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Vermeulen, Liezel. "Aspekte van die prosa van André P Brink met spesifieke verwysing na Sandkastele (1995)." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003809.
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Hierdie studie ondersoek aspekte van die prosa-oeuvre van die Suid-Afrikaanse outeur André P. Brink, met spesifieke verwysing na sy eerste post-apartheid roman Sandkastele (1995). Hierdie teks se feministiese hersiening van en alternatief tot die manlikgedomineerde en -gedokumenteerde amptelike geskiedenis van Suider-Afrika staan sentraal in die postmodernistiese, postkoloniale fase waarin die Brink prosa-oeuvre die verlede heroorweeg. Die pre-koloniale en koloniale verlede van die landstreek word herkaart deur die vertelling van stories van vroue van die verlede in 'n unieke vertelsituasie wat 'n her-verbeelde, tekstuele vrouegeskiedenis registreer. Die konsep "reimagination" wat ontwikkel in Brink se kritiese en literêr-teoretiese werke vanaf die publikasie van die essay "Imagining the real" in Mapmakers (1983) en Elleke Boehmer se konseptualisering van die tekstuele gevolge van dekolonisasie (1995) word ontgin. Spore van die magiese realisme, die postkolonialisme, die poststrukturalistiese postmodernisme en leeswyses en denkrigtings wat in die feminisme en genderstudies aandag geniet, word in Sandkastele se vertelling, narratiewe figure en ruimte ondersoek. Hierdie leesstrategie akkommodeer die Brink-oeuvre se voortdurende heroorweging en ontdekking van nuwe tekstuele moontlikhede, 'n proses wat gekenmerk word deur 'n reeks tematiese of konseptuele ontwikkelinge en die uit-en deurwerk van belangstellings van vorige Brinktekste. ABSTRACT: This study investigates aspects of the prose oeuvre of the South African author André P. Brink, with specific reference to his first post-apartheid novel Imaginings of Sand (1995). The feminist revisioning of the text as an alternative to the male-dominated and -documented official history of Southern Africa is central to the postmodernist, postcolonial phase of the Brink oeuvre in which the past is reconsidered. The pre-colonial and colonial past of the country is remapped through the stories of women of the past in a narrative construction which registers a re-imagined textual women's history. The concept "reimagination" which develops in Brink's critical and literary theoretical works from the publication of the essay "Imagining the real" in Mapmakers (1983) and Elleke Boehmer's conceptualisation of the textual effects of decolonisation (1995) is utilised. Traces of the magical realism, postcolonialism, poststructuralist postmodernism and approaches which are explored in feminism and gender studies are explored in Sandkastele's narrative construction, characters and space. This reading strategy accommodates the Brink oeuvre's continual re-evaluation and uncovering of new textual possibilities, a process that is characterised by a series of thematic or conceptual developments and the deployment of themes from previous Brink prose texts.
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Milton, Laura. "Aspekte van die erotiek in enkele romans van André P Brink." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1002094.
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Die doel van hierdie studie is om ondersoek in te stel na aspekte van die erotiek in enkele romans van André P. Brink. Die studie bestaan uit twee afsonderlike dele: genoem 'teorie' en 'praktyk'. In die teoretiese deel sal daar eerstens kortliks gekyk word na 'n definiering van enkele kernbegrippe - onder andere 'seksualiteit', 'erotiek' en 'pornografie'. Daar word nie gepoog om algemeen-geldende definisies te formuleer nie, maar eerder definisies wat nuttig is vir die doel van hierdie studie. Daarna sal ondersoek ingestel word na Brink self se teoretiese formulerings met betrekking tot die erotiek. In die tweede deel sal gekonsentreer word op die erotiek in die praktyk van Brink se romans. Eerstens sal die keuse van romans verduidelik word en dan sal daar oorgegaan word tot 'n bespreking van drie romans: Die ambassadeur (1963), Kennis van die Aand (1973) en 'n Oomblik in die wind (1975). Ten slotte sal die gevolgtrekkings van die studie kortliks saamgevat word (Introduction, p. 1)
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Potgieter, Maretha. "Narratiewe strategieë by die ondersoek van die verlede in twee romans, naamlik Lijken op liefde (1997) deur Astrid H. Roemer en Duiwelskloof (1998) deur André P. Brink." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1002151.
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This study investigates some of the narrative strategies used by two novels, namely Lijken op Liefde (1997) by the Surinam born author Astrid H. Roemer and Duiwelskloof (1998) by the South African André P. Brink, in their exploration of and dialogue with traumatic pasts. Both texts are written within so-called postcolonial time frames, delve into the personal and collective past and attempt to provide a corrective on knowledges that used to be deemed not useful, unimportant or have been forgotten by official historiography. The theoretical base of the study is an eclectic mixture of both postcolonial and postmodern theories, throwing light on the strategies employed by these novels in order to understand, problematise and creatively exploit the past.Hierdie studie kyk na sommige van die narratiewe strategieë binne twee romans, naamlik Lijken op Liefde (1997) deur die Surinaams-gebore outeur Astrid H. Roemer en Duiwelskloof (1998) deur die Suid-Afrikaner André P. Brink, in hulle ondersoek na en dialoog met die traumatiese verlede. Beide tekste is geskryf binne sogenaamde postkoloniale tydvakke, delf in die persoonlike en kollektiewe verlede, en verskaf ’n korrektief op die dinge wat as onbruikbaar of onbelangrik beskou is, of vergete geraak het binne die offisiële historiografie. Die teoretiese basis van die studie is ’n eklektiese mengsel van beide postkoloniale en postmoderne teorieë wat lig werp op die strategieë wat hierdie tekste gebruik om die verlede te verstaan, te problematiseer en kreatief te ontgin.
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Nagel, Amilinda. "Van dagboek tot reisjoernaal : 'n literêre ondersoek na intertekstualiteit in Bidsprinkaan (2005) van André P. Brink." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1050.
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The dissertation offers a reception study followed by a critical analysis of Bidsprinkaan by André P. Brink [Praying Mantis, 2005], as well as a careful study of the relevant historical and anthropological intertexts pertaining to the text. This research adds to a fuller understanding of the history of Cupido Kakkerlak and the missionaries. Brink encoded the novel with certain historical and anthropological codes, well-hidden beneath the surface of his fictional writing, thus achieving a finely balanced interaction between fact and fiction in his novelistic construct. This novelistic amalgam of the imaginative world with the historical and anthropological material, gives multidimensionality to the text which is not visible at a first superficial reading. Failing to recognize the traces to these intertexts, would result in a lesser understanding of the conflicting fields in which the main character is positioned, specifically between indigenous belief and Christianity, as well as between indigenous culture and mythology on the one hand, and western culture on the other hand. The author ‘encodes’ the novel (to use the terminology of Jakobson’s communication model) with these historical and anthropological intertexts, which the reader has to ‘decode’ in order to unlock the novel. One central technique therefore, is that of interwoven fact and fiction. This is a technique employed in most of Brink’s novels, such as ‘n Oomblik in die wind, 1975 [An Instant in the Wind], Houd-den-Bek, 1982 [A chain of voices,], Die eerste lewe van Adamastor, 1986 [The First Life of Adamastor, 1993], Inteendeel, 1993 [On the Contrary, 1993] and Duiwelskloof, 1998 [Devil’s Valley, 1998]. Khoi and San history, culture and identity also figure centrally in these novels. A further aspect of my hypothesis is suggested by the politically correct Afrikaans title, Bidsprinkaan (the common nomenclature for the praying mantis is “hotnotsgot”, which roughly translates as “hottentots’ god”, with obvious racial pejorative suggestion). Brink’s use of “bidsprinkaan” for his title, alerts the reader to contemporary political sensitivity, thus contrasting the society of two centuries ago with the present. The more sophisticated reading process followed here compares colonial and postcolonial South African societies, and attempts to tease out the implied ideological facet embedded in the novel.
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Mundt, André Philipp [Verfasser]. "Dynamic risk management with Markov decision processes / von André Philipp Mundt." Karlsruhe : Univ.-Verl. Karlsruhe, 2008. http://d-nb.info/987534416/34.
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Kindermann, Philipp [Verfasser], Alexander [Gutachter] Wolff, and André [Gutachter] Schulz. "Angular Schematization in Graph Drawing / Philipp Kindermann. Gutachter: Alexander Wolff ; André Schulz." Würzburg : Würzburg University Press, 2015. http://d-nb.info/1111783756/34.
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Boucharenc, Myriam. "L'échec et son double : Philippe Soupault romancier." Paris 10, 1994. http://www.theses.fr/1994PA100148.
