within the Society for Creative Anachronism." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/3148.
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This research investigated the issue of identity within a historical reenactment group called the Society for Creative Anachronism, the SCA. This international organization numbering in the tens of thousands of participants offered an unusual setting with which to investigate the issue of identities due to identities' fluid nature among SCA members. Whether or not a member was satisfied with their modern world identity, members were free to create a medieval persona, an identity based on a medieval time and culture. Identity Theory provided the conceptual framework to analyze and understand the nature of transient identities that become more permanent through continued participation within the organization. Research hypotheses examined the relationships between subjects' perceived feelings of belonging and their participation in the organization, perceived sense of emotional closeness with subjects' biological family and their participation as well as the relationship between subjects' occupational prestige ranking and their degree of involvement in the SCA. It was found that subjects' participation within the SCA was significantly impacted by perceived sense of belonging within the group as well as by occupational prestige ranking.
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Van, Beuren Grayson Carter Vignot. "John Tenniel and Technology: Anachronism and Social Meaning." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71793.
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Sir John Tenniel worked for the Victorian magazine Punch for over fifty years, from 1850 to 1901, and served as head cartoonist for the latter thirty-seven years of his tenure at the magazine. Tenniel's cartoons effectively became the heart of Punch's visual lineup, and the sentiments expressed by these cartoons both reflected and influenced the opinions of the magazine']s vast middle class readership. However, they did not generally reflect the opinions of the cartoonist himself: Tenniel had little to no say in decisions regarding the content or stance of his cartoons. The artist ostensibly had no problem with this arrangement, once telling a historian, "As for political opinions, I have none… [I] profess only those of my paper."
This project argues that the artist did indeed inject a degree of personal opinion into his work, albeit in hidden and unconscious ways. Instead of using the medium of cartoons as an overt vehicle for his opinion, Tenniel's values and views come out in his use of iconography and his choice of models for his drawings. As a conservative Victorian man operating in the rapidly changing world of the latter nineteenth century, Tenniel used his drawings as a way to tap into the England of his youth and possibly reclaim the art world he originally studied to join as a young man. His iconography frequently looked back to medieval England, framing current events within these themes until the end of his career. Furthermore, Tenniel doggedly refused to update his mental drawing models for certain forms of technology, even when his depictions became obviously anachronistic. This thesis examines these tendencies through the threefold lenses of Material Culture Studies, Social Constructivism, and Nostalgia Studies in an attempt to link Tenniel's treatment of medieval iconography and depiction of modern technology with the nostalgic past.Master of Arts
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Rodwell, Andrew Douglas. "Anti-modern performance in the Society for Creative Anachronism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq30823.pdf.
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Coleman, Marc Stephen. "The shopping arcade : historic anachronism or modern retail prototype?" Thesis, Massachusetts Institute of Technology, 1991. http://hdl.handle.net/1721.1/65212.
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Seliniadou, Eleni. "Romantic anachronism in the fiction if Christina Stead and Angela Carter." Thesis, University of East Anglia, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426907.
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COELHO, PAULO SERGIO. "ANACHRONISME ET INCULTURATION ANALYSE DE QUELQUES EXPÉRIENCES PASTORALES DANS UN CENTRE URBAIN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4188@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOLa recherche montre les difficultés de l action pastorale de l Eglise dans les contextes urbain industriel et pos- industriel dans un centre urbain. Le premier chapitre de cette dissertation étudie le concept d urbanization et ses diverses étapes : dans les contextes pré-urbain, urbain industriel et postindustriel ; en analysant les principales caractéristiques de ces contextes et ses implications au sein de cette urbanisation. Le second chapitre présente une recherche dans la région métropolitaine de Rio de Janeiro dans quatre centres urbains : Duque de Caxias, Itaguaí, Nova Iguaçu et Rio de Janeiro. Il a éte pris en compte les aspects suivants : l histoire de la formation de ces centres, leur contextualisation et la présence de l Eglise dans le passé et aujourd hui. Le troisiéme chapitre présente les approches pastorales de l Eglise à l interieur de la ville ; comment l Eglise dans son action pastorale doit exercer son influence pour promouvoir l evangélisation. Cette dissertation veux montrer l action pastorale de l Eglise dans le centre urbain et comment l Eglise pourrait développer une pastorale adequate dans cette réalité.
A pesquisa mostra as dificuldades da ação pastoral da Igreja dentro dos Contextos urbano industrial e pós- industrial nos centros de cidade. O primeiro capítulo desta dissertação estuda o conceito de urbanização e suas diversas etapas: os contextos pré-urbano, urbano industrial e pós-industrial analisando as principais características destes contextos e suas implicações nos centros de cidade. O segundo capítulo apresenta uma pesquisa na região metropolitana do Rio de Janeiro em quatro centros de cidade: Duque de Caxias, Itaguaí, Nova Iguaçu e Rio de janeiro. Nesta pesquisa se estuda a formação histórica destes centros, sua contextualização e a presença da Igreja no passado e hoje. O terceiro capítulo apresenta as aproximações pastorais da Igreja nos centros urbanos; como a Igreja na sua função de evangelizar deve agir. Esta dissertação quer mostrar a ação pastoral da Igreja nos centros de cidade e como a Igreja poderia desenvolver uma pastoral adequada nesta realidade.
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Toniutti, Géraldine. "Les derniers vers du roman arthurien ˸ trajectoire d'un genre, anachronisme d'une forme." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA061.
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Qu’implique le choix du vers dans le roman, à une époque où la prose s’est déjà imposée comme forme privilégiée du genre ? C’est à cette question que nous soumettons le corpus des derniers romans arthuriens en vers, rédigés entre 1260 et 1380. Le choix atypique du vers dans le roman interroge les valeurs esthétiques attribuées à chaque forme au cours de ces siècles de mutation que sont le XIIIe et le XIVe siècle : l’écriture en vers résiste, mais est en décalage avec la forme irrémédiablement favorisée. Le corpus des derniers romans arthuriens en vers permet de tracer l’abandon du vers au profit de la prose dans le roman et sa spécialisation lyrique. La question des conséquences génériques qu’engendre un choix de forme se pose avec d’autant plus d’acuité dans ces textes que le choix anachronique de la forme versifiée engendre une façon particulière de traiter la matière arthurienne. La formalisation en vers ou en prose implique des perspectives différentes sur le monde raconté, sur la temporalité, sur les valeurs : on ne présente pas le mythe arthurien de façon identique selon la forme employée. À cela s’ajoute la position tardive qu’occupent ces romans par rapport à la trajectoire historique du roman arthurien en vers. Héritiers des romans de Chrétien de Troyes et de ses « épigones », ils succèdent aussi aux grands cycles en prose du XIIIe siècle, dont ils doivent s’accommoder. Ces romans s’inspirent alors des techniques narratives propres aux romans arthuriens en prose qui les précèdent. Si l’on peut dégager un certain nombre de similitudes entre ces deux types de production, plusieurs différences génériques prouvent bien qu’il s’agit de genres différents et que choisir le vers ou la prose engage des perspectives esthétiques et idéologiques particulières. À partir de ces interactions, une véritable poétique de la tardivité se dégage, entre vers et prose.L’étude des derniers romans en vers doit ainsi rendre compte de certaines contaminations de la prose au vers, mais aussi des différences entre vers et prose, voire des incompatibilités profondes entre ces deux façons de représenter en roman la matière arthurienne. Ces relations entre vers et prose informent l’épuisement de la production arthurienne en vers du XIIIe au XIVe siècle, qui illustre plus généralement l’abandon du vers au profit de la prose dans le genre romanesque français. Étudier les derniers représentants du roman arthurien en vers invite in fine à historiciser les emplois attribués au vers et à la prose au cours des sièclesWhat does the choice of the verse in the novel involves, when prose is already the promoted form of the genre? It’s a question we ask to the last Arthurian romances in verse, written between 1260 and 1380. The uncommon choice of the verse in the novel questions the esthetic values conceded to each form during the 13th and the 14th centuries: the verse is resisting, but there’s a gap between this choice and the contemporary tastes, which value more prose than verse. The last Arthurian romances in verse give the chance to study the giving up of the verse for the benefit of the prose in the novel and its lyric specialization. The question of the generic consequences of a form choice is accurate in those texts, because the anachronic choice of the verse creates a particular way of dealing with the Arthurian matière. The form, verse or prose, supposes different prospects on the fictional world, on the temporality, on the values: the Arthurian myth is not presented the same way in verse or in prose.In addition, those novels are written at the end of a tradition: they are heirs to the novels of Chrétien de Troyes and to his “epigones”, but they are also heirs to the prose cycles of the 13th century. They have to deal with this tradition. The last Arthurian romances in verse are inspired by the narrative techniques of the Arthurian romances in prose. Even though there are many common features between the two productions, many generic differences prove that they are different genres and that the choice of a form involves different esthetic and ideological perspectives. From these interactions, a new poetic emerges, which we call “tardive”, between verse and prose
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Lash, Sarah. "Singing the dream the bardic arts of the Society for Creative Anachronism /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3358930.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2009.Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1745. Adviser: Henry Glassie.
