Dissertations / Theses on the topic 'Bruce (1949-....)'

Ce travail constitue une réflexion sur la chanson contestataire contemporaine aux États-Unis à travers les chansons et l’engagement politique et social de Bruce Springsteen. Nous défendons la thèse que Springsteen renouvelle le genre de la protest song en s’adaptant à l’époque contemporaine. Pour ce faire, le chanteur adopte quatre stratégies artistiques. Elles consistent à chanter sur les gens ordinaires et leur quotidien, aborder le désenchantement et le désespoir des plus exclus, composer des chansons qui remplissent une fonction cathartique en ayant recours à l’imitation et enfin à militer dans la sphère politique et sociale en soutenant des candidats lors des élections présidentielles américaines tout en offrant des dons aux organisations caritatives qui aident les plus démunis. La thèse démontre que Springsteen arrive à se hisser au sommet du classement des meilleures ventes aux États-Unis et à travers le monde grâce à ces stratégies. Elles lui ont permis de mobiliser un public et d’avoir des millions de fans. Nous proposons d’appeler les chansons engagées de Springsteen des chansons méditatives (reflective songs). La chanson méditative de Springsteen est, sans doute, l’outil culturel de contestation le plus adapté à l’époque contemporaine où il est difficile pour un artiste engagé de protester efficacement du fait de la marchandisation de l’acte même de sa contestation. Il se peut que la reflective song de Bruce Springsteen ne change pas le monde, mais elle peut en revanche permettre aux gens de croire en un monde meilleur et donc de les dissuader de se révolter<br>This work is a study of contemporary protest song in the USA through the songs and social and political activism of Bruce Springsteen. It contends that Springsteen has been able to reexamine American protest songs and frame a new genre under the umbrella of rock music by adapting his music to the social and political context of contemporary America. The thesis that I defend shows that the reason behind the commercial success of Springsteen can be explained by the fact that he has adopted several artistic strategies which have brought him an audience composed of dedicated fans who admire him. I argue that Springsteen adopts four main strategies: firstly, singing about ordinary people and reporting their daily hardships; secondly, composing somber songs that deal with the despair of blue collars and marginalized Americans; thirdly, adopting mimesis (imitation) which has a cathartic effect on Springsteen’s audience; and finally, getting involved in social and political activism. The thesis contends that Springsteen is among the top selling rock singers in the USA and several other countries thanks to these four strategies. Springsteen has reinvented protest song as a genre and has become a reference in a world where everything is co-opted including the very act of rebellion. I, therefore, suggest a new term, reflective songs, to describe the songs of Bruce Springsteen when they reflect on the condition of the socially excluded instead of protesting pointlessly. Springsteen’s reflective song is undoubtedly the most relevant artistic medium to shed light on the most deprived people of contemporary America. Perhaps, the reflective song of Bruce Springsteen will not change the world, but at least it gives people a reason to hope for a better future

Complexe, hétéroclite, mêlant autobiographie, récit de voyage, et roman, l'œuvre de Bruce Chatwin (1940-89) est difficilement classable. Mais elle trouve sa cohérence dans la théorie chatwinienne selon laquelle l'homme est "naturellement nomade", l'histoire de la civilisation un conflit immuable entre nomadisme et sédentarité. La théorie s’articule au fil des livres autour d'une dialectique entre « dépaysement » et « ressourcement », avec d'une part les thèmes récurrents de l'exil, du voyage-guérison, de la fuite de l'histoire, et de l'autre ceux de l'enracinement, du voyage-quête et du retour aux sources. Or, cette dialectique constitue la véritable dynamique de l'œuvre. Elle reflète le débat jamais résolu chez Chatwin entre l'ascète et l'esthète, l'errant et l'intellectuel, le voyageur et le chercheur. Dans les derniers récits, elle s'oriente vers une exploration de l'alchimie entre écriture et voyage, création et réalité, et l'éternelle dualité entre état et devenir<br>Complex, heteroclite, a mixture of autobiography, travel-writing, and novel, the work of Bruce Chatwin (1940-89) is hard to classify. It derives its coherence from the author's theory that man is a born nomad, and the history of civilization an unending conflict between nomadism and settlement. Over successive narratives, the theory is structured around a dialectic between 'disorientation' and 'renewal', with on the hand the recurrent themes of exile, of the journey-as -curative, and the retreat from history, and on the other those of rootedness, of the journey-as-quest, and the return to origins, this dialectic constitutes the real dynamic of Chatwin's work. It reflects the unresolved debate between the ascetic and the aesthete, the wanderer and the intellectual, the traveller and the researcher within him. With the last books, it opens out into an exploration of the alchemy between writing and travel, creation and reality, and the eternal duality between being and becoming