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Auteur avec André Breton des champs magnétiques, Philippe Soupault est un nom célèbre mais un écrivain, et notamment un romancier, encore mal connu. Apres de brillants débuts comme poète, romancier et essayiste, il néglige son œuvre, abandonnant le roman au début des années trente. Fascine par la destinée de Rimbaud et de Lautréamont, Soupault rêvait d'une rupture idéale qui l'aurait métamorphosé en un autre. Mais ce mythe de l'échec grandiose, qui a guidé son écriture, l'a peu à peu conduit à sacrifier son œuvre. Cette problématique originale de l'échec donne lien a une étude psychanalytique des romans : les figures du destin, de la mélancolie, du deuil, de l'imaginaire parental et leurs conséquences sur la poétique des récitsAuthor with Andre Breton of les champs magnetiques, Philippe Soupault is a famous name whose works, in particular novels, are still unknown. After a brilliant career as a novelist, a poet and an essayist, he moves away from literature at the beginning of the thirties. Fascinated by the destiny of Rimbaud and Lautreamout, the novelist expresses the desire of an ideal rupture that could transform himself into another. But the myth of such a magnificent failure which has guided his writing has steadily turned into sacrifice of the works. This singular problematic of failure leads to a psychoanalytic study of the novels: the figures of destiny, melancholia, mourning imaginary of parents. . . And their ellects on the poetic of the writter
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Ponelis, Karlien. "Die invloed van die Plautiniese klug op die moderne klug." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52206.
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Thesis (MPhil)--Stellenbosch University, 2001.ENGLISH ABSTRACT: The present thesis deals with the impact of the ancient Greek farce on modem literature with specific reference to the play Kinkels innie Kabel (1971) by the contemporary Afrikaans author André P. Brink. This play is loosely based on Shakespeare's The Comedy of Errors, which in tum derives from Plautus' Menaechmi. Brink's play thus resonates with an entire European tradition. The relationship between the modem and the ancient farce is studied with reference to the concept of comedy. Comic effects, the difference between comedy and tragedy in respect of the handling of vital issues and the comic vision of the playwright are all taken into account. The analysis of the development of Athenian Old Comedy to the Roman Comedy refers to the contribution of Plautus and Terence to the continuation and revitalisation of Greek New Comedy. A comparison of these two playwrights reveals the characteristics of the farce and the difference between farce and comedy. The modem relevance of the farce is studied on the basis of Brink's text. For this purpose Plautus' original plot, the Shakespearian version and Brink's rendition are discussed and compared. On the basis of the similarities and differences in plot, caricaturisation, misidentifications, politics, fantasy, coincidence, irony, farcical violence, mechanical structure, temporal structure and linguistic register, the influence of the ancient farce on its modem counterpart is demonstrated. In addition to farce, Brink employs the classical devices of satire and parody to drive home his (political) message. Finally it is shown that the farcical in Plautus, Shakespeare and Brink serves a significant and serious thematic purpose.
AFRIKAANSE OPSOMMING: Hierdie verhandeling handel oor die impak van 'n antieke Griekse komedievorm, die klug, op moderne werke en denke. A.P. Brink se verhoogstuk Kinkels innie Kabel (1971) is 'n vrye verwerking van William Shakespeare se The Comedy of Errors. Laasgenoemde werk is weer op sy beurt gebaseer op Plautus se Menaechmi. In sy verwerking van Plautus en Shakespeare laat A.P. Brink die hele Europese tradisie deurklink. Die verhouding tussen die moderne klug en die antieke klug word bestudeer deur te fokus op die term komedie: die verhouding daarvan met lag en hoe die komedie van die tragedie verskil ten opsigte van die hantering van lewensproblematiek en komiese visie van die komedieskrywer, maak deel uit van hierdie bespreking. Die komedie se herkoms en ontwikkeling vanaf die Ou Komedie tot die Romeinse Komedie, val ook onder die soeklig. In aansluiting hiermee word Plautus en Terentius bespreek as twee komedieskrywers wat 'n rol gespeel het in die oorlewering en verlewendiging van die Griekse Nuwe Komedie. Hierdie twee skrywers word ook met mekaar vergelyk sodat die eienskappe van die klug geïllustreer word, en hoe dit in wese verskil van komedie. Die relevansie van die klug in moderne denke word bestudeer aan die hand van Brink se teks. In hierdie verband word daar 'n uiteensetting gegee van die oorspronklike Plautiniese verhaal, die Shakespeariaanse weergawe en die Brinkiaanse teks. Aan die hand van die ooreenkomste en verskille in intrige, karikaturisering, identiteitsvergissings, politiek, die fantasie-element, toeval, ironie, klugtige geweld, die meganiese struktuur, die tydstruktuur en taalregister word die invloed van die antieke klug op die moderne klug geïllustreer. Benewens die klug word Brink se werk ook verder beïnvloed deur twee klassieke middele, met name satire en parodie. Hiermee bring Brink sy (politieke) boodskap tuis. Ten slotte word die dieperliggende temas in Plautus, Shakespeare en Brink se werk bespreek deur aan te toon dat die werk nie net om die klugtige gaan nie, maar ook die meer ernstige.
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Bartsch, Philipp [Verfasser], and André [Akademischer Betreuer] Thess. "Entwicklung neuer Modelle zur Beschreibung von Schüttgutströmungen in Wanderbettwärmeübertragern / Philipp Bartsch ; Betreuer: André Thess." Stuttgart : Universitätsbibliothek der Universität Stuttgart, 2020. http://d-nb.info/1221132539/34.
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Couturier, Jean-Philippe [Verfasser], and André [Akademischer Betreuer] Laschewsky. "New inverse opal hydrogels as platform for detecting macromolecules / Jean-Philippe Couturier ; Betreuer: André Laschewsky." Potsdam : Universität Potsdam, 2016. http://d-nb.info/1218401001/34.
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Frenzel, Philipp Verfasser], A. [Akademischer Betreuer] Pfennig, R. [Akademischer Betreuer] Hillerbrand, and André [Akademischer Betreuer] [Bardow. "Bewertung von Syntheserouten auf Basis von Exergiebilanzen / Philipp Frenzel ; A. Pfennig, R. Hillerbrand, André Bardow." Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://d-nb.info/1156536669/34.
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Frenzel, Philipp Emanuel [Verfasser], A. Akademischer Betreuer] Pfennig, R. [Akademischer Betreuer] Hillerbrand, and André [Akademischer Betreuer] [Bardow. "Bewertung von Syntheserouten auf Basis von Exergiebilanzen / Philipp Frenzel ; A. Pfennig, R. Hillerbrand, André Bardow." Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://nbn-resolving.de/urn:nbn:de:hbz:82-rwth-2015-014545.
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Créac'h, Martine. "La peinture de Poussin en partage : Claude Simon, René Char, André du Bouchet, Yves Bonnefoy et Philippe Jaccottet." Paris 8, 2001. http://www.theses.fr/2001PA082021.
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A l'origine de cette recherche, il y eut l'étonnement de découvrir chez plusieurs écrivains contemporains, quatre poètes et un romancier, une référence insistante à un peintre que la tradition présente comme un modèle classique. D'un côté, un art érigé en norme, de l'autre, des formes inventives, celle du "nouveau roman", celles de la prose poétique, du vers libre ou de la note. Sur quel terrain commun pouvait s'installer cet étrange et rare "voisinage" ? L'étude découvre une réception nouvelle de la peinture de Poussin dans la littérature d'après 1945. Elle s'écarte à la fois de la tradition classique et de celle du début du siècle qui donnait ce peintre de la ligne en modèle d'un nécessaire "retour à l'ordre". Dans le miroir de la peinture de Poussin, d'une biographie légendaire, ce travail repère quelques traits caractéristiques de cette génération littéraire qui se démarque de l'héritage surréaliste. Parce que la question de l'écriture était centrale, il fallait étudier successivement l'approche de chaque auteur et rendre sensible ainsi le jeu, chaque fois singulier, entre peinture et écriture. . .
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Tischer, Philipp [Verfasser], André [Akademischer Betreuer] Rüffer, and Robert [Gutachter] Cesnjevar. "Dopplersonografische Darstellung des zerebralen Blutflusses im Rahmen von kindlichen Aortenbogenoperationen / Philipp Tischer ; Gutachter: Robert Cesnjevar ; Betreuer: André Rüffer." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2019. http://d-nb.info/1197905057/34.
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Zubiate, Jean-Pierre. "Du verbe aux voix : la quête du sens dans la poésie moderne (Yves bonnefoy, André du Bouchet, Philippe Jaccottet)." Toulouse 2, 2001. http://www.theses.fr/2001TOU20089.