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Barber, Suzanne. "The Transformation of a Shire: Local Negotiation in the Society for Creative Anachronism." TopSCHOLAR®, 2011. http://digitalcommons.wku.edu/theses/1063.
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In this thesis, I am examining how a small branch of the Society for Creative Anachronism, Loch an Fhraoich, whose values and identity center around camaraderie and narrative and aesthetic coherence, attempts to balance these two often contradictory principles. To better illustrate the negotiations taking place, I have used ethnographic fieldwork to focus on the areas of material culture, ethno-kinetics, persona, knowledge, and events. These areas are tightly interwoven, and almost never operate independently, but the exercise of isolating them is useful in seeing the complexities of choices that members must make to navigate the social world of the Society for Creative Anachronism.
The Society for Creative Anachronism is a large, international non-profit organization and is often depicted and discussed as a large homogeneous organization. Instead, in this work I have analyzed the smaller group within the larger organization. I have focused on the smaller group in order to bring to light new details of how this group and the individual members operate within a self-selected international organization in a network of personal connections. These groups attain a feeling of distinctness within this large organization by creating an identity for themselves, which expresses their values within the larger SCA framework. Sometimes these values contradict each other or subvert the larger overriding SCA ethos, and members will mediate their participation in order to avoid breaking from the SCA framework entirely while still protecting their group identity.
This can be examined in light of narrative construction and maintenance. The Society for Creative Anachronism supports an official homogenous metanarrative. It is this narrative that is most often heard and examined by outsiders. Despite the initial perceived dominance, this metanarrative acts as a frame or matrix narrative, and contained within are multiple hyponarratives and little narratives. As one allows their view to slip further towards the idio and unicultural level, these hyponarratives increase in number while decreasing in scope. They go from representing a kingdom, to principality, to a barony, to a shire, to a group of friends within that shire to an individual member.
At every level these narratives connect the individual and group to others, creating a network of relationships and shared narratives that help create a sense of unity and prevent a fracturing of voices and thus support the overriding metanarrative. In order to prevent this system from collapsing inward or fracturing apart, a certain amount of playful transgressive metalepsis and edgeplay must be allowed. The negotiation of this edgeplay is debated, and the style and amount tolerated is often a distinguishing mark between groups. Some key contestations that I have focussed on where this debate occurs include the levels and types of anachronism allowed, the types of partying and practical jokes encouraged or discouraged, gender, media influence, and the understanding of honor and chivalry.
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Belova, Olga. "Référence à l'Antiquité et anachronisme chez deux poètes contemporains : Michel Deguy et Joseph Brodsky." Paris 8, 2013. http://www.theses.fr/2013PA084097.
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Ce travail étudie la question de la transmission culturelle à travers le prisme particulier de la poésie contemporaine. D’un côté, celle-ci se sent formée et informée par la tradition, et de l’autre elle en fait un usage actif et participe donc à sa transmission et sa survie. Pour comprendre les enjeux de cette tension, la thèse analyse la référence à l’Antiquité et la figure poétique de l’anachronisme dans l’oeuvre du poète et philosophe français Michel Deguy et du poète et critique littéraire russo-américain Joseph Brodsky. Ces deux auteurs viennent de contextes culturels, politiques et linguistiques différents, et ils ont des opinions opposées quant à la transmission de la culture : Deguy insiste sur l’importance de la « réinvention » d’un nouveau sens dans une approche « profanatoire » des « reliques » du passé ; Brodsky ressent la nécessité de « recréer une unité culturelle » et perçoit les « formes » comme des piliers de mémoire. Ces divergences nous permettent de montrer en quoi le rapport à la culture du passé est influencé, chez chacun des deux poètes, par le présent, et en quoi le choix d’un certain type de « matériaux » prélevés dans la tradition et les différents procédés d’intégration de ces matériaux culturels dans les textes poétiques s’avèrent historiquement motivés et correspondent, pour l’un comme pour l’autre, à des façons de lire et d’interroger l’actualité du monde qui les entoure. Chacun de ces deux poètes crée son propre « système d’anachronisation » dans ce geste intellectuel et poétique qui consiste à transmettre la culture du passé. L’analyse de ces différents systèmes nous conduit au centre de la rencontre singulière entre le passé et le présent qui a lieu dans certains textes poétiques et nous permet de cerner le type de relation qu’un texte et, plus généralement, une poétique, entretiennent avec la culture dans son ensembleThis work studies the paradoxical nature of cultural transmission through the particular prism of contemporary poetry. On the one hand, this poetry is conscious of being shaped and informed by the culture of the past; on the other, it actively intervenes in the shaping of that culture and thus plays a central part in its transmission and survival. In order to understand the stakes of this tension, the dissertation analyses representations of Antiquity and the figure of anachronism in the works of the French poet and philosopher Michel Deguy and the Russian-American poet and literary critic Joseph Brodsky. These two authors have very different cultural, political and linguistic backgrounds and their views on cultural transmission are correspondingly antithetical; while Deguy insists on “reinventing” the meaning of “relics” from the past through a play of poetic “profanation,” Brodsky believes that memory must be carried by forms and works aiming to recreate “cultural continuity. ” A comparative analysis of these two poets’ writings allows us to show that their relation to the culture of the past is heavily influenced by the circumstances they encounter in the present. The thesis demonstrates how their respective selection of specific elements drawn from the tradition of Antiquity and the use of different poetic devices to integrate these elements within their poetic texts are historically determined, and correspond to diverse ways of “reading” and interrogating the present world. Each of these poets creates his own particular “anachronisation system” through the intellectual and poetic gesture of transmitting the culture of Antiquity. A close examination of these different systems takes us to the core of a peculiar encounter between past and present, and helps us understand the relations that exemplary texts and, more generally, contemporary poetics maintain with culture as a whole
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Spremberg, Alexander. "Critical Anachronism: The recovery of the everyday in the context of Non-objective painting." Thesis, Curtin University, 2017. http://hdl.handle.net/20.500.11937/65945.
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This research specifically describes how a non-objective inspired painting practice can facilitate the innovation and expansion of knowledge in an area of under-examined cultural terrain, and specifically, what theories, materials and processes pertaining to the discourse of the everyday are best used to concretely investigate this context. Ultimately, the new concept of ‘critical anachronism’ as a form of artistic engagement is presented herein.
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Schneider, Ulrich Johannes. "Anachronismus und Zeit der Philosophie in den Leibniz-Interpretationen von Martin Heidegger und Gilles Deleuze." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149203.