"Dans cette thèse j'envisage l'œuvre de l'écrivain péruvien Alfredo Bryce Echenique sous l'angle du genre, entendu comme questionnement de ce que sont le masculin et le féminin. Á travers les écrits de Pierre Bourdieu, d'Élisabeth Badinter, de Françoise Héritier et de Simone de Beauvoir, notamment, ainsi qu'à l'aide de la psychanalyse, je définis la problématique du genre comme essentielle dans l'œuvre d'Alfredo Bryce Echenique. Je m'appuie sur l'aspect "autobiographique" de cette œuvre pour tenter de mettre en lumière un cycle qui correspond aux ouvrages écrits par l'auteur alors qu'il se trouve en Europe, c'est-à-dire entre 1964 et 1999. Ce cycle, tel que je le conçois, montre comment l'écrivain se dévoile progressivement à ses lecteurs pour finir par affirmer une identité " genrée ", marquée par la remise en question des catégories génériques tranchées. J'envisage le parcours littéraire de cet auteur comme une revendication pour le droit à la différence et comme remise en question des attitudes et qualités considérées, traditionnellement, comme convenant " naturellement " aux hommes et aux femmes. Dans mon hypothèse, cette affirmation progressive de soi de la part de l'auteur, facilite son retour au Pérou, qu'il avait quitté à cause, entre autres, de l'opposition de son père à sa vocation d'écrivain. "<br>In this thesis, I envisage the Peruvian writer Alfredo Bryce Echenique's work from the angle of a questioning about what masculine and feminine genders are. Through the writings of Pierre Bourdieu, Elisabeth Badinter, Francoise Héritier and Simone de Beauvoir; and with the help of psychoanalysis, I define the problem of the gender as essential in Alfredo Bryce Echenique 's work. I rely on the "autobiographical " aspect of this work to try to bring to light a cycle that corresponds to the works the writer wrote while he was in Europe, that is to say between 1964 and 1999. This cycle, as I conceive it, shows how the writer progressively reveals himself to the reader, to finally assert a "gendered" identity which is marked by the calling into question of definite generic categories. I envisage the writer's literary route as the claiming of a right to difference, and as a calling into question of qualities and attitudes traditionally considered as "naturally" suitable for men and women. According to my hypothesis, this progressive assertiveness facilitates his return to Peru, his country he left because, among other things, of his father's opposition to his vocation for writing

L'œuvre de l'artiste abstrait américain Brice Marden, né en 1938, est constitué de deux parties distinctes en apparence: des peintures à panneaux monochromes et des tableaux parcourus de lignes, qu'annonçaient, plus tôt dans sa carrière, des œuvres sur papier. Il est en réalité très cohérent, soumis à l'opacité comme à la transparence. Si cette dernière est une tentation, l'opacité triomphe toujours. Deux gestes de l'artiste sont essentiels à cet égard: le recouvrement et l'effacement. Ses œuvres, dont les titres font référence au réel ou à l'histoire de l'art dans son ensemble mais dont les sujets sont d'abord la mort, la mélancolie, la mémoire et la présence, interrogent les possibilités de la peinture abstraite et affirment sa vitalité<br>The work of the American abstract artist Brice Marden, born in 1938, is made up of two parts outwardly distinct: paintings with monochromatic panels and pictures with a network of lines, which earlier works on paper announced. It is actually very coherent, subjected to opacity and to transparency alike. If the latter is a temptation, the opacity is always triumphant. Two actions of the artist are essential in connection with that: recovering and erasing. His works, whose titles refer to reality or to the whole art history but whose real subjects are death, melancholy, memory and presence, question the possibilities of abstract painting and declare its vitality