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Cette étude tend à définir une sensibilité poétique née au sortir de la deuxième guerre mondiale et qui s'est développée sur un demi-siècle à partir des interrogations que l'histoire obligeait à se poser relativement à la validité du discours d'imagination. La question du Sens y sert de fil directeur, qui permet d'articuler un moment historique particulier de la pensée et de la création aux problématiques multiples qu'il exigeait de résoudre et qui tournaient autour d'une justification linguistique, philosophique et ethique de la pratique esthétique et, notamment, poétique. On observe donc comment des poètes majeurs ont cherché à nouer le fil du Sens contre les postures qui, à même époque, invalidaient un tel concept, sans pour autant en revenir aux tentations de la mimésis. Cherchant à justifier une forme de réalisme dans un contexte qui rendait un tel projet improbable, se vouant à justifier une présence du monde, de la personne et d'une parole transitive au coeur du dire, ces poètes ont embrassé le paradoxe en pariant pour la poésie comme discours de liaison et pour une assimilation interrogative de la reflexivité par la pratique imaginaire. Cette gageure les a amenés à élaborer une autre définition du Sens, fondée sur le concept de parole possible et, partant, un nouveau monde de réalisme, dégagé de toute métaphysique, fondé dans l'ontologie et la phénoménologie. Cette double redéfinition autorisant la plus large pratique figurale et imaginale, un tel projet a pu être illustré par des auteurs aux pratiques stylistiquement très distinctes : André du Bouchet, Yves Bonnefoy et Philippe Jaccottet nous ont ainsi paru affirmer, non pas une célébration du Sens contre la forme, ni l'inverse, mais la valeur de toute figuration comme figuration, la notion de figure venant subsumer chez eux les clivages axiologiques des formes individuées et suggérant une présence participative réciproque des oeuvres et du mondeThis study tries to define a poetical sensibility which began after the Second World War and which developped, during a half-century out of the questions provoked by the events of recent History, concerning the validity of imaginative discourse. In this respect, the question of Meaning is used as a directional thread, insofar as it allows to articulate a precise historical moment of thought and creation with regards to the multiple problems that it was necessary to solve and that revolved around a linguistical, philosophical and ethical justification of esthetic and, notably, poetical practice. It is therefore observed how majors poets have attempted to defend Meaning against the postures which, during the same era, relegated this concept to the past, but without returning to the temptations of Mimesis. Attempting to justify a form of realism in a context which made such a project improbable, dedicating themselves to justifying a presence of the world, the person and the transitive word in the regions of expression, these poets embraced the paradox, betting on poetry as a discourse of connecting and on an interrogative assimilation of the reflexivity through imaginative practice. This wager led them to the elaboration of another definition of Meaning, based on the concept of the possible word and, therefore, a new mode of realism, free from all metaphysic, based in ontology and phenomenology. This double redefinition allowed for the widest figural and imaginal practice. We have also chosen to illustrate such a project by referringto three authors who had very different stylistic practices : André du Bouchet, Yves Bonnefoy and Philippe Jaccottet seemed to assert, neither a celebration of Meaning against Form, nor the reverse, but the value of all figuration as figuration, the notion of the figure subsuming the axiological divisions of individual forms and suggesting a participatory presence, from the world to the works and from the works to the world
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Klamann, André Philipp [Verfasser], and Achim [Akademischer Betreuer] Langenbucher. "Entwicklung und Rehabilitation der Sehfunktion nach Wellenfrontanalyse geführter Laser-in-situ-Keratomileusis (LASIK) / André Philipp Klamann. Betreuer: Achim Langenbucher." Saarbrücken : Saarländische Universitäts- und Landesbibliothek, 2016. http://d-nb.info/1099952123/34.
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Boucly, Jean-Christophe. "Magnétisme, mystique et ésotérisme chrétiens chez quelques disciples de Nizier Anthelme Philippe : Chapas, Georges Descormier, Emmanuel Lalande, Yvon Le Loup, Marcel Roche, André Dumas (1890-1940)." Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE5014.
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L’étude des disciples de Philippe permet de souligner l’importance de la fonction « pharmakologique » du religieux : le magnétisme était la force mystérieuse et parfois inquiétante qui permettait de rétablir l’équilibre des fluides. Le christianisme des disciples de Philippe les portait à souligner l’importance de la prière et à imaginer un magnétisme supérieur, un « magnétisme spirituel », mais ils gardaient souvent la terminologie magnétique : il était encore question de « fluides », de « rayons » et d’ « énergies ». Les différents acteurs, très influencés par l’occultisme de leur temps, importèrent en fait des éléments exogènes au sein d’un ésotérisme occidental originellement chrétien, tels le magnétisme animal et les spéculations orientalisantes des Théosophistes anglo-saxons pour préfigurer, en fin de compte, la nébuleuse « mystique ésotérique » des courants plus ou moins liés au New Age de la deuxième partie du XXe siècleStudying the disciples of Philippe makes it possible to underline the importance of the "pharmakologic" function in religion: magnetism was the mysterious and sometimes troubling force that made it possible to restore balance to the fluids. The Christianism of the disciples of Philippe led them to underline the importance of prayer and to imagine a superior magnetism, a "spiritual magnetism", but they often retained the magnetic oriented terminology: there were still "fluids", "rays" and "energies". The various actors, highly influenced by the occultism of their time, actually imported exogenous elements into a Western esotericism that was originally Christian, such as animal magnetism and the Easternising speculations of the Anglo-Saxon Theosophists in order to foreshadow, in the end, the "mystic-esoteric nebulous" of trends more or less tied to the "New Age" of the second half of the 20th century
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Mayer-Michalon, Isabelle. "Charles Meynier, peintre d'histoire (1763-1832)." Paris 4, 2005. http://www.theses.fr/2005PA040102.
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Né à Paris en 1763, formé dans l'atelier de François-André Vincent, Charles Meynier a remporté le Grand Prix de l'Académie en 1789. Après un séjour à Rome, il a mené à Paris une carrière officielle, répondant sous le Consulat à d'importantes commandes privées. Impliqué dans les grands chantiers de l'Empire, il a participé à toutes les commandes de Vivant Denon pour les Tuileries, la Monnaie des médailles ou l'arc de triomphe du Carrousel par exemple. Sous la Restauration, il est devenu le peintre de plafonds par excellence, travaillant au Louvre et à la Bourse, tout en exécutant des tableaux d'histoires souvent acquis par le gouvernement. En nous appuyant sur des documents d'archives inédits, nous avons tenté de reconstituer une carrière oubliée, puis de dresser un catalogue raisonné de son oeuvre peint et dessinéBorn in 1763, trained in François-André Vincent's studio, Charles Meynier was awarded with the Grand Prix de l'Académie in 1789. Following a short period of time at the French Academy in Rome, he conducted an official career in Paris, working for several important private patrons under the Consulat period. Directly involved in the Empire main artistic projects, he contributed to all of Vivant Denon's contracts, for the Tuileries, la Monnaie and the arc de triomphe du Carrousel for exemple. Under the Restauration period, he became the master at decorating ceilings, working in the Louvre and at the Bourse, while performing history paintings often acquired by the government. By identifying and studying exclusive archive documents, we have managed to track his forgotten career, and to set up the catalogue raisonné of his work
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Kulosa, André Philipp [Verfasser]. "Lamb-Dicke spectroscopy of the 1S0 → 3P0 transition in 24Mg and precise determination of the magic wavelength / André Philipp Kulosa." Hannover : Technische Informationsbibliothek (TIB), 2015. http://d-nb.info/1081961430/34.
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Chartier, Jean. "Philippe Soupault : le choix de la prose durant la décennie 1917-1927." Paris 8, 1994. http://www.theses.fr/1994PA080960.