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Anachronistische Lektüren ziehen das Verstehen aus der Gegenwart in die Vergangenheit zurück und orientieren es neu: Was uns in Anbetracht des Interpretierten gewaltsam erscheint, ist es zugleich für die Interpretation, weil sich ihr Horizont nachhaltig verändert. Es ist das Paradox philosophiehistorischer Arbeit, daß die Gegenwart der Philosophie neu definiert wird, sobald man ihre Vergangenheit uminterpretiert. Es gibt keinen Zwang, beispielsweise Leibniz auszulegen, weder für Heidegger, noch für Deleuze oder sonst einen Philosophen. Er ist bereits interpretiert, in Monographien, Aufsätzen und Philosophiegeschichten. Eine neue und starke Interpretation verändert in jedem Fall diese Voraussetzungen und zugleich damit die Modelle der Geschichte der Philosophie. Es ist ein anderer Anachronismus, der Heideggers Leibniz-Evokationen auszeichnet, als der Rückgang Deleuzes auf den "Denker des Barock". Es ist auch ein jeweils anderes Modell der philosophischen Zeit und der Bestimmung des Verhältnisses von Vergangenheit und Gegenwart der Philosophie.
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Schneider, Ulrich Johannes. "Anachronismus und Zeit der Philosophie in den Leibniz-Interpretationen von Martin Heidegger und Gilles Deleuze." Königshausen & Neumann, 2003. https://ul.qucosa.de/id/qucosa%3A12773.
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Anachronistische Lektüren ziehen das Verstehen aus der Gegenwart in die Vergangenheit zurück und orientieren es neu: Was uns in Anbetracht des Interpretierten gewaltsam erscheint, ist es zugleich für die Interpretation, weil sich ihr Horizont nachhaltig verändert. Es ist das Paradox philosophiehistorischer Arbeit, daß die Gegenwart der Philosophie neu definiert wird, sobald man ihre Vergangenheit uminterpretiert. Es gibt keinen Zwang, beispielsweise Leibniz auszulegen, weder für Heidegger, noch für Deleuze oder sonst einen Philosophen. Er ist bereits interpretiert, in Monographien, Aufsätzen und Philosophiegeschichten. Eine neue und starke Interpretation verändert in jedem Fall diese Voraussetzungen und zugleich damit die Modelle der Geschichte der Philosophie. Es ist ein anderer Anachronismus, der Heideggers Leibniz-Evokationen auszeichnet, als der Rückgang Deleuzes auf den "Denker des Barock". Es ist auch ein jeweils anderes Modell der philosophischen Zeit und der Bestimmung des Verhältnisses von Vergangenheit und Gegenwart der Philosophie.
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Erisman, Wendy Elizabeth. "Forward into the past : the poetics and politics of community in two historical re-creation groups /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Lussier, Etienne. "Anachronisme, rebuts et survivances dans Les escaliers de Chambord et le Dernier Royaume de Pascal Quignard." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3037.
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This thesis investigates the particular conception of time developed by Pascal Quignard in his series Dernier Royaume and his novel Les escaliers de Chambord. We argue that this conception of time, which Quignard refers to as Le Jadis, operates through an anachronistic method based on a semiotic apparatus of waste, or rejects. The argument is presented in three different chapters. The first chapter uses the work of Jacques Rancière and Georges Didi-Huberman to show the way in which the concept of anachronism embraces a temporality that blurs the lines between past, present, and future and creates openings to summon and redeem forgotten relics of the past. The second chapter analyzes this open relation to time in Dernier Royaume and Les escaliers de Chambord. In these works, Quignard's notion of Le Jadis seeks specifically to awaken a vertiginously distant conception of past that is incomplete, non-linear, and perpetually becoming. The last chapter analyzes the manner in which Le Jadis can reappear as an active force through the mediation of waste, which constitutes a specific class of signs. The work of Quignard is one of montage and remontage--fragment by fragment, scrap by scrap--of the pieces of memory, which he strives to reopen and release from the linear entrapment of chronological time to which they have been relegated.
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Kapustka, Mateusz [Verfasser]. "Die Abwesenheit der Idole : Bildkonflikte und Anachronismen in der Frühen Neuzeit / Mateusz Kapustka." Göttingen : Böhlau Verlag Köln, 2020. http://www.v-r.de/.
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Johnson, Christopher. "The use of historical sources, anachronism, and invented history in certain works of Sir Walter Scott." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314972.
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Wendler, André [Verfasser], Lorenz [Akademischer Betreuer] [Gutachter] Engell, and Peter [Gutachter] Geimer. "Anachronismen: Historiografie und Kino / André Wendler ; Gutachter: Lorenz Engell, Peter Geimer ; Betreuer: Lorenz Engell." Weimar : Professur Medienphilosophie, 2012. http://d-nb.info/1115807145/34.
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Freeborn, Diane. ""Is it time we move through or space?" : literary anachronism and anachorism in the novels of Elizabeth Taylor." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/49756/.
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This thesis examines Elizabeth Taylor’s twelve novels through the lens of the interlinked concepts, anachronism and anachorism, an approach that enables an analysis of the structural, thematic and stylistic engagements with time and place in her fiction. Blending theme with chronology, the study attaches a particular topic to each decade between the 1940s and the 1970s: war and its aftermath are considered in Taylor’s 1940s novels; the servant-figure in those of the 1950s; feminine constructs in the 1960s; and death and dying in the 1970s. The study argues that while Taylor’s texts look back to previous literary periods and, increasingly, to earlier parts of the century, they simultaneously speak to their particular historical moment. The thesis contributes to recent scholarship that has sought to reappraise the fiction of neglected mid-twentieth-century writers, uncovering an altogether more innovative and complex fictive form than previously recognised. Taylor’s oeuvre is positioned firmly within this more nuanced and complicated literary landscape. Anachronism and anachorism frame and shape an analysis of those aspects within the structure and content of Taylor’s novels that are unexpected, out of place even, within the genre of domestic fiction. To facilitate the analysis, the study introduces the metaphor of ‘the scalpel within the kid glove’, which points both to the way Taylor writes and to a way of reading her. The distinct contribution the thesis makes to current scholarship is to demonstrate that Taylor’s novels are altogether more strange, more angry, more political and more philosophical than generally acknowledged. They destabilise reader expectation even as they disrupt the conventions of realist fiction. Taylor emerges as an ‘after-modernist’, a classification that exhibits both temporal and aesthetic qualities, signalling a writer engaged with the after-effects of war, while at the same time in conversation with the legacy of modernist poetics.
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Moraes, Diniz Acacia. "One Story, Three Centuries: Anachronism and Sociopolitical Commentary in the Graphic Novel Adaptation of "Das Fraulein von Scuderi"." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427979812.
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Hackstein, Olav. "Die Sprachform der homerischen Epen : Faktoren morphologischer Variabilität in literarischen Frühformen, Tradition, Sprachwandel, sprachliche Anachronismen /." Wiesbaden : L. Reichert, 2002. http://catalogue.bnf.fr/ark:/12148/cb40015449b.
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Iwakuni, Mari. "Politiques et religion au Japon : anachronisme ou modernité? : les partis politiques "religieux" dans la "démocratie" japonaise : une approche historique." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0066.