Dans la lignée des travaux de l'historien allemand Peter Reichel sur la notion de fascination totalitaire et du mouvement historique initié en France par Fred Kupferman, François Hourmant ou encore Sophie Cœuré autour du voyage des intellectuels en Union soviétique dans les années 1930, cette thèse a pour objectif de dénouer les rouages du voyage en terre nazie, de l'accession d'Adolf Hitler à la chancellerie jusqu'à la déclaration du second conflit mondial. Thématique délaissée par l'historiographie du national-socialisme préférant voir dans le voyage une évidence anecdotique relevant des nécessités diplomatiques, elle s'impose cependant à l'historien devant la masse d'archives léguées. Engluée et limitée jusque-là dans la représentation classique d'un Brasillach devant la « cathédrale de lumière » de Nuremberg ou du sort des délégations étrangères aux Jeux olympiques de Berlin 1936, la pratique du voyage ne peut se résumer à une vision archétypale voulant que seul le « fasciste en formation » ne parcoure un IIIème Reich réduit à quelques points névralgiques. A partir de sources issues du Ministère des Affaires étrangères, de périodiques, de récits de voyages et d'ouvrages rétrospectifs (mémoires, correspondances, écrits privés), ce travail s'articule autour de trois axes allant de l'intérêt de l'étude du déplacement dans la compréhension d'un phénomène totalitaire, aux temps du voyage (accueil, séjour sur place, réception du voyage) tout en analysant le rôle du voyage et son degré d'implication dans la formation d'une bienveillance personnelle ou d'un rejet du totalitarisme. Un des intérêts fondamentaux de l'étude du voyage en Allemagne hitlérienne réside dans les motivations préalables conduisant au déplacement. Le voyage est avant tout objet d'histoire vécu et perçu par ceux qui l'entreprennent. Cette conscience du « moment d'histoire » entrepris amène à étudier les motivations structurelles du voyage (intérêt pour la modernité politique, déconstruction de son propre modèle national, naissance d'une diplomatie parallèle) comme existentielles (inspiration morale, dépassement de la frontière de la germanité), tout en mettant en avant l'étonnante diversité des voyageurs (origine géographique, culturelle et sociale), signe de l'attraction magnétique du national-socialisme au-delà des frontières (insertion dans le débat de la place de la spécificité nationale dans le cadre d'un minimum fasciste). Préalable indispensable à toute compréhension du phénomène, les temps du voyage permettent d'éclairer la construction d'une véritable politique nazie à l'égard du voyageur étranger d'une part, de souligner la prégnance des réseaux et contacts d'autre part. L'étude du temps sur place sera orientée autour de l'impression de l'accessible rencontrée par les voyageurs. Le temps du retour d' « Hitlérie », fait d'une variété de la forme et de l'usage, permettra de mettre en avant l'obligation naturelle, morale - voire politique - de relayer les impressions de la « chose vue ». Enfin, le voyage comme maçon d'une nouvelle image de l'Allemagne dans les mentalités collectives étrangères viendra clore ce travail. La construction de l'image totalitaire semble aller de pair avec une tentative de rationalisation de l'aveuglement rencontré quand, pour d'autres, le voyage est un mécanisme de résistance. La place du voyageur face à la question juive devient également nécessité. D'une tribune offerte à l'antisémitisme aux premiers actes de dénonciation, le voyage devient un outil de la pensée intellectuelle. La conscience d'un totalitarisme naissant fait du voyageur un homme éclairé, noyé dans la masse de la dérive fasciste transnationale ayant fait ses armes idéologiques dans le Reich<br>In line with the studies by German historian Peter Reichel concerning the fascination of totalitarianism and the historical movement initiated in France by Fred Kupferman, along with the studies by François Hourmant and Sophie Coeuré regarding intellectuals traveling in Soviet union in the 1930's, the objective of this thesis is to describe the experience of the voyage on Nazi territory, from Hitler's accession to power to the beginning of World War II. This theme has been disregarded in the national-socialism historiography, due to the fact that they viewed the voyage as an anecdotic evidence of diplomatic duty. However, the amount of archives bequeathed on this topic led historians to believe that it is more relevant than previously thought. Limited to the classical image of Brasillach in front of the “Cathedral of Light” of Nuremberg as well as the image of foreign delegations during the Olympic Games of Berlin in 1936, the act of traveling shouldn't be reduced to this archetypal vision implying that only the “future fascists” would travel and discover the IIIrd Reich. Using sources from the Ministry of Foreign Affairs, newspapers, travel logs, essays, and letters, this work hinges on three parts covering the significance to study the voyage with the goal to understand the totalitarianism phenomenon, the different stages of the voyage (the reception, their stay, the return to their countries of origin), and to analyze the role and the importance of the voyage in the development of either an acceptance or a rejection towards the totalitarianism. One of the main interests in studying the voyage in Hitler's Germany is the reasoning behind the motivation for the voyage to take place. Traveling is at first a moment in history lived and perceived by those who experience it. This awareness of the experienced moment in history leads us to study the structural motivations of this voyage (interest for modern politics, deconstruction of our own national model, beginning of a parallel diplomacy) and also the existential motivations (moral inspiration, surpassing the line of “germanity”) while underlining the surprising diversity of the travelers (geographical, cultural and social origin), which shows the power of attraction of the national-socialism far across the borders. Prior to understanding this phenomenon, the different phases of the voyage help to enlighten the construction of a specific Nazi policy towards the foreign traveler on one hand, and to underline the existence and development of a real network of contacts on the other. This component will examine how the model of national-socialism seemed attainable for the travelers. The return from Germany will bring to the forefront the feeling of obligation for the travelers to explain and describe what had been experienced during the travel. Finally, the voyage as propagator of a new image of Germany in foreigner's minds will complete this study. The shaping of the totalitarian image seems to go hand in hand with an attempt to rationalize the obliviousness of a part of the population, while for others the voyage is a mechanism of resistance. The standpoint of the travelers towards the Jew's situation is also necessary to broach. Like a window that offers a view on anti-Semitism and the first acts of denunciation, the voyage becomes a tool of intellectual thinking. The awareness of this rising totalitarianism makes the traveler a knowledgeable man, lost in the masses, sliding in this transnational fascism first learned in the Reich