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Cette these traite de la pratique de la prose de philippe soupault, des premiers ecrits a 1927. Trois cycles sont distingues dans l'ecriture de soupault, qualifiee de dialogique. La prose est adoptee comme langage de l'inconscient, mais elle apparrait aussi comme une ecriture hantee par l'autre, s'adressant a lui, le provoquant. Est consideree dans un premier temps l'intertextualite avec rimbaud, apollinaire, cendrars, tzara, et sont examinees les positions dialogiques initiales avec aragon et breton. Durant ce cycle, allant de 1917 a 1922. Philippe soupault fait de louis aragon au front, le repondant initial de la prose, mais andre breton s'interpose et suggere une autre ecriture, a deux. Les repositionnements a la suite de l'ecriture automatique deviennent alors le propos meme de l'invention du "roman" dans le deuxieme cycle. On envisage ce que philippe soupault ecrit a cote, a propos et en consequence de l'ecriture automatique. Tout le "roman" peut ainsi etre lu comme une fictionnalisation de l'ecriture automatique : il porte sur le texte ecrit a deux. Quant au troisieme auteur, aragon, il passe d'une position en retrait a une situation scripturale voisine de celle de soupault. Le deuxieme cycle (1920-1925) peut etre considere comme place sous le signe de l'autofiction. Quant au troisieme cycle. Seulement esquisse, il prend naissance avec la figure du negre, et s'ouvre a la fantaisie. La poesie signale les trois changements de cycle mais c'est la prose qui reste le langage permettant de dire la realite de l'indicible et de l'inconnu. Quand l'ecriture dialogique est mise a mort, la prose se tait definitivement dans un silence qui rappelle rimbaudThis thesis establishes three cycles for the dialogical writing of philippe soupault with louis aragon and andre breton. Prose is used as the language of the unconscious, but also as the language of the writing interpolated by the other, addressed tp him, provoking him too. During a dsecade, there is a continual interaction between the writing of the three co-authors. The repositionning of one with regard to the other is really the fiction's subject matter. We will start from the first text published, one referring to rimbaud, also from a manifesto-poem written in intertextuality with apollinaire, and from a narrative expressing the forbidden and the unknown. We will consider the automatic writing of philippe soupault with regard to that of andre breton, but also what other is writen elsewhere by the three writers ins this regard, during this time period. All soupault's fiction appears to be fiction about auto0matic writing and its consequences. The fiction concerns three texts which were written in duality and the depossession of these texts. Poetry is used to introuce each new cycle of dialogical writing but only prose is allowed to state the reality of the inexpressible and the unknown. And when the rext ceases to take the two other authors in consideration, the prose becomes silent in soupault's final reference to rimbaud
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Sauter, Philipp André Verfasser], Hans-Harald [Akademischer Betreuer] [Bolt, and Ewald [Akademischer Betreuer] Werner. "Wasserstoffrückhaltung und Erosionsverhalten von wolframdotierten Kohlenstofffilmen (a-C:W) / Philipp André Sauter. Gutachter: Ewald Werner ; Hans-Harald Bolt. Betreuer: Hans-Harald Bolt." München : Universitätsbibliothek der TU München, 2012. http://d-nb.info/1024354903/34.
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Sinn, Philipp [Verfasser], Martin [Akademischer Betreuer] Faulstich, and André [Akademischer Betreuer] Niemann. "Vergleich einer neuartigen Wellenkraftwerkstechnologie mit existierenden Stromversorgungsmöglichkeiten an einem dezentralen Modellstandort / Philipp Sinn. Betreuer: Martin Faulstich. Gutachter: Martin Faulstich ; André Niemann." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/1088725090/34.
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Thieme, Nils [Verfasser], J. Philipp [Akademischer Betreuer] Benz, André [Gutachter] Fleißner, Wolfgang [Gutachter] Liebl, and J. Philipp [Gutachter] Benz. "Plant polysaccharide perception and its molecular regulation – with a focus on pectin degradation - in Neurospora crassa - / Nils Thieme ; Gutachter: André Fleißner, Wolfgang Liebl, J. Philipp Benz ; Betreuer: J. Philipp Benz." München : Universitätsbibliothek der TU München, 2019. http://d-nb.info/1191369587/34.
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Jähde, Philipp [Verfasser], Martin [Akademischer Betreuer] [Gutachter] Göpfert, and André [Gutachter] Fiala. "Analyzing receptor responses in the Drosophila Johnston's organ with two-photon microscopy / Philipp Jähde ; Gutachter: Martin Göpfert, André Fiala ; Betreuer: Martin Göpfert." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2017. http://d-nb.info/1137701501/34.
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Barkowski, Philipp [Verfasser], Waldemar [Gutachter] Uhl, and Christophe André [Gutachter] Müller. "Die schwierige biliodigestive Anastomose-Rekonstruktion des schmalkalibrigen und dünnwandigen Gallengangs mit einer T-Drainage / Philipp Barkowski ; Gutachter: Waldemar Uhl, Christophe André Müller ; Medizinische Fakultät." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1150509635/34.
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Philipp, André [Verfasser], Reinhard R. [Gutachter] Baumann, Stefan [Gutachter] Mannsfeld, and Reinhard R. [Akademischer Betreuer] Baumann. "Steigerung der Effizienz und Leuchtdichtehomogenität von organischen Leuchtdioden mittels Druck- und Laserprozessen / André Philipp ; Gutachter: Reinhard R. Baumann, Stefan Mannsfeld ; Betreuer: Reinhard R. Baumann." Chemnitz : Technische Universität Chemnitz, 2019. http://d-nb.info/121590990X/34.
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Barkowski, Philipp Verfasser], Waldemar [Gutachter] [Uhl, and Christophe André [Gutachter] Müller. "Die schwierige biliodigestive Anastomose-Rekonstruktion des schmalkalibrigen und dünnwandigen Gallengangs mit einer T-Drainage / Philipp Barkowski ; Gutachter: Waldemar Uhl, Christophe André Müller ; Medizinische Fakultät." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1150509635/34.
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Marukawa, Seiji. "La saisie de la matière dans la poésie d'André du Bouchet, Jacques Dupin et Philippe Jaccottet." Paris 8, 1997. http://www.theses.fr/1997PA081307.
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Ceci est une etude sur la question d'immediatete chez les trois poetes (andre du bouchet, jacques dupin et philippe jaccottet) de la generation post-surrealiste. Contre le surrealisme qui revendiquait le primat de l'image visuelle et poetique comme immediat, ces poetes qui ont vu l'effondrement de toutes les + idees ; avec la guerre, voulaient proposer le reel, la matiere plutot que l'inflation imaginaire. Leur mouvement du retour au reel etait si radical qu'ils ont remis en cause l'idee meme de la representation, imaginaire, verbale et meme politique. Leur but ultime est l'acces a ce + reel ; non represente, a la matiere non reduite a la forme, ce qui est pourtant impossible a jamais. En essayant d'oter la representation, ils decouvrent fatalement une dimension inconnaissable qui est encore plus reelle, materielle et bouleversante : la realite materielle ou psychique hors de tous les savoirs. Et cette tentative qui vise l'impossible ne peut qu'entrainer la contradiction dechirante au niveau de l'enonce, en attestant la divison du sujet. Ce theme essentiel de la redefinition de la place du sujet (et par consequent celle du lyrisme) et de la prise en compte de l'innommable absolu est reflete differemment dans le style et le paysage de chaque poete. Nous voulions mettre en lumiere ce theme et les autres associes en empruntant des voies de la phenomenologie, la psychanalyse et la linguistique. Nous avons place du bouchet au debut pour souligner le refus violent de l'image, et ensuite nous sommes passes a dupin qui fait en revanche appel au truchement de la fiction. Puis jaccottet, qui choisit la relativisation et cherche certaines images qui permettent le + passage ;, conclut nos etudesThis study treats of three poetes of the post-surrealist generation, andre du bouchet, jacques dupin and philippe jaccottet. The title is designed to indicate the immediacy first of all. Against a certain tendency of surrealisme who favoured the " image " (poetic and visual) as its synonym, these poets (and yves bonnefoy who also faced the annihilation of every ideolgy with the war) recognized the necessity of return to the real, the material, as the solid ground at the very root of the imaginary world. Their mouvement of return was such radical that they called into question the representation itself, on the imaginary, verbal and even political level. But their ultimate desire to attain the real not yet represented, the material not yet reduced to the form is definitely unrealizable. In trying to keep away the representation from their language, they will find an unimaginable dimension which can futher be real, concrete and even shattering : the material or psychic reality which can never be represented. This trail to go beyond the representation cause the searing contradiction in the language, proving the division of the subject, understood as the corporal and linguistic unity. In the course of this study, we underlined, through the psychoanalytic, phenomenologic and linguistic approaches, the rehabilitation of the conception of the subject and therewith the lyricisme, and the increased importance that theses poetes give to the unaccountable otherness. This theme and associated others are reflected differentely in the style and the landscape of each poet. We started from du bouchet, whose refusal of image was perhaps the most radical, and then passed on to dupin who, on the contrary, exploit the fiction. We placed jaccotett at the end to see the return to selected images and to the new relationship, which is the beginning of the + passage
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Bourdin, Philippe-André [Verfasser], Hardi [Akademischer Betreuer] Peter, and Wolfgang [Akademischer Betreuer] Glatzel. "Observationally driven 3D MHD model of the solar corona above a magnetically active region / Philippe-André Bourdin. Gutachter: Hardi Peter ; Wolfgang Glatzel. Betreuer: Hardi Peter." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2014. http://d-nb.info/1054191670/34.