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Cette thèse entend interroger, à travers une histoire des relations entre le politique et le religieux, l'état réel de la « modernité » japonaise. La tendance dominante sur la longue durée est celle du contrôle des religions par l'État. Sauf au Moyen-âge, cette emprise n'a fait que se renforcer tout au long de l'histoire, pour aboutir au XXe siècle à l'imposition d'une idéologie nationaliste, le «Shinto d'État ». La domination de l'État sur les cultes et l'idéologie qui a conféré au Japon un caractère sacré (vision qui prévalait jusqu'à une date aussi récente que 1945) représentent un schéma inverse de celui qu'a connu l'Occident. De ce fait, le processus d'avènement de la modernité a pris une direction inverse lui aussi: alors qu'en Occident, la voie d'entrée « légitime » dans la modernité a passé par l'émancipation de la sphère temporelle vis-à-vis de l'emprise religieuse, au Japon, elle a passé par l'émancipation de la sphère religieuse vis-à-vis du joug du pouvoir temporelThis thesis proposes an alternate framework for the "legitimate" condition. . , for modernity. The current state of Japanese modernity is assessed by examining the historical relationship between the political and the religious spheres, and the significance of "laïcité" (French model of secularism) as it applies to Japan. With the exception of the Middle Ages, the state continually reinforced its control over religions, culminating in the state-imposed nationalistic ideology, "State Shinto," in the 20th century. This propensity for political ascendancy over religions and the ideology of the "sacred" nature of Japan, prevalent as recently as 1945, represent evidence of an antithetical framework from the one experienced in the West: while the autonomy of the temporal sphere from the religious had previously been deemed the "valid" prescription for entering into modernity, the advent of modernity in Japan has instead come via the emancipation of the religious sphere from temporal authority
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Parker, Deborah. "THE MAKING OF A PRINCESS: THE ROLE OF RITUAL IN CREATING COMMUNITY AND IDENTITY IN THE SOCIETY FOR CREATIVE ANACHRONISM." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23132.
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Every weekend in the Society for Creative Anachronism, people from the far reaches of the globe leave behind the structures of their everyday lives, dress themselves in clothing from the Middle Ages, and construct medieval personae. Within a pastiche of fantastical and historical influences, participants create the “Middle Ages as they should have been,” a liminal space where they experience a temporary communitas. Through their participation in informal rituals and formal ceremonies, they celebrate each other’s successes and create a community—a utopia—in which courtesy and honor are the shared core values. In addition, through their performances, people access their creative potential and explore issues of identity. When the weekend is over, the participants return to their modern lives, and—for many—a residue of their temporary creative adaptation persists and contributes to a transformation of their person. Using my insight as a participant observer, this dissertation focuses on some of the elements that contribute to the process of community creation and personal transformation.
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Burback, Kyle. "Expanded and Integrated Entries from the Orthogonal Encyclopedia on Nature." Ohio University Art and Sciences Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors149277574680419.
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Araujo, Grécia Desirée Falcão de. "Do filme ao download: uma cartografia lomo." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7975.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorPensando a fotografia enquanto fenômeno comunicativo, numa perspectiva cartográfica associada à Teoria do Ator-Rede de Bruno Latour (2012), passamos a traçar os vínculos sociais, visuais e sensíveis que hoje põem em evidência o fazer lomográfico. Aqui, sob os relatos dos modos de fabricação e circulação da lomografia, pudemos adentrar estas redes de mediações sociotécnicas que desenham sua prática, bem como perceber o modo como construímos, no presente, a história das imagens nesse contexto. Já sob a diversidade de elementos que hoje reordenam nossas formas de ver, junto à noção de anacronismo (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012), este gesto cartográfico nos levou tanto a buscar aspecto relacional e comunicativo da imagem lomo, quando a compreender a construção deste sentido visual frente à montagem de tempos heterogêneos. Processo onde as formas de apresentação e os atuais valores de uso lomo revelam, na imagem, seu caráter movente onde lugares do visível que se deslocam de seus contextos anteriores, renegociando socialmente suas condições de possibilidade no contemporâneo, podem ser redimensionados
Considering photography as a communicative phenomenon, based on a cartographic perspective associated to Actor-Network Theory by Bruno Latour (2012), this research enable us to outline the social, visual and sensitive bonds that highlight the modes of existence of lomographic experience. Here, reporting the modes of production and circulation of lomography, we were able to enter these networks of sociotechnical mediations that draw its practice, as well as we can perceive the way we build in the present the history of images in this context. Among the diversity of elements that reorder our ways of seeing, with the notion of anachronism (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012) this cartographic gesture took us either to look at the relational and communicative aspect of the lomo image and to understand the construction of its visuality regarding the assembly of heterogeneous times by which it is made. This is a process where forms of presentation and current values of lomos use reveal within the image its moving characteristics. Where the visible is dislocated from its prior contexts, socially renegotiating the conditions of its possibilities in the present and where in so doing, it can be redimesioned
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Silva, Luzia Renata da. "Arthur Omar e a menina do brinco de pérola : anacronismos na fotografia contemporânea." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/699.
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Esta dissertação de mestrado compreende uma reflexão sobre o processo criativo de Arthur Omar na construção de uma obra que é uma montagem de tempos heterogêneos. A partir de um rosto que surge como um relampejo nos desertos do Afeganistão, a memória involuntária do artista é acionada, e ele passa a criar situações de encontros, apropriações e desvios onde os contornos da pintura de Johannes Vermeer Moça com brinco de pérola esfacelam-se para dar lugar a um rosto que oscila entre o aparecimento e o desaparecimento. A imagem que o levou a Vermeer é o retrato de uma menina afegã que vestia um casaco marrom, um lenço azul na cabeça e um brinco de pérola na orelha. Com os lábios entreabertos, o mesmo olhar e o mesmo brinco, ela estava ali, refugiada no canto direito do cromo brincando com outras crianças que se mostravam para a câmera e, desse cromo, o artista capta um fragmento que conecta tempos distintos, criando uma obra de anacronismo que emerge no choque entre imagens de diferentes tempos. No percurso da pesquisa, nos aproximamos da fotografia e de sua inserção no circuito de arte, para compreender de que forma fotógrafos e artistas buscaram expandir os limites dessa linguagem para além de seu uso comum, enquanto outros encontraram nesse uso comum uma brecha para interrogar o sistema da arte. Nos questionamento dos artistas, vemos que a fotografia foi amplamente usada para alterar o modelo tradicional da arte e, nessa alteração, ela instala-se ao lado da pintura e da escultura problematizando a questão da aura discutida por Walter Benjamin. A pesquisa encontrase num caminho de reflexão sobre a História da Arte formulada por teóricos que sobrevoam a linha cronológica do tempo para elaborar conexões atemporais através de deslocamentos, fragmentos e vestígios.
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Petit, Aimé. "L'anachronisme dans les romans antiques du XIIe siècle." Lille : Centre d'études médiévales et dialectales de l'Université de Lille III, 1985. http://catalog.hathitrust.org/api/volumes/oclc/13978956.html.
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Adam, Erlon Roberto. "Ucronias em A sul. O sombreiro, de Pepetela : matizes fatuais e ficcionais entre o tempo e o não tempo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/150312.
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Pepetela é o codinome de Artur Carlos Maurício Pestana dos Santos. Este escritor explora registros historiográficos de seu país, Angola, para singularizar muitas de suas narrativas, pautadas entre elementos ficcionais e históricos. Neste sentido, o presente trabalho traz como objetivo geral investigar o diálogo entre Angola e a obra literária desse escritor A Sul. O Sombreiro (2012), q uae H siestróvririaá ddee corpus para esta pesquisa. Os objetivos específicos visam analisar a construção discursiva das personagens, a fim de compreender o processo de criação literária como uma estratégia de resistência cultural, e investigar fontes históricas a partir de relatos de viajantes, para dialogar com os processos de compilação do tempo histórico cunhados na narrativa, cujo intertexto se torna claro ao longo do enredo. Quanto ao método, o campo do conhecimento humano centra-se em estudos literários e históricos voltados aos estudos luso-africanos. Para tanto, buscam-se autores que trabalham com questões referentes ao engajamento literário e à influência do contexto de seu panorama histórico e político sobre sua produção estética. Particularizam-se recursos narrativos de anacronia, vertentes ideológicas oriundas da ucronia, como o sebastianismo, e o desenvolvimento filológico das palavras ficção, fato e fetiche. Além disso, abordam-se os conceitos de imagem que o Ocidente produz sobre o modo de pensar dos outros povos a partir relatos de viajantes e dos Estudos Culturais, uma vez que é na esfera coletiva que transitam a história e a memória de cada grupo cultural.Pepetela is the codename of Artur Carlos Maurício Pestana dos Santos. This writer explores historiographical records of his country, Angola, to single out many of his narratives, guided between fictional and historical elements. Thereby, this work brings is to investigate the dialogue between the history of Angola work of this writer’s A Sul. O Sombrero (2012), which will serve as acnodr ptuhse floitre rtahrisy research. The specific objectives aim to analyze the discursive construction of the characters in order to understand the process of literary creation as a cultural resistance strategy, and investigate historical sources from travelers' accounts, to dialogue with the in-laws historical time compilation processes in narrative, which intertextuality becomes clear throughout the plot. As for the method, the field of human knowledge focuses on literary and historical studies related to the Luso- African studies. Therefore, we seek to authors who work with issues related to literary engagement and the influence of the context of its historical and political overview of iatss paeecststh aertiisci npgr ofdroumct itohne. uPcarrotniciual aarsiz See tboa sntaiarrnaistimveo ,f eaantdu rtehse apnhailcohlorgoinciaslm d,e ivdeeloolpomgiecnatl of fiction words, fact and fetish. In addition, address to the image concepts that the West has on the thinking of other people from reports of travelers and Cultural Studies, since it is in the collective sphere transiting the history and memory of each cultural group.