This thesis offers an analysis of the novel La ultima mudanza de Felipe Carrillo of the Peruvian writer Alfredo Bryce Echenique. It is an approach to the narrative strategies which allow the reader to recreate an oral atmosphere through writing, and which propose, consequently, new perspectives to reading fiction.<br>First, the distinctive features of the Post-boom novel are studied so that the links which associate Bryce's work with this literary period can be established (chapter one). Second, the narrative techniques presented in the novel are studied, namely, orality, musical and literary intertexts, digression, and dialogic unstableness (chapter two). These elements---especially orality and intertextuality---make possible the construction of a conversational dynamic in which the author develops the different thematic axes of his work: search for love (chapter three), search of a national, as well as a social and creative identities (chapter four), and literary self-consciousness (chapter five).

As a film composer, Bruce Broughton uses themes, motives, gestures, tropes, and other film composition devices; however, he is also able to develop them into compelling formal structures through the use of film composition techniques in his concert music. Traditional musical form is not necessarily applicable to film music. The film dictates the pacing and structure, whereas concert music allows for the creation of form and more complex musical development. Through his extensive experience composing in the film industry, Broughton instinctively uses his film composition techniques as a means to reach his audience with his concert music. He establishes a common ground through film score vernacular to draw the listener into a more sophisticated musical conversation. This is particularly evident in his extensive wind band catalogue. In this dissertation, I identify Bruce Broughton's film composition techniques and examine how he employs them to create a stand-alone form using those techniques in his wind band music. The film composition techniques that are examined include character association, character interaction, motivic snippets, programmatic associations, and musical tropes. These aspects are demonstrated as they influence form in three of his most frequently performed and highly acclaimed pieces for wind band: In the World of Spirits, Celebration, and Spacious Skies. Through the examination, Broughton's use of formal development through film composition devices is demonstrated.

Thesis (MA)--Stellenbosch University, 2000.<br>ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.<br>AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.

Over eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics', equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience. Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances. The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.

Le contentieux entre l’Allemagne et la Légion étrangère est antérieur à la Première Guerre mondiale. Toutefois, la fin de ce conflit change la donne. D’une part les nations ne sont plus sur le même pied d’égalité puisque l’Allemagne est vaincue et qu’elle connaît de graves troubles intérieurs. D’autre part, « la vieille Légion est morte dans les tranchée du nord de la France. » Aussi l’institution est-elle à reconstruire. Or, le relèvement de ce corps d’élite ne peut pas se faire sans l’ennemi d’hier. Le contingent austro-allemand est une manne indispensable pour la « jeune Légion ». Ce paradoxe engendre une rivalité non seulement pour assurer ou non le recrutement mais aussi la mise en place d’un dispositif de renseignement voire une prise en compte des évolutions sociales et de la communication autour de l’Institution. Pour la Légion étrangère, l’Entre-deux-guerres ou le passage « d’une guerre à l’autre » n’est pas synonyme de paix. Elle est une période de remise en question et d’adaptation sous fond de menées subversives dont la Légion n’est que l’un des aspects d’une rivalité coloniale et politique qui ne cesse pas de grandir<br>The litigations between Germany and the French Foreign Legion started before the 1st World War. Despite this, the end of the war changed the situation. For one part, the two nations were no longer equal to each other, as Germany had lost the war, and was suffering from important internal problems. On the other hand ‘the old Legion had died in the trenches in the North of France’. Because of this, the Legion, as an institution, needed to rebuild itself. Unfortunately to do this, and to renew itself, it needed war- hardened troupes, which could only be recruited from their old enemy, Austria and Germany. This paradox, not only was the start of a rivality between the nations, to assure the recruitment, or its refusal, but also led to a spy system being formed between the two countries. In its term this led to a communication’s system being formed around social evolutions and the life surrounding the Legion. For the French Foreign Legion, the period between the two World Wars, is a passage from one war to another, and has no peaceful moments. It is a period where it questioned itself, adapted to subversive political elements, and which it became part of the rivality between growing colonial and political differences

Lors de ce trayail de recherche, les écritures poétique; des trois poètes écossais contemporains mais d'horizons très différents géographiquement, linguistiquement et culturellement parlant ont été mises en regard afin d'en dégager Ies contrastes et les similitudes. L'enjeu a été double : analyser, d'une part,, le retentissement de la scotticité des poètes dans l'écriture et étudier comment,-d'autre part, leur texte se départit des-traditions à caractère régionaliste pour s'inscrire dans un cadre mondial résolument moderne Le thème de l'espace, au sens purement géographique du terme mais aussi dans son acception psychologique, relationnelle et textuelle a été choisi comme fil teneur de l'ensernble<br>The three contemporary scottish poets studied in this work come from contrasting geographic, cultural and linguistic backgrounds and the aim has thus been to highlight the differences and similarities of their poetic writing. The idea behind this comparison was first to analyse influence of the poet's scottishness on their writing and then to study how their texts depart resolutely from traditionalist works in order to fit in and stand the test of a world's modern literature. Space is the leading notion and the unifying thread of this study whether as a purely geographic theme or as a psychological, relational or textual notion