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Masotta, Lijtmaer Cloe. "La Pantalla erógena: variaciones de lo figural en el cine de Gunvor Nelson, Stephen Dwoskin, Andrés Duque y Philippe Grandrieux." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/665675.
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En Discurso, Figura, el filósofo francés Jean-François Lyotard acuña un término: figural, que teóricos como Nicole Brenez, Philippe Dubois o Jean-Michel Durafour, entre otros, han llevado al terreno del análisis de la imagen cinematográfica. El pensamiento figural hace de la materialidad de la imagen, de su plasticidad, su objeto de estudio privilegiado. El objetivo de esta tesis es analizar las filmografías de Gunvor Nelson, Stephen Dwoskin, Philippe Grandrieux o Andrés Duque; a partir del análisis de sus figuraciones del cuerpo en danza, el rostro, las relaciones de sus imágenes con lo pictórico, así como la presencia en estas de “lo animal”, veremos cómo en sus filmografías el concepto de figural varía, centrándonos no solo en el análisis de sus imágenes, pero también de sus reflexiones teóricas sobre el cine en forma de artículos, entrevistas o, incluso, documentos directamente asociados al rodaje como su registro filmado. Junto con la emergencia del espacio figural, en sus propuestas cinematográficas, y en relación con su exploración de las posibilidades de la materia fílmica y también digital, descubriremos que las imágenes de todos estos cineastas se acercan a lo háptico, otro concepto central en esta tesis. Pues las imágenes del cuerpo, del rostro, de Nelson, Dwoskin, Grandrieux y Duque, son una invitación al espectador a establecer una relación sensorial con las imágenes, que nos lleva a pensar la pantalla de cine como una superficie erógena. Por otro lado, la mirada sobre el cuerpo que estos cineastas proyectan en sus películas cuestiona desde distintos puntos de vista muchas de las figuraciones del cuerpo presentes en la historia del arte, de la fotografía y del cine. Lo que nos lleva a plantear, a partir de las filmografías de los cuatro autores que analizamos en esta tesis, que, frente al concepto de archivo de imágenes del cuerpo, desarrollado por autores como Allan Sekula, surgido en el siglo XIX, con el nacimiento de la fotografía y en conjunción con el concepto de Foucault de “cuerpo dócil”, disciplinado, existe un “archivo indisciplinado” de imágenes del cuerpo.In Discourse, Figure, French philosopher Jean-François Lyotard coins a term: figural, which theoreticians such as Nicole Brenez, Philippe Dubois or Jean-Michel Durafour, among others, have applied to the analysis of the cinematographic image. Figural thought makes of the materiality of the image, of its plasticity, its privileged object of study. The aim of this thesis is to analyze, through the concept of the figural, the filmographies of Gunvor Nelson, Stephen Dwoskin, Philippe Grandrieux or Andrés Duque; from the analysis of their cinema figurations of the dancing body, of the face, of the relationships of his images with the pictorial, as well as of the presence of “the animality” in their cinema, we will see how in their filmographies this concept of figural varies, focusing not only on the analysis of their images, but also on their theoretical reflections on cinema in articles, interviews or, even scripts or shooting plans associated with filming. Together with the emergence of the figural space, in their cinematographic proposals, and in relation to their exploration of the possibilities of filmic and digital matter, we will discover that the images of all these filmmakers approach the haptic, another central concept in this thesis. For the images of the body and the face by Nelson, Dwoskin, Grandrieux and Duque invite the spectator to establish a sensory relationship with the images, which leads us to think of the cinema screen as an erogenous surface. On the other hand, the view of the body that these filmmakers project in their films questions in different ways many of the figurations of the body present in the history of art, photography and cinema. What leads us to argue, from the filmographies of the four authors that we analyze in this thesis, that in front of the concept of an archive of images of the body emerged in the XIX century, developed by authors like Allan Sekula, with the birth of photography and in conjunction with Foucault's concept of "docile body", and discipline, there is an "undisciplined archive" of images of the body.
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Spohnholz, Johannes Philipp Hermann [Verfasser], Ansgar Michael [Gutachter] Chromik, and Christophe André [Gutachter] Müller. "Conversion cholecystectomy in patients with acute cholecystitis: it’s not as black as it’s painted! / Johannes Philipp Hermann Spohnholz ; Gutachter: Ansgar Michael Chromik, Christophe André Müller." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1129452212/34.
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Fahey, Joseph. "Le problème du monde dans la poésie surréaliste : Breton, Éluard, Soupault (1919-1932)." Paris 3, 2004. http://www.theses.fr/2004PA030049.
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Le surréalisme, depuis les commentaires de Sartre notamment, a généralement été perçu comme l'expression d'un refus du monde. De même, la poésie surréaliste, en raison des incohérences sémantiques et logiques qui la caractérisent, a souvent été interprétée comme un jeu de langage réflexif qui se détourne de tout souci référentiel. Cette thèse réévalue la pensée du monde et l'engagement à l'égard du réelle en s'appuyant sur les textes théoriques majeurs de l'histoire du surréalisme, et en discutant la lecture thématique du corpus poétique. L'analyse met en place une théorie de la lecture dont la méthode est inspirée de la phénoménologie de Husserl qui, à partir des poèmes fondateurs d'André Breton, de Paul Éluard et de Philippe Soupault (1919-1932), cherche à renouveler l'interprétation de la relation du texte à la représentation. Le poème surréaliste y est abordé en termes de constitution d'un objet problématique, et d'expérience des structures mêmes qui font et défont ce qu'on appelle le mondeThe surréalisme has often been perceived, in accord with Sartre's evaluation of the movement, as the expression of a negation of the real world. Surrealist poetry, because of the logical and semantic incoherence that defines it, has in the same way been interpreted as reflexive word-play and being devoid of any referential orientation. This study reevaluates surrealism's thought on the world and its engagement in reality on the basis of the movement's principal theoretical texts, and through a thematic reading of the poetic corpus. The analysis establishes a theory of reading whose methods are inspired by Husserl's phenomenology, which it applies to the poems of André Breton, Paul Éluard and Philippe Soupault (1919-1932), seeking to renew the interpretation of the relationship between text and representation. The surrealist poem is studied in terms of the problematic constitution of its objet and the experience of the very structures that build and unbuild what we call the world
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Renouf, Magali. "Surréalisme africain et surréalisme français : influences, similitudes et différences." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2004/document.
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Le surréalisme africain nécessite d’interroger la part de l’influence du surréalisme français. La terminologie implique, en effet, un lien entre l’écriture africaine et le mouvement français. Ce lien est mis en place à la fois par la critique et par les dialogues entre les deux univers. Senghor incite à considérer la part indépendante de ce surréalisme en évoquant un surréalisme négro-africain. Nous dégageons alors, derrière d’apparentes similitudes, des différences notables qui révèlent un surréalisme au service d’une compréhension du monde purement africaine. Le surréalisme africain serait l’expression de la perception traditionnelle africaine dont la forme s’apparente à celle mise en place par le mouvement parisien sans qu’il y ait nécessairement eu influenceAfrican Surrealism requires the question from the influence of French surrealism. Terminology implies, indeed, a link between African writing and the French movement. This link is established by both critics and the dialogues between the two worlds. Senghor encouraged to consider independent part of this surrealism evoking a black negro-african surrealism. We disclaim then behind apparent similarities, differences which reveal a surrealism in the service of understanding the world purely African. African surrealism is an expression of the traditional African perception whose shape is similar to that introduced by the Parisian movement without necessarily had influence
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Pinto, Ferreira Philippe Daniel [Verfasser], and Andrés [Akademischer Betreuer] Kecskeméthy. "Development of Functional Numerical Scores for Improving the Diagnostic of Motion Impairment of Stroke Patients using Non-Traditional Gait Parameters / Philippe Daniel Pinto Ferreira ; Betreuer: Andrés Kecskeméthy." Duisburg, 2017. http://d-nb.info/1132510627/34.
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Díaz, Sebastián Andrés [Verfasser], Thomas [Akademischer Betreuer] Jovin, Dietmar [Akademischer Betreuer] Stalke, Jörg [Akademischer Betreuer] Enderlein, Guido [Akademischer Betreuer] Clever, Philipp [Akademischer Betreuer] Vana, and Tiago [Akademischer Betreuer] Outeiro. "Water Soluble Photochromic Fluorescent Nanoprobes based on Diheteroarylethenes and Polymer Coated Quantum Dots / Sebastián Andrés Díaz. Gutachter: Dietmar Stalke ; Thomas Jovin ; Jörg Enderlein ; Guido Clever ; Philipp Vana ; Tiago Outeiro. Betreuer: Thomas Jovin." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2013. http://d-nb.info/1045887676/34.