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Assis, Rosangela Freitas de. "Tempo, espaço e memória: fronteiras do relato em Cinzas do Norte." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14683.
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Previous issue date: 2011-10-25Secretaria da Educação do Estado de São Paulo
The study of Cinzas do Norte novel written by the manauara Milton Hatoum (2005) is about the reminder report of the Amazon history built by the redesigning of time and space connections. Dissolving the inventive past, correspondent relations between chronotopes and anachronism articule the writing of memory experience to the narrator characters in metafictional labor without marking social and geographic frontiers. In this event, the artistic and epistolary genres have a mediator role in the hybrid speech of the relate between narrators, and characters while sharing the communication among the past memories, felicity appeal, and future dreams of a new Amazon. The demonstration of metafictional construction of Cinzas do Norte relate is announced in a triadic context: in the errant frontiers of the time, space and place, in the bivocal discurse of the letters, and the visual art, and in the physical and human space up dated by the ironic and parodic discurses questioning supports of historical-social chronotope. The reached interpretation expands the history of Amazon by the semantic ambiguity, by the historical critical and the poetic revitalization of ecologic and humanist local language
O estudo do romance Cinzas do Norte do escritor manauara Milton Hatoum (2005) refere-se ao relato rememorativo da história da Amazônia construído pelo redesenho das relações tempo e espaço. No desfazer inventivo do passado, relações correspondentes entre cronotopos e anacronias articulam a escritura da experiência da memória à vivência das personagens narradoras em trabalho metaficcional, sem marcar fronteiras sociais e geográficas. Neste evento, o gênero artístico e epistolar têm um papel mediador no discurso híbrido do relato, entre narradores e personagens, ao compartilhar a comunicação entre as lembranças do passado, os apelos de felicidade e sonho futuros de uma nova Amazônia. A demonstração da construção da metaficção do relato de Cinzas do Norte é apresentada em contexto tríplice: nas fronteiras errantes do tempo, espaço e lugar, no discurso da bivocalidade das cartas e arte visual, e nos espaços físicos e humanos atualizados pelo questionamento dos discursos irônico e paródico, suportes do cronotopo histórico-social. A interpretação alcançada amplia a história da Amazônia pela via da ambiguidade semântica, da crítica histórica e da revitalização poética da linguagem ecológica e humanista local
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Troon, Simon. "Live Role-play of Medieval Fantasy and its relationship to the Media." Thesis, University of Canterbury. Department of Theatre and Film Studies, 2012. http://hdl.handle.net/10092/9046.
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In the postmodern, contemporary Western world of late capitalism, we dream of the Middle Ages. Medieval Fantasy, as an entertainment genre, supplements historical images of the Middle Ages with elements of myth in adventure stories featuring magicians, knights and ladies, castles, dragons, swords, and sorcery that are routinely consumed and absorbed. In some activities they are also played out physically. People dress up, utilise props, and affect their speech and mannerisms like actors in a theatre, conducting pseudo-ritualistic games of mimicry to make these images speak and move in the real world: live role-play.
This thesis examines several organised examples of live role-play: Southron Gaard, a branch of the Society for Creative Anachronism based in Christchurch, New Zealand; larping, as represented by two documentary films, Darkon and Monster Camp, that document the activities of larping organisations in the USA; and 'Lord of the Rings Tour', a tourism trip from Christchurch to 'Edoras', a fictional location from Middle-earth, the fantasy world of J.R.R. Tolkien's The Lord of the Rings Novels and Peter Jackson's filmic adaptations thereof. These organised leisure activities provide platforms for the pursuit of active, physical involvement with the images and ideas of medieval fantasy. In them, participants find ways to bring these fantastic images and ideas onto their bodies in reality and, perhaps as a result, closer to their everyday lives in ways that have more significant social implications than may at first be apparent.
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Araújo, Viviane Gil. "Corpos e memórias na obra de Karin Lambrecht." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/114656.
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A presente tese investiga a obra de pinturas de Karin Lambrecht a partir de sua cronologia e da constituição de um arquivo particular organizados pela própria artista e a autora. A obra e as análises construídas sobre ela são percebidas a partir das memórias familiares, seu período de estudos e formação acadêmica, incluindo o aprendizado em pintura na atual Universität der Künste, em Berlim.Foi destacada a formação de um imaginário artístico que se constituiu a partir das inúmeras leituras da Bíblia Luterana, da formação artística obtida por meio de estudos com professores que propunham grande rigor técnico e a pintura de cunho abstrato.Analisa-se, igualmente, os frequentes anacronismos que permeiam as obras e se revelam por meio da temática das pinturas, observadas sob o ponto de vista das afinidades artísticas, da história da arte, do corpo e do sacrifício.Os anacronismos constituem a obra de Lambrecht criando relações entre o passado e o presente que se revelam nos temas, materiais e procedimentos na realização da pintura. Observa-se da mesma forma que, as memórias da artista se expressam igualmente por meio das diferentes representações do corpo e do humano por meio do corpo da obra, da cruz, do corpo sagrado e do sacrifício.This thesis investigates the painting works of Karin Lambrecht from its chronology and the constitution of a private file organized by the own artist and the author. The work and analyzes which are built are perceived considering family memoriesfrom the period of study and academic training, including the apprenticeship in painting in the current Universität der Künste in Berlin.The formation of an artistic imaginary that was formed from the numerous Lutheran Bible readings, from the artistic training obtained through studies with teachers who proposed a great technical rigor and the paintings of an abstract nature were highlighted.The frequent anachronisms that permeate the work and reveal themselves through the theme of the paintings have also been analyzed, observed from the point of view of artistic affinities, of the history of the art, the body and sacrifice.The anachronisms constitute the work of Lambrecht creating relationships between the past and the present that are revealed in the theme, materials and procedures for the making of the painting.The prominence of symbolic representations of the body and of the human in the work is observed through a selection of works which discuss the work corpus, the interaction of the body of the artist with the painting and the sacred body.
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Forment, Lise. "L’invention du post-classicisme de Barthes à Racine. L’idée de littérature dans les querelles entre Anciens et Modernes." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA163.