Ce travail est un commentaire d'œuvre, inspiré de la méthode d'analyse critique instruite par Walter Benjamin. Le point de départ est un essai écrit en 1941, "Sur le concept d'histoire" dans lequel il avance un certain nombre de points conduisant à redéfinir la place et la vocation de l'historien dans un contexte moderne, socialement, technologiquement et politiquement, bouleversé. Il demande à l'historien de brosser à rebours le poil "trop lisse" de l'histoire, soit de bloquer et de sauver des moments, de déplacer les points de vue et d'envisager la signifiance de ce moment pour l'ensemble de histoire. A partir de ce postulat, le film de B. Dellsperger, Body double (x), est mis en perspective comme temps particulier et manifeste, exemplaire d'un certain type de cinéma. Expérimental, formel, il est directement issu du remake, un phénomène que connurent les arts contemporains entre 1990 et 2000. Car Body double (x) est une copie, plan à plan et mot à mot, de L'important c’est d’aimer (1976) réalisé par A. Zulawski. Dans ce commentaire, les concepts benjaminiens de teneur chosale et teneur de vérité sont pratiqués. La teneur chosale correspond à l'analyse matériologique du film : à l'analyse formelle des constituants de l'image, de l'ensemble du processus propre à la remise en scène du film original. La teneur de vérité correspond à la mise en perspective philosophique, historique et politique du processus performatif et filmique. Le film, en tant que remake, questionne les notions de copie et d'original sur un mode relationnel. Enfin, en concentrant les regards sur le corps d'un unique acteur, Jean-Luc Verna, il rétablit un rapport d'ordre esthétique et éthique entre la figure humaine et sa représentation<br>This work is a film commentary, based on the critical analysis method introduced by Walter Benjamin. The starting point is an essay written in 1941, "About the concept of history", in which he puts forward a certain number of points leading to redifining the position and vocation of the historian in a sociolagically, technologically and politically shattered modern context. He asks the historian to rub history up the wrong way, by holding and saving moments, by moving points of views and envisaging the meaning of this moment in History. From this basic premise, Brice Dellsperger's film, Body double (x), is cast as a manifest and specific time, model of a type of film-making. Experimental, as well as formal, it was born from the remake, a phenomenon already known in modern arts between 1990 and 2000. For Body double (x) is a copy, frame for frame and word for word, of L'important c'est d'aimer (1976) directed by A. Zulawski. In this commentary, I use Benjamin's concepts : the thing content and the truth content. The thing content corresponds to the film material analysis, that is, the formal analysis of all the constituents of the picture, as well as the process, peculiar to the re-directing of the original movie. The truth content corresponds to the philosophical, historical and political angle on the film and performative process. The film, as a remake, questions about Copy and Original notions on a relational mode. Finally, by focusing looks on the body of one unique actor, Jean-Luc Verna, it restores an aesthetic and ethical link between the human figure and its representation

Narratives of Nordic pre-history are common in textbooks of the Swedish 'folk school'. This thesis discusses them from an ideological critical perspective and analyses them as textbook myths. This analytic concept of myth is constructed and used as a tool for studying ideological expressions in pedagogical texts. It is compatible with a historical materialist, social constructivist and Gramsci inspired perspective towards folk schooling and can handle questions of selection and re-organisation of ancient narrative material. The study shows how a paternalistic ethnic ideology which showed the pupils how their ancestors immigrated and set up society and order is replaced by nationalistic myths where the Swedes are projected on the totality of the past. Idealisation of farmers and expressions that neutralise poverty and legitimates subordination are used continuously throughout the study period. After 1868 a national folk concept is established. Textbook myths with a euhemeristic portrayal of civilisation are replaced by other scientific ways of handling pre-historic religions including elements from nature mythology and evolutionary theory. The myths handle religions both through Christian polemics and theological projections. The results of the analyses are interpreted in the light of the contemporary socio-economic changes where a feudal agrarian society's principles for classifications and hierarchies are challenged and broken by the principles of a class society with a nationalistic ideology. In the concluding chapters the myths are discussed and interpreted in relation to curriculum codes and in a Gramsci inspired perspective as expressions of a passive bourgeois revolution, where intellectuals of the middle class conquered the school and the textbook myths by making alliances with the farming class and trying to neutralise the poor and the working class. The thesis contributes to research in the use of history, representation in pedagogical texts and to research in nationalism.