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Servel, Charlotte. "Le cinéma burlesque, une autre origine du surréalisme : les pratiques des surréalistes analysées au prisme des films burlesques pendant les années folles." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7081.
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Plusieurs études riches ont documenté la naissance du surréalisme en la reliant pour l’essentiel soit à la découverte de Freud et de l’inconscient, soit aux principales figures poétiques l’ayant précédé. Ce travail vise à compléter ces études par une nouvelle perspective, celle du cinéma burlesque. Cette thèse montre que le cinéma burlesque a joué un rôle dans l’émergence du surréalisme pendant les Années folles. Lorsque l’on relit les textes de cinéma des surréalistes en les associant aux films burlesques, tout en les mettant en perspective avec d’autres documents critiques et scénaristiques de l’époque et en les prolongeant par des sources qui permettent de saisir leur expérience cinématographique, on observe alors que le cinéma burlesque a agi comme un « excitant » sur les surréalistes qui a mis en mouvement leur imagination, leur écriture et même leur corps. En identifiant le cinéma burlesque comme l’une des origines du surréalisme, cette thèse cherche à revaloriser la dimension burlesque des pratiques surréalistes. La première partie examine les pratiques de spectateur des surréalistes et interroge leur dimension burlesque. La deuxième partie porte sur les écrits surréalistes consacrés au cinéma burlesque et vise à montrer que les films de Charlot et Cie ont été des « excitants » théoriques pour les surréalistes. La troisième partie s’intéresse enfin aux scénarios écrits par les surréalistes et se demande si leur nature burlesque peut s’insérer dans les milieux cinématographiques des Années follesThe birth of surrealism has been documented by several rich studies, mostly linking it to either the discovery of Freud and the unconscious, or to the main preceding poetic figures; without questioning the validity of these studies, this work aims to complete them with a new perspective, slapstick cinema. This thesis shows slapstick cinema’s role in the emergence of surrealism during the Années folles (1920s). Re-reading the surrealists’ cinema writing alongside slapstick movies, comparing them to contemporaneous reviews and scenarios, and expanding upon them with sources allowing to grasp their cinema experience, we can see slapstick cinema acting as a “stimulant” on surrealists, setting in motion their imagination, their writing, their body even. By singling out slapstick cinema as one of the origins of surrealism, this work aims to highlight the “burlesque” in surrealist practice. The first section looks at the surrealists’ movie-going habits and likens them to slapstick behavior. The second section focuses on the surrealists writing devoted to slapstick films and aims to show that Charlie & Cie were stimulants to the surrealist theory. The third and final section looks at the scenarios written by the surrealists and asks whether the slapstick angle fits the cinema industry of the Années folles
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Duru, Audrey. "Dire je : augustinisme et rapport à soi dans la poésie spirituelle de langue française publiée entre Montaigne et Descartes (1580-1641)." Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/duru_a.
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Dans la mouvance des « études culturelles », ce travail conduit une lecture éthique de la poésie spirituelle. Le projet d’écrire un fragment de la « pré-histoire » du sujet et du moi, ainsi que du lyrisme, amène à examiner l’élaboration d’un rapport à soi pratique, voire réflexif, à travers l’énoncé poétique. L’énonciation poétique spirituelle offre-t-elle un dire je fondateur du sujet éthique (qui serait l’équivalent pratique du cogito spéculatif de Descartes, 1637, 1641) ? Un premier temps, intitulé « Poétique de soi », questionne les moyens verbaux et littéraires d’une telle élaboration de soi au tournant du XVIIe siècle. Une écriture marquée par la lecture de Denys l’Aréopagite joue de la crise herméneutique ouverte par le nominalisme, tout en l’utilisant en vue de faire signe et de référer, par l’énigme et le symbole dissimilaire, à un secret. Elle peut être inscrite dans les débats touchant une rhétorique de la personne et de la sincérité, dont sont à l’origine les rhétoriques ecclésiastiques d’Érasme et d’Augustin, relayées notamment par l’entreprise des Essais de Montaigne (1580). Un second temps, intitulé « Politique de soi », met au jour l’importance discursive d’un augustinisme méditatif, à partir de l’examen de la circulation et de l’imitation poétique de méditations augustiniennes apocryphes datant des XIe et XIIIe siècles. Ce courant diffère de l’augustinisme théologique articulé autour de la notion de justification. Nous relevons le rapport à soi qu’il établit aussi bien dans le contexte d’une énonciation mystique que d’une énonciation éthique néo-stoïcienne et questionnons les enjeux publics de la parole personnelle et de l’éthique privée. Elles indiquent une dépolitisation elle-même politique du sujet royal au tournant du XVIIe siècleIn my thesis I present an ethical interpretation of the spiritual poetry in the context of cultural studies. The aim is to conceive a fragment of the “pre-history” of the subject and the self, and further of the lyricism; which leads to a systematic examination of the self-fashioning, practice oriented or reflexive one, via poetic enouncement. Can poetic spiritual enunciation provide a saying I that is the basis of ethical subject (that would be a practical equivalent of Descartes’ speculative cogito, 1637, 1641)? First part, “Poetics of the Self”, investigates the language and literary tools participating on self-fashioning by the turn of the 17th century. Writing influenced by lectures of Dionysius the Areopagite employs the hermeneutic crisis initiated by Nominalism which is, however, used to express and to refer to secret, by the means of enigma and dissimilar symbol. This writing can be situated in the debates on rhetoric of person and sincerity which originate in the ecclesiastical rhetoric of Erasmus and Augustine, spread out especially by the project of Montaigne’s Essays (1580). The second part, “Politics of the Self”, shows the discursive importance of meditative Augustinianism, based on the study of circulation and poetic imitation of apocryphal Augustinian meditations from the 11th and 13th century. The stream differs from the theological Augustinianism constructed on the concept of justification. The thesis reveals the relation to the self elaborated in the context of mystical enunciation, as well as in the ethical neo-stoical enunciation. I investigate the public challenge of this personal speech and private ethics that indicate a de-politisation of royal subject by the turn of the 17th century; de-politisation that is, nevertheless, itself political
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Crous, Matthys Lourens. "Presentations of masculinity in a selection of male-authored post-apartheid novels." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1672.
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Hoyos, Camilo. "La imagen literaria de París. Desde Mercier, Baudelaire y el surrealismo hasta Rayuela de Julio Cortázar." Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7453.
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El propósito de nuestra investigación es analizar la imagen del París surrealista para luego ver su posterior recepción y variación por parte de Julio Cortázar en Rayuela. Los criterios analíticos de nuestra investigación constan en la importancia de la promenade y la visión en la construcción de la imagen de la ciudad a manera de espacio interior. Para comprender los orígenes e inserción en la tradición por parte de los surrealistas, fue necesario establecer los orígenes de las poéticas urbanas de la ciudad de París a finales del siglo XVIII, comprender el auge de París como tema literario a mediados del siglo XIX, analizar la importancia de la tradición noctámbula y la incidencia de Baudelaire en el París moderno para situar a los surrealistas en su manera de comprender la ciudad como un espacio psíquico e interior. Por último, comprenderemos los distintos elementos surrealistas de la construcción de París en Rayuela de Cortázar gracias a los textos escritos durante su período de interés surrealista (1947-1949) y su posterior variación en Rayuela.The purpose of our investigation is to analyze the image of Paris forged in four Surrealist texts published between 1926-1928 in order to understand the Surrealist elements that allowed Julio Cortázar to forge his own image of the city in the novel Rayuela. Our analytical criteria are the importance of the regard and the promenade in the construction of the city as an interior and personal space. To understand the importance of the Surrealist production, it was necessary to visit the origins of Paris as a literary text in the late eitheenth century, the importance of the tradition noctámbule in the XIXth century, the incidences of Baudelaire's work regarding the modern Paris and the change of century that allowed the Surrealist movement to understand the city as an interior and psychic space. Through the establishment of certain criteria and images, we analyzed Paris in Cortázar's novel Rayuela as a Surrealist product, even if Cortázar himself never felt as as a Surrealist writer.
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Martah, Mohamed. "La réception critique de Lautréamont et de son oeuvre." Paris 12, 1994. http://www.theses.fr/1994PA120032.