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Cette thèse remet en question le soupçon pesant sur les catégories de « classique » et « classicisme ». Centrales dans les manuels, ces notions sont pourtant renvoyées par les spécialistes à de purs anachronismes, et jugées impertinentes pour caractériser le XVIIe siècle et sa littérature. Marqués par la rhétorique et la sociologie historique, les travaux actuels écartent l’opposition idéologique entre classicisme et modernité. Mais l’analyse de l’antagonisme chez Barthes, et l’étude des querelles impliquant les Classiques de 1898 à 1966, permettent de donner un contenu inattendu au classicisme, très éloigné de l’irénisme dont on l’a accusé.La notion, son antonyme et ses parasynonymes (antimodernisme et post-classicisme) circonscrivent d’abord, pour la littérature, différents « régimes d’historicité » dont débattent les polémistes. Le terme reste également associé à l’élaboration d’un « dispositif » utopique, où écrire, critiquer et enseigner iraient de pair : cette configuration, essentielle au XVIIe siècle, est sans cesse « remise sur le métier » dans les querelles postérieures entre Anciens et Modernes. De 1666 à 1694, semblent surgir en réalité la plupart des questions que les critiques continueront de poser à la littérature. C’est le cas, notamment, chez Barthes, Gide et Valéry, quand ils cherchent à en déterminer les fonctions et les prérogatives. Parce que le concept d’autonomie n’est pas pour eux détaché de toute exemplarité, il s’avère utile, bien qu’anachronique, pour lire les textes du XVIIe siècle. L’art de la « disponibilité », que Barthes reconnaissait chez Racine, serait alors l’autre nom de la littérarité, le nom d’une littérarité autre – non formaliste – que les Classiques auraient bel et bien inventée et qui autoriserait leur lecture « vivante, concernée »This dissertation interrogates the scepticism that falls on the categories of “classics” and “classicism”. Though they are considered key concepts in textbooks, these notions are viewed by many specialists as pure anachronisms, and declared irrelevant in defining the 17th century and its literature. Drawing influences from rhetoric and historical sociology, recent work dismisses the ideological divide between classicism and modernity, but an analysis of this opposition in Barthes’s corpus, supported by a study of the quarrels involving the Classics from 1898 to 1966, endows classicism with an unheralded substance, far from the irenicism for which it has been condemned. The notion of classicism, its antonym, and its parasynonyms (anti-modernism and post-classicism) first and foremost delineate, as far as literature is concerned, different regimes of historicity that are debated by the polemicists. The term ‘classicism’ is continuously associated with the establishment of a utopian apparatus within which writing, criticism and teaching go hand in hand. This blueprint was essential in the 17th century and is revisited again and again in the subsequent quarrels between Ancients and Moderns. In fact, most of the questions that critics continue to ask literature seem to arise between 1666 and 1694. Case in point, Barthes, Gide and Valéry all sought answers to these age-old questions in their attempts to determine both the functions and the prerogatives of literature. According to them, the concept of autonomy in literature cannot be separated from exemplarity. Thus, it proves useful, although anachronistic, in the reading of 17th-century texts. The art of “availability”, which Barthes recognized in the works of Racine, would then be the other name of literariness, a distinct – non formalist – literariness that the Classics have invented which allows their “vital, concerned” reading
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Schaeffer, Pierre. "Variations sur l'effet dialogique dans "Under the volcano" de Malcolm Lowry." Lyon 2, 2005. http://theses.univ-lyon2.fr/documents/lyon2/2005/schaeffer_p.
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Ce travail analyse Under the Volcano, roman de Malcolm Lowry, à la lumière de la théorie bakhtinienne du dialogisme, théorie du " mot " habité et transformé par la–ou les–voix d'autrui. Des variations autour du phénomène linguistique et littéraire décrit par Bakhtine sont proposées. Variations théoriques tout d'abord par rapport au concept de départ qui a été élargi pour pouvoir intégrer l'étude des phénomènes auto-citationnels présentés ici comme une forme de dialogisme paradoxalement endogène. Variations également dans les stratégies herméneutiques retenues pour cerner " l'effet dialogique " à l'œuvre dans le texte. La première partie est ainsi consacrée à une phénoménologie des états de la langue, à l'analyse de son instabilité diégétique–contribuant au dénouement tragique–et de sa vitalité textuelle suscitant une jouissance de la lecture. L'effet de " bricolage vocal " est examiné ensuite à l'aune des manipulations temporelles qui favorisent son émergence : écholalie auto-citationnelle, montages syncrétiques trans-temporels, " sous-conversations " faussement proleptiques. La question du plagiat dans l'écriture fait l'objet de réflexion du dernier volet de cette étude. Lowry y est défini comme un " plagiaire " créatif (expression de Michel Schneider). L'examen des ses emprunts intertextuels montre à l'évidence que sa manière de retravailler les allusions littéraires et les citations dans son texte et de s'assurer le patronage littéraire et artistique de prestigieux précurseurs manifeste bien un écart dialogique garant de son intégrité littéraire et de son art consommé de l'alchimie verbaleThis thesis analyses Malcolm Lowry's Under the Volcano in the light of the Bakhtinian theory of dialogism focusing on how the “word” is criss-crossed with–and transformed by–one or several other voices. Variations on the linguistic and literary phenomenon described by Bakhtin have been developed. A theoretical extension of the Bakhtinian concept is indeed called for in order to include the study of self-quoting textual practices which we define as a paradoxically endogenous variety of dialogism. Variations also characterise the host of hermeneutic strategies called upon to zero in on the ‘dialogic effect' operating in the text. The first part thus consists of a phenomenological study of language and its metamorphoses. We focus both on its diegetic instability–which is instrumental in the tragic unfolding of the story–and on its textual vitality bringing about the reader's gratification. Autotextual echolalia, trans-temporal syncretic word-montage and falsely proleptic ‘sub-conversations' feature among the temporal manipulations giving rise to the global effect of vocal bricolage examined in the second part of this study. The theoretical issue of plagiaristic trends in writing is looked into in the third and final part. Using Michel Schneider's coinage, we come to the conclusion that Lowry is a creative ‘plagiarist'. A detailed examination of his intertextual borrowings leaves no doubt as to his original way of reworking literary allusions and quotations into his own text. Likewise, his enlisting of prestigious literary and artistic predecessors displays a dialogic ‘gap' which vouches for his literary integrity and betokens his consummate verbal alchemy
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Araújo, Viviane Gil. "Karin Lambrecht : as vestes e o corpo na série registros de sangue." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13351.
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Este estudo aborda aspectos do campo da pintura, analisados através dos diferenciados procedimentos realizados por Karin Lambrecht nos trabalhos da série Registros de sangue.This study approaches the field of painting, as analyzed through the different procedures performed by Karin Lambrecht in the Registros de sangue (Records of blood) series.
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Jahre, Hedvig. "Ett Fönster Till 80-talet – En visuell analys av nostalgi i serien Sex Education." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21033.
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Vår samtid genomgår stora förändring i allt från digitalisering till klimatpåverkan och ett resultat av detta är vår längtan efter att få uppleva och ta del av innehåll som påminner oss om en svunnen tid. Nostalgiska inslag finns i många delar av vårt samhälle och denna uppsats undersöker hur ett tidigare decennium representeras i en samtida medieprodukt och bidrar till en nostalgisk upplevelse. Idag finns det en förkärlek till en 80-talsnostalgi vilket blir synligt i många nyproducerade filmer och serier. I uppsatsen analyseras hur man i serien Sex Education (2019-2020) har valt att representera 80-talet i en samtida kontext för att skapa en nostalgisk effekt hos mottagaren. Vidare blir effekten av att blanda ett nostalgiskt grepp (nostalgisk mise-en-scene, musik och genrerefenser) med ett nutidsgrepp (den moderna gestaltningen av tematiken) att dessa kontraster skapar en friktion som väcker tittarens intresse. I uppsatsen tillämpas kvalitativ filmanalys, baserad på en kategoriserande modell, på estetik och tematik i serien Sex Education. Syftet är påvisa seriens nostalgiska inslag och belysa hur de skapas.Our present time is experiencing a major change in everything from digitalisation to climate change, and one result of this is our longing to experience and share content that reminds us of another time. Nostalgic elements can be seen in many parts of our society and this essay examines how a past decade is represented in a modern media product and the nostalgic experience it generates. Today, there is a love for '80s nostalgia, which becomes visible in many newly produced films and series. The thesis is based on analyzing how the series Sex Education (2019-2020) has chosen to represent the 80s in a contemporary context to create a nostalgic effect on the recipient. Furthermore, the effect of mixing a nostalgic grip (nostalgic mise-en-scene, music and genre references) with a contemporary grip (the modern form of the theme) is that it creates contrasts which causes a friction that arouses the viewer's interest. The thesis applies qualitative film analysis, based on a categorizing model, to aesthetics and themes in the series Sex Education. The purpose is to demonstrate the series' nostalgic features and highlight how they are created.