Realiza una interpretación abierta del díptico Cuaderno de navegación en un sillón voltaire de Alfredo Bryce Echenique, conformado por las novelas La vida exagerada de Martín Romaña y El hombre que hablaba de Octavia de Cádiz, trabajando a partir de las reflexiones literarias del teórico ruso Mikhail Bakhtin. Busca ampliar la lectura de las novelas, más allá de un análisis que destaque solamente sus componentes formales (estéticos), incursionando en el campo ético, determinando el fin moral de la escritura en el díptico y estableciendo una conexión entre la praxis escritural (estética) y el significado profundo del texto (ético) en la obra de Bryce Echenique. También complementa la lectura un tanto tradicionalista que la crítica literaria ha ofrecido sobre la obra bryceana, enfocándonos en lo que consideramos un tema global en esta: la representación del proceso de aprendizaje del artista latinoamericano y cómo este tema es el punto de partida del impulso creador en el autor.<br>Tesis

Ces recherches se focalisent sur les représentations des nomades et leur évolution. Dès la Grèce ancienne une appréhension déterminée des nomades prend forme autour du pastoralisme et de l’habitat mobile, tout en incorporant d’autres éléments (le rapport à la guerre, à la sagesse, à la barbarie, à l’espace, à la politique…). Une histoire et une tradition commencent ainsi un cheminement millénaire qui trouvera son apogée dans la seconde moitié du XXe siècle, en particulier grâce aux textes de Chatwin, Moravia, Le Clézio, Duvignaud, Deleuze et Guattari<br>This research focuses on the representations of nomads and their evolution. Since ancient Greece a specific apprehension of the nomads has hinged on pastoralism and mobile dwelling, incorporating other elements (the relation with war, wisdom, barbary, space, politics...). A history and a tradition start, a long progress that will find its height during the second half of the XXth century, particularly through the texts of Chatwin, Moravia, Le Clézio, Duvignaud, Deleuze and Guattari

L'objectif du travail est de dégager l'image de la ville et du citadin hispano-américains actuels au travers des métropoles évoquées dans les romans suivants: Mexico dans la region mas transparente et camion de pile (C. Fuentes); Caracas dans pais portatil (A. Gonzalez Leon); une ville colombienne dans al pie de la ciudad (M. Mejia Vallejo); Lima dans la ciudad y los perros (M. Vargas llosa) et un mundo para Julius (A. Bryce Echenique) et Buenos Aires dans adan buenosayres (L. Marechal) et sobre heroes y tumbas (E. Sabato). Le travail est divisé en quatre parties: le cadre géographique, l'étude de la société, l'analyse de la communication urbaine et l'exploration des poétiques narratives. Les paysages désordonnés, contrastes et inachevés traduisent les innombrables problèmes d'une croissance urbaine incontrôlée. L'analyse de la société urbaine romanesque révèle une structure fondamentalement tripartite et fortement hiérarchisée: la masse flottante de la classe moyenne oscille entre l'indécente opulence de l'oligarchie et l'extrême dénuement du peuple. Dans l'espace urbain code, répressif et aliénant, règnent la violence et l'indifférence. La dimension mythique et symbolique des romans traduit le besoin universel de sacraliser l'espace ou vit l'individu. Les structures baroques et éclatées des récits, leurs styles expressionnistes sont l'expression métaphorique de l'inquiétante brutalité urbaine<br>The aim of this study is to elucidate the image of the present Hispanic American cities and the city dweller through the following novels: Mexico in la region mas transparente and cambio de piel, c. Fuentes; caracas in pais portatil, a. Gonzalez leon; a Columbian metropolis in al pie de la ciudad, M. Mejia Vallejo; Lima in la ciudad y los perros, M. Vargas Llosa, and un mundo para Julius, A. Bryce Echenique; and Buenos Aires both in adan buenosayres, L. Marechal, and sobre heroes y tumbas, E. Sabato. The work is divided into four parts: the geographic frame, the study of the society, the urban communication analysis and the exploration of the poetical narratives. The disorganized and contrasted urban landscapes reflect the innumerable problems of an uncontrolled urban growth. The analysis of the romantic urban society reveals a structure fundamentally tripartite and strongly graded: the floating middle-class mass wavers between the indecent wealth of the oligarchy and the extreme dearth of the people. Violence and indifference prevail in the coded, repressive and off-putting urban space. Some myths and symbols, the narratives baroque and glaring structures, their expressionist styles are the metaphoric expression of the alarming brutality of the urban reality

Ontological death is the subject matter of this research, because death is the ultimate event of the body. This one is terminated, at the same time, with the being (place of love on earth). It is not enough to say I’m the place occupied by me: the individual is born a kinetic place because evolves over space. After the end and subsequently fall of the being on horizontal plan, non being occupies the inert place. He will stay memory on earth, even after watering down – it will be a symbolic place. Death is a visibility process, started somewhere inside body, but showing itself outside epidermis. Death is an image: but what kind of death image to be represented, between dead body seen before, and not being anymore? Grave is architectural place, negative, that transforms and solves corpse far away from sight. Death is a priori status changing, non existence or energy moving to other living beings. If there is metaphysical existence beyond nothing, believer judges about