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Un défi. C'est ainsi que se présente la lecture de l'oeuvre Ducassienne, une oeuvre dont l'hermétisme semble décourager les lecteurs les plus expérimentés herméneutiquement, mais qui, en réalité, les invite à goûter "ce fruit amer et sans danger" que sont "Les Chants". . . Et "Les poésies". Du défi au risque, du risque à l'interprétation et de l'interprétation à l'histoire des lectures, tel est le cheminement de la réception critique de Lautéamont et de son oeuvre. D'une expérience esthétique à l'autre, Lautréamont s'avère de plus en plus accessible et de plus en plus lisible. Grâce à l'oeuvre critique de L. Bloy, d'A. Breton, de S. Dali, de G. Bachelard, de M. Blanchot, de Ph. Sollers et de bien d'autres, la lecture de l'oeuvre ducassienne se concrétise dans une production de textes critiques. Ils sont la preuve de la réception de Lautréamont, de sa place éminente dansd le processus de lectureA challenge. This is how the reading of ducasse's work could be qualified. The hermetisme of his poetical works seems to discourage even the hermetically experienced readers, but which, in reality, invites them to taste <> whitch are les chants. . . And poesies. From challenge to risk, from risk to interpretation, from interpretation to the history readings, such is the progress of the critical reception of lautreamont and his works. From an aesthetic experience to anather, lautreamont proves more and more accessible and more and more readable. Thanks to critical works of leon bloy, andre breton, salvador dali, gaston bachelard, maurice blanchot, philippe sollers, and many others, the reading of ducasse's poetical works materializes in a production of critical texts. They attest to the reception of lautreamont, to his eminent place in the process of reading
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Fourie, Louise Johanna. "Die raamvertelling as strategie in die romankuns van André P. Brink." Thesis, 2014. http://hdl.handle.net/10210/9303.
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M. Litt. et Phil. (Afrikaans)The frame-story (Ger. Rahmenerzahlung, Fr. conte à cadre, Dutch kaderverhaal, Afr. raamvertelling) can be defined as an outer story or narration that frames one or more stories or narrations. According to Wellek and Warren "(t)he frame-story enclosing other stories is, historically, a bridge between anecdote and novel" (1978: 221). Two main types of frame-story are differentiated. The first type is an outer story framing a single story or narration (Afr. Geraamde enkelvertelling), while the second type is a fragmented outer story framing a construction of several seperate (usually autonomous) tales or narrations (Afr. sikliese raamvertelling). These narrations or tales are usually punctuated by fragments of the frame. Sometimes fictitious documents such as a diary, an old manuscript, a chronicle, or a newspaper report are used by the narrator in the frame or outer story. These "documents" form the basis of the story that he or she is going to tell, and at the same time they serve as a device to authenticate this story. The function of the frame can vary. It can serve as a mount or generator for the inner story or stories; it can be a component deriving its meaning from the inner story; or it can be a component with its own plot. The narrative structures and the way in which elements are arranged determine the interdependence between the frame and the inner story or stories. There is a differentiation of styles as well as a time distinction between the frame and inner story or stories. Nevertheless certain actions and events that take place in the frame are often reflected in the inner story or stories, and one plot sometimes parallels the other so that they underline one another.
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Botha, Eleanor Anna. "Manipulering as strategie in André P. Brink se Houd-den-bek." Thesis, 2014. http://hdl.handle.net/10210/9870.
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M.A. (Afrikaans)It has already become a generally accepted platitude to assert that the political novel under the influence of French philosophers Jean Paul Sartre and Albert Camus has as its aim to explicitly manipulate the concrete reader towards a "desired" attitude. "Desired" then in the sense that the reader will be persuaded by means of literary strategies to accept that particular ideological viewpoint which is communicated by the text. Research done into the aspects of historicity of Houd-den-Bek by Andre P. Brink and as it is utilized by him in the manuscript and other investigations have revealed drastic deviations from the historical facts concerning the slave rebellion during 1825 in the Koue Bokkeveld. The novel employs this chain of events as the narrative. Deviations from the factual can be related to the abstract author's will to evoke from the reader a sympathetic or antipathetic response towards figures or groups. The investigation undertaken by H.P. van Coller (1988) also mainly covered the story aspects of the text. The discursive structure of the whole work (which has not yet been fully researched), especially in relation to the manipulating role of the abstract author as the supreme text internal force, is investigated as a segment of this research project. The nature of the literary communication, namely manipulation as text strategy, which is typical of the engaged text, has been criptically traced. In this investigation the emphasis has fallen on certain manipulation strategies which is typical of the engaged text and then particularly on the compositional level, the word level and the conceptual level. Both intrinsic and extrinsic characteristics have been noted in order to establish in what way the organizing force has manifested itself in this text. It has been established that a pragmatic maneuvering is present in the manipulative proceeds of this particular novel which is directed in a clearly persuasive way. i, Finally it has been established from the reaction of literary scholars, critics and readers that a communication process did take place, that the reader was confronted with a "new" ideology. The reception investigations of critics have been employed in order to establish if the persuasive proceeds, which have been built into the structure of the text, do fulfil their referential function with the intended reader/critic as reproductive reader. Was this then so effective that the reality in Houd-den-Bek could become an emotional guilt ridden stimulus not only to the intended reader, but also to the critic. In other words: has the abstract author managed to manipulate the critic and in so doing, has he managed to influence his objective jUdgement as well. The conclusion that has been arrived at amongst other things, is that the too obvious manipulation present in the novel adversely affects it. Manipulative techniques that have been used excessively become "automatic" as a result of being over-emphasized and they therefore lose their effect. The reality model in the text has only been able to persuade the reader/critic in a limited way to become critically aware
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Jansen, van Vuuren Mathilde Sophia. "Een land, baie verhale : intertekstualiteit in Inteendeel van André P. Brink." Thesis, 2012. http://hdl.handle.net/10210/6256.
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M.A.This dissertation explores On The Contrary by Andre P. Brink against the backdrop of creative reading with emphasis on interpretation of the text as a process rather than as a product. The title On The Contrary is already indicative of the author's intention to unlock a myriad of interpretative possibilities in stead of tangibilitating a conclusion. The title also illuminates the principle that what is written is not necessarily what is said, that none of the content is cast in concrete and that the work concerns itself with the offering of contrasts: truth and untruth, imagination and reality, guilt and innocence. A symbiosis of dualism and parallelism is portrayed in order to enrich the potential for multiple text interpretations. Various texts are incorporated into the text of On The Contrary on an inter-textual basis, for the purpose of facilitating the interpretative process in an explicit and/or implicit manner. This study investigates and discusses the following three specific texts: • Don Quijote by Cervantes. Several explicit references are made to this canonised novel of Western literature, but it is the subtle, implied similarities between the lives of the characters Estienne Barbier and Don Quojote that serve as interpretative keys. • Jeanne d' Arc and her history. • The life history of Estienne Barbier, the historical 18 th century Cape figure. Remarkable documented similarities between the historical characters, Barbier and Jeanne d'Arc invite the analytical reader to try and establish the extent and purpose of incorporating the Jeanne d'Arc text into On The Contrary. Through the process of creative reading, the reader's assessment and understanding of Estienne Barbier, as a character in the novel, is moulded and formed by the life story and philosophy of Jeanne d'Arc. Barbier is constructed from a compound of historical facts and fictitious incidents. Historical "gaps" in the life of Estienne Barbier are compensated for through the introduction of elements from the life history and philosophy of Jeanne d'Arc. To that extent Barbier is a consequential character whose life and philosophy inextricably reflects examples derived from Jeanne d'Arc. The inter-textual process imbues a linear Estienne Barbier with depth in regard to the events that effect him and allows him to grow in the eyes of the reader, through fruitful application of parallels between the histories of Jeanne d'Arc and Estienne Barbier. The use of Jeanne d'Arc inter-textually and the virtual "retelling" of Jeanne, profoundly tell the story of a rebellious Barbier's "crusade" in pursuit of righteousness. In similar fashion the historical character Estienne Barbier is "told" into the romantic character Barbier in an attempt to transcend from imagination to reality. The reinterpretation of history, with the view of arriving at an alternative historical interpretation, becomes possible through the use of fiction. In primary instance this study investigates the manner in which the abovementioned three texts are incorporated inter-textually in the novel On The Contrary. Secondly an attempt is made to identify the narrative strategies that are used to arrive at a possible interpretation of the text and lastly it indulges in an exploration of the healing effect that the process of (imaginary) storytelling has in the lives of characters such as Don Quijote and Estienne Barbier.
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Geyer, Elizabeth Margaretha. "Leserrespons op die polities-betrokke roman Kennis van die aand van André P. Brink." Thesis, 2014. http://hdl.handle.net/10210/12091.