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Xavier, Henrique Piccinato. "Por uma Estética da imanência." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13012014-124516/.
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A partir da ideia de uma imanência materialista, a tese procura esboçar um sistema estético que se contraponha aos sistemas estéticos românticos e idealistas (principalmente confrontando-se com noções provenientes do platonismo e do idea- lismo alemão e, também, com algumas noções de M. Heidegger). No percurso da tese são centrais as discussões sobre a possibilidade de se pensar por imagens e so- bre as implicações filosóficas, políticas, ideológicas e históricas da necessidade de se embaralhar ciência com poesia. O trabalho, pensado a partir de Ulysses de James Joyce, procura compreender o que as concepções de história, filosofia e política po- dem aprender com a experiência da literatura e para isso, a tese analisa principalmente as obras de Homero, Platão, G. Vico, Th. Adorno e B. Espinosa; além desses autores, há uma presença forte das obras de K. Marx e S. Beckett. O trabalho se desdobra a partir do capítulo doze de Ulysses, em que Leopold Bloom se confronta com o cidadão. Este confronto, em um pub de Dublin, é a uma espécie de me- tempsicose anacrônica do confronto ente Odisseu e Polifemo na caverna homérica. A tese analisa cinco reencarnações históricas deste confronto cavernoso, respecti- vamente seguindo a ordem dos capítulos, temos: cap. I - Ulysses de Joyce; cap. II a Dialética do Esclarecimento de Adorno e Horkheimer, principalmente Ulisses ou Mito e Esclarecimento; Cap. III a Ciência Nova de Vico, principalmente A descoberta do Verdadeiro Homero; Cap. IV - a Odisséia de Homero interpretada por meio da astu- ciosa inteligência da Métis grega; Cap. V - Ulysses de Joyce, principalmente o cap. XII do romance. A conclusão procura retraçar o percurso da tese, demonstrando como uma ideia de imanência materialista com base na filosofia de Espinosa esteve implíci- ta como o fundamento de nossa proposta de uma Estética da Imanência.Centred on an idea of materialistic immanence, the thesis aims to outline an aesthetic \"system\" in opposition to the romantic and idealistic aesthetic systems (confronting mainly with aesthetic notions from Platonism and German idealism, but also with some notions from M. Heidegger). In the course of the thesis it is central to discuss about the possibility of thinking through images and the implications for philosophical, political and historical need to mix up science with poetry. The work, conceived regarding James Joyce\'s Ulysses, aims to understand what the conceptions of history, philosophy and politics can learn from the experience of literature, for this, the thesis analyses the works of Homer, Plato, G. Vico, Th. Adorno and B. Spino- za, in addition to these authors, there is a strong presence of K. Marx and S. Beckett. The work unfolds from the 12th chapter of Ulysses, where Bloom confronts the citi- zen. This confrontation in a Dublin pub is an anachronic \"metempsychosis\" of the confrontation between Odysseus and Polyphemus in the Homeric cave present in the Odyssey. The thesis examines five historical \"reincarnations\" of this cavernous confrontation, following the order of the chapters, we have: ch. I - Joyce\'s Ulysses; ch. II - Dialectic of Enlightenment, especially \'Odysseus or Myth and Enlightenment\' by Adorno and Horkheimer; ch. III - New Science, especially \'The discovery of the True Homer\' by Giambattista Vico; ch. IV - Homers Odyssey interpreted through the cunning intelligence of the Greek Métis; ch V - Joyce\'s Ulysses, especially chap. XII of the novel. The conclusion of the work aims to retrace the course of the thesis demonstrating how an idea of materialistic immanence based on the philosophy of Spinoza was implicitly the fundament of our Aesthetics of Immanence.
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Huang, Min-Yuan. "Mémoire collective et conflit d'interprétation sur l'identité nationale : évolution des discours identitaires autour de la littérature taiwanaise." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0068.
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Ce travail adopte la perspective de la mémoire collective d'Halbwachs pour examiner les facteurs ayant entraîné un changement des discours et de l'identité nationale chez les littéraires à différentes époques (1970, 1980, 1990-2000). Nous avons tenté d'expliquer, outre la sociogenèse de la pensée désinisante à Taïwan, pourquoi et comment les discours identitaires des littéraires se transforment au cours de ces années, ce que n'apparait pas toujours dans les travaux déjà existants. L'effet mémoriel est un facteur non négligeable dans la discussion sur le nouveau problème identitaire, notamment sur le conflit d'interprétation entre les « indépendantistes» et les « réunificationnistes» à Formose. Notre enquête montre la fluidité et l'hétérogénéité de la conviction politique chez les intellectuels. À travers les cadres sociaux des époques données, nous avons indiqué la raison de la fluctuation de certains écrivains dans leur positionnement politique; d'autre part, nous avons montré la façon dont ils revisitent de nos jours leurs anciens discoursThis research adopts the perspective of Halbwachs' collective memory to examine the factors influencing the mutation of the identity discourse and the literary intellectual's national identity at different periods. Even the existing studies indicate the politico-economic, epistemo-cultural and generational reasons about the sociogenese of the actual "desinisant" thought, they don't perfectly explicate "why" and "how" these identity discourses have transformed since the 1970s. The memorial effect is a important factor while we discus about the new Identity problem in Taiwan, it can offer us a good point of view to understand the "conflict of interpretation about Taiwan’s history between the "independentists" and the réunificationnistes”. Our study emphasis the fluidity and the heterogeneity of the politic conviction of literary and academic intellectuals during different periods. Through the "social epistemological framework". (cadres sociaux), we also indicate the reason of the fluctuation of some winters in their politic position; in the other side, we show how they revisit their precedent discourses today
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Vázquez, Villamediana Daniel. "El conocimiento por montaje. La supervivència del pensamiento de Aby Warburg en la obra de Georges Didi-Huberman." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/670942.
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La lectura realizada por el teórico de la imagen Georges Didi-Huberman de la obra de Aby Warburg (1866-1929), así de como de su terminología (Nachleben y Pathosformel), resultan hoy en día fundamentales para la comprensión de los textos del historiador del arte alemán. Sin embargo, el centro de la recuperación de la obra y del pensamiento de Aby Warburg por parte de Didi-Huberman se encuentra en el atlas Mnemosyne. El atlas -una disposición sinóptica de fotografías expuestas en diversos paneles que permitía pensar con imágenes- supondrá la base a partir de la cual Didi-Huberman desarrollará su propia teoría del montaje. Su original planteamiento es que el montaje se trata de una técnica que no solo ayuda a descubrir vínculos ocultos entre cosas dispares, sino que permitiría comprender el funcionamiento de la memoria de las imágenes y visibilizar sus distintas temporalidades. La intención de esta tesis será, por tanto, realizar un recorrido por la obra Didi-Huberman para comprender cómo ha leído a Aby Warburg, y de qué modo ha desarrollado su propia teoría del montaje de imágenes, entendido como una forma innovadora y productora de saberes que se caracteriza por su naturaleza transversal e interdisciplinaria.Georges Didi-Huberman´s reading of Aby Warburg´s work, as well as of its terminology (Nachleben and Pathosformel), is fundamental to the understanding of the texts of the German art historian. Moreover, at the centre of Didi-Huberman's recovery of Aby Warburg's work and thought the Mnemosyne atlas is to be found. The atlas -a synoptic arrangement of photographs displayed on various panels that allowed him to think in images- will form the starting point from which Didi-Huberman will develop his own theory of montage. Thus, the originality of this approach resides in the understanding of montage as a technique that does not only unravel hidden links between elements, but makes possible to understand how the memory and different temporalities of images work. Therefore, the thesis aims to revisit Didi-Huberman’s work in order to understand how he has read Aby Warburg, and how he has developed his genuine theory of image montage, understood as an innovative and knowledge-producing form that is characterised by its transversal and interdisciplinary nature.