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2010<br>Um resumo deste estudo deve, em primeiro lugar, justificar o seu título: Invisualidade da Pintura: História de uma Obsessão (de Caravaggio a Bruce Nauman). Pretende-se uma definição da pintura que permita ou revele um seu denominador comum à videosfera (mas também à escultura ao cinema e ao teatro, áreas abordadas nesta investigação). Esse denominador comum define ou redefine a natureza, ou a marca e a existência, das duas disciplinas em causa (vídeo e pintura, em primeiro lugar, com sucessivos alargamentos pertinentes – que nos poderão levar do cinema à música): essa marca está no conceito de INVISUALIDADE, algo que não pertence nem à ordem do visível nem do invisível. Dito de outra forma, a “coisa mental” com que historicamente se costuma definir a pintura não pode ser visível, como também não será invisível. Nestes termos, o INVISUAL é o par da VERDADE, sendo a VERDADE aquilo que emana da pintura. A VERDADE será considerada tal como definida por Platão e, sobretudo, posteriormente por Alain Badiou. É a partir da filosofia de Badiou que se procurará falar e estudar a arte de modo a ultrapassar contingências como as do juízo de valor e a pulverização das interpretações. Para isso, na primeira parte deste estudo, trabalhar-se-á o conceito de VERDADE; na segunda, a INVISUALIDADE, na terceira, a superação da interpretação, como consequência da VERDADE e INVISUALIDADE da pintura. Diz-se nesta última parte (onde, em particular, se tratam dos casos de Caravaggio, Rembrandt, Velázquez, Vito Acconci e Bruce Nauman) que uma obra de arte pictórica é INTERPRETÁVEL quando a sua leitura/recepção não se confunde com a interpretação (trata-se da dissociação fulcral interpretação ≠ INTERPRETABILIDADE: é INTERPRETÁVEL o que não se “fechou” numa interpretação nem tal permitiu iniciar-se). Procedeu-se previamente a uma profunda análise da obra filosófica de Alain Badiou. Daqui emergiu o conceito de VERDADE como o lugar central da arte neste statement: a arte é um procedimento da VERDADE; duplamente: porque permanentemente produz VERDADES e, depois, porque tem nos seus momentos de ruptura os seus picos clarificadores (chamemos-lhes autodefinição da arte) também considerados VERDADES. Caso a caso, dir-se-ia, que Caravaggio, Rembrandt ou Velázquez são (cada um a seu modo) os expoentes da VERDADE barroca, Vito Acconci e Bruce Nauman exponenciam (também porque a inventaram) a videosfera. O barroco pressupõe a existência de uma luz na pintura que é sobretudo uma autoemanação arbitrária formal – daí a sua hipotética relação com a autoreflexividade da forma em Greenberg, por exemplo. Ora, se a forma é uma auto-emanação, ela diverge da realidade observável. Daí o estudo de ampla bibliografia que pondera a suspeição do paradigma ocular como centro do conhecimento: de Santo Agostinho a Guy Debord. Considerar-se-á seguidamente, com esta definição da natureza da pintura, a possibilidade de a alargar, e às suas conclusões, a uma natureza genérica das artes, desenvolvimento que os conceitos centrais propostos – VERDADE, INVISUALIDADE, INTERPRETABILIDADE – requerem e parecem permitir. É aliás intrínseco a esta concatenação conceptual uma necessária transversalidade (ou mesmo indiferença) disciplinar. Teremos uma reflexão sobre a natureza da pintura e da arte (e literatura ou música serão aqui pontualmente, ou sempre que necessário, convocadas), inevitavelmente alicerçada na teoria e na crítica, na estética e na filosofia. A arte e a filosofia serão relacionadas. O que se deduz da natureza da arte tal como aqui é proposta, e na forma como é proposto, logo desde o momento em que se considera que a determinante da arte é o conceito de VERDADE. A arte manifesta-se e procede de acordo com a natureza da VERDADE – é, como se disse, um procedimento da VERDADE. Por isso este estudo necessita de uma disciplina que reflicta sobre essa partilha ou compossibilidade entre as VERDADES e os seus procedimentos. Compossibilidade que, ao mesmo tempo que é analisada nos seus territórios particulares (arte, ciência ou política), retroactivamente contribui para a redefinição da VERDADE. Esta é a determinante da arte, mas a forma como a arte afirma em si a relevância da VERDADE repercute-se na própria definição da VERDADE, numa circularidade com múltiplos sentidos: VERDADE → arte; arte → VERDADE; VERDADE → indiscernibilidade; indiscernibilidade → INVISUALIDADE; INVISUALIDADE → INTERPRETABILIDADE (ausência da interpretação). A ligação entre arte e VERDADE é decisiva na medida em que a proposição e a abertura de um conceito devem gerar outros: a VERDADE manifesta-se na arte, e esta, enquanto seu procedimento, esclarece-a exemplarmente. A VERDADE é uma escolha sem alicerces, que se apoia antes de tudo num vazio sem motivações, interesses ou justificações (excluindo-se, portanto, da experiência verificável). As suas determinantes são oriundas de um lugar do ser sem apoio e fundado numa intuição pura, «forte», onde a dedução e a indução não têm lugar.