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Bothma, Mathilda Cecilia. "Postkoloniale perspektiewe in enkele romans van André P. Brink." Thesis, 2004. http://hdl.handle.net/10500/1778.
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Text in AfrikaansThis study investigates postcolonial aspects of the prose oeuvre of André P. Brink, with specific reference to his historiographical texts `n Oomblik in die wind, Houd-den-Bek, Die eerste lewe van Adamastor, Inteendeel, Sandkastele and Donkermaan. The texts can be described as links in a textual history of South Africa: a history corresponding to the official version, revisioning it in an imaginative way. The texts also criticize political (mal)practices, and the pre-colonial, colonial and postcolonial social contexts of the country are critically scrutinized. The texts offer suggestions for a new political dispensation. Since the seventies the Brink oeuvre has developed a multi-dimensional postcolonial approach. Aspects of post-colonialism, post-structuralism, magical realism and feminism as articulated in the texts, are analyzed and interpreted. Brink's investigation of problems concerning historiography, and the relation between history and fiction, comprised an important aspect of the research leading to this report.
Afrikaans & Theory of Literature
D.Litt. et Phil
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Grobler, Daniel Christiaan. "Beelding an aktualiteit : n tweeledige perspektief aan die hand van enkele aktuele Afrikaans Romans." Thesis, 2014. http://hdl.handle.net/10210/10698.
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Ph.D.A central tradition within the art of novel-writing is that of realism. Reality cannot be duplicated, and the illusion of reality in literature depends on narrative conventions. Within the perspective of the age-old tradition of realism one would have to view the bent and the emphasis of modern prose in the light of what has been described as "realism with documentary woof", "faction" , and "the new realism". The link with the reality of the day is often such that one cannot merely talk about "illusion of reality" - it pertinently becomes "illusion of actuality". The "political" noveI that wants to play in upon an actual situation, brings about an important change in the character of the literary work: the fictional is subdued, so to speak. In this study the question concerning the relation between work of art and actuality strikingly comes to the fore as a problem. The author increasingly addresses himself to the portrayal of the actual. Two methods of portrayal are identified: i) the actuality situation is fictionalised and ii ) a semblance of authenticity is given to the fictitious situation. In this thesis the different strategies employed in each of the two methods of portrayal of actuality are examined. The concepts "actuality", "illusion", and "involvement" are demarcated. Then note is taken of portrayal of actuality in older Afrikaans prose, before proceeding to an analysis of the different strategies employed in three "exemplary" works: Die swerfjare van Poppie Nongena (Elsa Joubert), 'n Droë wit seisoen (André P. Brink), and Dagboek van 'n verraaier (J.C. Steyn). The conclusion eventually drawn, is that novels with a fictitious world as a point of departure, have potentially richer literary posibilities than novels in which the actual situation serves as a point of departure. However, notwithstanding the fact that Dagboek van 'n verraaier has the fictional situation as point of departure, it does not succeed novel-wise. Despite the relatively weaker technique being used in Die swerfjare van Poppie Nongena, the novel is a success. The respective success or failure of these works is determined by the extent to which the concrete author manages to make full-fledged, blood-warm human beings of his characters. 'n Droë wit seisoen serves as an illustration of what· can be achieved when the fictitious world is used as point of departure and the characters are rendered true to life. The latter is, novelwise, the greatest success of the three. Contributing to this, in particular, are narrator's perspective, colloquial usage and tonality, the convincing manipulation of documentation, period location and characterization.
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Grobler, Susanna Elizabeth. "Letterkunde en die reg : die verhoor as romangegewe in enkele tekste van Andre P. Brink." Diss., 2014. http://hdl.handle.net/10500/18482.
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Summaries in Afrikaans and EnglishIn hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-‐romans.
In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
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Van, Zyl Dorothea Petronella. "Salomo syn oue goudfelde : op die spoor van die retorika in die Afrikaanse romankuns." Thesis, 1995. http://hdl.handle.net/10500/17787.
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Text in AfrikaansHoewel die retorika bykans 26 eeue oud is, word die relevansie daarvan vir ons eie tyd toenemend besef - as 'n sleutel tot die wyse waarop mense dinkargumenteer en oorreed. Hierdie studie ondersoek retoriese (oorredende) strategiee in Afrikaanse historiese romantekste, binne 'n historiese konteks en teen die agtergrond van eietydse historiografiese insigte. Die aspekte van die kommunikasiesituasie wat saamhang met die retorika, word verbind met die vernuwende denke daaroor binne die hedendaagse literatuurteorie en historiografie. Die konteks van die outeur en roman word telkens bestudeer, gevolg deur 'n retoriese analise. Aristoteles se idees oor die retorika kry hierby voorrang, vanwee sy nadruk op die inventio of vinding, maar die retorika word eerder geassosieer met 'n dinamiese metode as met rigiede kategorisering. Aandag word veral bestee aan retoriese strategies in S.J. du Toit se Di koningin fan Skeba (1898) en Andre P. Brink se Houd-den-bek (1982), maar ook aan resente historiese romans wat hedendaagse historiografiese en retoriese opvattinge en konvensies ontgin en problematiseer. Beide S.J. du Toit, wat kennelik 'n goeie kennis van die antieke retorika gehad het en Andre P. Brink, met sy romanonderwerp wat aansluit by die geregtelike rede, betree die retoriese terrain op sodanige wyse dat hul romans tipiese produkte van hul eie tyd genoem kan word. Beide die geskiedskrywing en die historiese roman is gemedieerde weergawes, gekenmerk deur 'n subjektiewe seleksie (inventio) van gegewens en die kombinasie daarvan binne eie verbale strukture (dispositio). Dit kan in verband gebring word met nie-tegniese oorredingsmiddele, waar die sender sy informasie van buite kry. Hy gebruik dan sogenaamde empiries-verifieerbare feite as retoriese strategie ten einde 'n waarheids- en I of werklikheidsillusie te skep wat bydra tot die roman se oorredingsskrag. Die keuse vir die skryf van 'n historiese roman, impliseer reeds ook 'n keuse vir die bakens van die geskiedskrywing, maar 'n skeppende skrywer is, anders as 'n historikus, eties vry om nie-tegniese bewysmiddele te transformeer tot tegniese bewysmiddele, in aanpassing by 'n nuutgeskepte argumentatio en 'n eie causa. Na aanleiding van die tekste kom die ontvanger op sy beurt tot 'n eie seleksie en skep sy eie kousale en argumentatiewe strukture
While rhetoric has been part of the history of mankind for nearly 26 centuries, it is increasingly regarded as extremely relevant for our time - as a key to the way in which people think, argue and persuade. This study investigates rhetorical (persuasive) strategies in Afrikaans historical novels. The novels and their authors are first situated in their historical contexts and against the background of contemporary historiographical inquiry, and then analyzed by means of rhetorical concepts. Aspects of communication, which coincide with rhetorical categories, are combined with recent developments in the field of literary theory and historiography. Aristotle's views on persuasion and rhetoric are used as point of departure, but rhetoric is regarded as a dynamic method rather than a rigid categorization. Attention is given to rhetorical strategies in the novel Di konlngin fan Skeba [The queen of Sheba] by S.J. du Toit (1898) and Andre P. Brink's Houd-denbek [translated into English by the author as A chain of voices], but also to recent Afrikaans historical novels which exploit contemporary historiographical and rhetorical conventions. In S.J. du Toit's novel (which illustrates his knowledge of ancient rhetoric) as well as Andre P. Brink's (where the topic can be linked to litigation) rhetorical strategies are employed in such a manner that their texts can be regarded as products of their historical contexts. Both historiography and historical novels are mediated representations, characterized by a subjective selection (inventio) of data and its combination in verbal structures (dispositio). This can be related to 'extrinsic' or 'inartificial' proofs, which are not contrived by the author. The author exploits the so-called empirically verifiable facts as rhetorical strategies to create an illusion of truth or verisimilitude, which greatly contributes to the persuasiveness of the novel. The decision to write a historical novel implies a choice to keep to the historical 'facts', but the writer, in contrast to the historiographer, is ethically free to transform the inartificial proofs into artificial proofs, in combination with his own invented argumentatio and causa. Prompted by these texts the reader, in his turn, makes his own selection and creates his own causal and argumentative structures
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
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Mundt, André Philipp [Verfasser]. "Dynamic risk management with Markov decision processes / von André Philipp Mundt." 2007. http://d-nb.info/986790311/34.
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Kirchberger, André Philipp Konstantin [Verfasser]. "Beeinträchtigungen der Atemmuskelkraft bei Guillain-Barré-Syndrom / vorgelegt von André Philipp Konstantin Kirchberger." 2009. http://d-nb.info/1008985392/34.
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