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Moreno, González Santiago. "El exilio interior de José Jiménez Lozano. Estudio de una propuesta narrativa singular." Doctoral thesis, Universidad de Murcia, 2008. http://hdl.handle.net/10803/10959.
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José Jiménez Lozano es un escritor singular dentro del panorama literario hispánico de las últimas décadas. Su obra es vasta y diversa y a esta observación inicial no escapa su narrativa, género en el que el escritor se muestra más prolífico. A pesar de la diversidad aparente, existe una notable unidad subyacente a toda la obra de José Jiménez Lozano. Esta unidad reposa no sólo sobre el regreso constante a unos mismos asuntos sino también sobre los planteamientos o fundamentos de los que parte su creación literaria. El escritor reflexiona sobre su obra y deja diseminado, a través de las diversas manifestaciones de su prosa de ideas, un discurso sobre la escritura que este trabajo sintetiza, valorando, asimismo, la coherencia entre esta reflexión y la praxis literaria.José Jiménez Lozano is a unique writer in the Hispanic literary scene of these last decades. His work is vast and diverse, and this initial observation does not escape his narrative, which genre the write demonstrates more prolifically. Despite the apparent diversity, there is outstanding unity underlying Jiménez Lozano´ entire work. This unity lies not only on the constant return to the same matters, but also on the approaches or the reasons, from which his literary work begins. The writer reflects over his work ant lets his ideas expand through the diverse manifestations of his ideas on prose. It is a talk about the rhetorical writing of this work, valuing the coherent existence between reflection and literary practice
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Mahmoud, Salim. "La structure narrative dans la trilogie de ʼAḥlām Mustaġānimī, et la présence de l’Algérie dans des histoires d’amour." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3045.
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Cette thèse est une analyse de la trilogie de ʼAḥlām Mustaġānimī, une des premières auteures algériennes en arabe avec l’analyse formelle et les travaux de Genette. L’introduction aborde la méthodologie et la problématique. Comment les romans sont-ils tissés en une trilogie et pourquoi ont-ils eu un tel succès auprès du lectorat arabophone ? Ce qui en amène un autre : comment l'histoire algérienne est-elle incluse dans la trilogie. La première partie montre que ces romans sont le reflet de la vie de Mustaġānimī et de son engagement, à travers les dédicaces et la langue arabe dont des générations ont été privées. La deuxième partie reprend les outils de l'approche formelle pour déterminer le mécanisme du suspense par le démontage du texte narratif en les éléments constitutifs du récit principal, l’histoire d’amour, et ses interruptions. Elle montre la grande sensibilité de ʼAḥlām Mustaġānimī à la place de la femme et à la politique algérienne avant et après l’indépendance. La dernière partie, avec les intertextualités et les styles linguistiques, analyse le texte, et la poésie de son écriture. Cette maitrise de la langue arabe par Mustaġānimī est une des causes de son succès dans le lectorat arabophone. Cette thèse montre l’intérêt de ces méthodes d’analyse, expliquant et objectivant les ressentis du lecteur. Enfin, Mustaġānimī se retrouve dans le protagoniste implicite de la trilogie qui est donc une « intrusion » dans la vie de l'écrivaineThis thesis is an analysis of the trilogy of ʼAḥlām Mustaġānimī, one of the first Algerian authors in Arabic with formal analysis and the works of Genette.The introduction discusses the methodology and the issue. How are the novels woven into a trilogy and why have they been so popular with the Arabic-speaking readership? Which leads to another: how Algerian history is included in the trilogy. The first part shows that these novels are a reflection of Mustaġānimī's life and his commitment, through the dedications and the Arabic language of which generations have been deprived. The second part uses the tools of the formal approach to determine the mechanism of suspense by disassembling the narrative text into the constituent elements of the main story, the love story, and its interruptions. It shows ʼAḥlām Mustaġānimī's great sensitivity to the place of women and to Algerian politics before and after independence. The last part, with intertextualities and linguistic styles, analyzes the text, and the poetry of its writing. This mastery of the Arabic language by Mustaġānimī is one of the causes of his success in the Arabic-speaking readership. This thesis shows the interest of these methods of analysis, explaining and objectifying the feelings of the reader. Finally, Mustaġānimī finds himself in the implicit protagonist of the trilogy, which is therefore an “intrusion” into the life of the writer
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Liu, Chia-jane, and 劉家禎. "Killing Time: Synchronicity and Anachronism in Tom Stoppard." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/13142188630151253637.
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碩士淡江大學
西洋語文研究所
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Time has always been one of the most important concerns in Tom Stoppard’s plays. His innovative, theatrical treatment of time makes Stoppard one of the most unconventional and outstanding playwrights of the postmodern drama. Stage performance is one of the most effective art forms in representing the theatricality of anachronism and synchronicity, and even the device of montage in films cannot so fully express the contradictory situations of Stoppard’s works as performed onstage. Stage performance offers the most advantages in confronting the audience with the absurdity and whimsy in human conditions. Stoppard uses anachronism and synchronicity interrealtedly to violate and de-familiarize our normal concept of time and raises a chain of questions within the minds of the audience. Through a textual study of the temporal elements of the three plays─Travesties, Arcadia and The Invention of Love, we can grasp the quintessence of Stoppard’s theatrical exploration of an alternative critical thinking that refutes the Enlightenment and the Newtonian science of absolute truth. Stoppard excavates the ambiguous quintessence of time and the possibilities of alternative temporal implications─synchronistic juxtapositions and confrontation in Travesties, the anachronistic simultaneous meetings of people from two distant eras in Arcadia, and the anachronistic expostulations of A. E. Housman with his younger self in The Invention of Love. In terms of postmodern treatment of time, Stoppard’s plays echo this anti-Enlightment paradigm in that it holds that history can no longer be defined as a stable, or rather, as a rigid, diachronic representation of historical facts. This liberation of time from the “legitimacy of time and history” attempts to excavate the “otherness” of history, to emancipate the repressed the and omitted, and to find a new scope and horizon outside the Newtonian universe of order and design. History is open to interpretation, through the synchronicities and anachronisms of historical “events.” An “antithesis” of temporal confusions and experiments is proposed as a valid replacement for the orthodox thesis of the absolute truth of history and knowledge, and in the upshot, the playwright shows the audience that he believes that a whole, new, synthetic picture of the world is convincingly expressed in his works.
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Svitáková, Kristina. "Dílo Fabiána Puléře." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350542.
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This thesis deals with Fabian Puléř, an illuminator who lived in the 2nd half of 16th century in Prague, and about his workshop in the Old Town. The main theme is the graduals and their fragments, which were made in his shop or are believed to be made there (the Metropolitan St. Vitus Temple Gradual, the Gradual of Čáslav, the Gradual of Žlutice, three illuminations from the collection of National Gallery in Prague, the two-part St. Valentine's Gradual from the Old Town, the fragments of Kaňkovský Gradual, the Gradual of Louny owned by Jan Táborský of Klokotská Hora, the Gradual of Český Brod), their description and cataloguization. Apart of critically rewieving the literation on the subject to this day, my thesis follows the life of Fabian Puléř regarding archival sources and also influences and impulses behind his work. It also contains crucial chapter about iconography of utraqistic musical manuscripts and about the litterateur brotherhoods, who ordered these hymnic books.