<br>An introduction to this thesis should, in the first place, justify its title: The Invisuality of Painting: History of an Obsession (from Caravaggio to Bruce Nauman). The purpose is a definition of painting that permits or reveals (extending) a common denominator to the videosphere (but likewise to sculpture and to cinema). This common denominator defines or redefines the nature, or the trace and the existence, of the subjects considered (video and painting, firstly, followed by successive relevant expansions – which can take us from cinema to music and theatre): that trace is in the concept of INVISUALITY, something that does not belong either to the order of the visible or to that of the invisible. Put another way, the cosa mentale by which painting is historically defined cannot be visible, as it also cannot be invisible. Put in these terms, INVISUAL is the partner of TRUTH, being TRUTH that which emanates from painting. TRUTH shall be considered as defined by Plato, and especially as later defined by Alain Badiou. The philosophy of Badiou is the point of departure from which art will be considered, so as to overstep contingencies such as value judgements and the pulverization of interpretations. Thus, the first part of this thesis shall deal with the concept of TRUTH; the second, INVISUALITY; the third, the surpassing of interpretation as a consequence of the TRUTH and INVISUALITY of painting. It is stated in this last section (with analysis of artists like Caravaggio, Velázquez, Rembrandt, Vito Acconci and Bruce Nauman) that a pictorial work of art is INTERPRETABLE when its reading/reception is not confused with its interpretation (what is dealt with here is the crucial dissociation of interpretation and INTERPRETABILITY: that is INTERPRETABLE which has not closed itself off in an interpretation or permitted the inception of such a process). From a profound analysis of the philosophical work of Alain Badiou emerged the concept of TRUTH as the central location of art in this statement: art is a procedure of TRUTH; doubly so: because it permanently produces TRUTHS, and then because in its moments of rupture emerge its clarifying peaks (let’s call them self-definition of art), also considered to be TRUTHS. For instance Caravaggio, Rembrandt and Velázquez are the paragon of baroque TRUTH, Vito Acconci and Bruce Nauman created the videosphere. The baroque implies the existence of a light in painting that is above all an arbitrary formal self-emanation (a pictorial statement) – which allows for its hypothetical relation with self-reflexivity of form in Greenberg, for example. Now, if form is a self-emanation, it diverges from observable reality. Hence the perusal of ample bibliography on the suspiciousness of the ocular paradigm as centre of knowledge: a study of the antiocularcentric discourse from Saint Augustin to Guy Debord. With this definition of the nature of painting, the possibility shall subsequently be considered of enlarging it, and its conclusions, to a generic nature of the arts, a development that the central concepts proposed – TRUTH, INVISUALITY, INTERPRETABILITY – require and seem to permit. A necessary disciplinary transversality (or even indifference) is, furthermore, intrinsic to this conceptual concatenation. There will be a reflection on the nature of painting and art (and literature and music shall sporadically, or whenever necessary, be summoned), inevitably grounded in theory and critique, in aesthetics and philosophy. Art and philosophy shall be connected. Which can be deduced from the nature of art as here proposed, and from the way it is proposed, right from the moment in which it is considered that the determinant of art is the concept of TRUTH. Art manifests and proceeds according to the nature of TRUTH – it is, as said, a procedure of TRUTH. That is why this thesis demands a subject that reflects on the partnership or compossibilization between TRUTHS and their procedures. This compossibilization is simultaneously analysed in its particular territories (art, science or politics) and retroactively contributes to the redefinition of TRUTH. This is the determinant of art, but the way in which art asserts in itself the relevance of TRUTH reverberates in the very definition of TRUTH, in a circularity possessed of multiple meanings: TRUTH → art; art → TRUTH; TRUTH → indiscernibility; indiscernibility → INVISUALITY; INVISUALITY → INTERPRETABILITY (impossibility of interpretation). The connection between art and TRUTH is decisive in the sense that the presentation and the openness of a concept should generate others: TRUTH manifests in art, and art, as procedure of TRUTH, clarifies it remarkably. TRUTH is an unfounded choice, supported primarily by a void empty of motivations, interests or justifications (excluded, therefore, from verifiable experience). Its determinants arise from a corner of the self that is unsupported and founded on pure intuition, “strong”, where deduction and induction have no place.

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011<br>Acompanha a tese um video que apenas poderá ser consultado na Biblioteca da FBAUL. Cota DVD 99<br>The project STILLNESS - Entre o Corpo e a Imagem, Notas sobre o Híbrido na Vídeo- Instalação is situated on the side of the body, over here, in wich is the exploration of the fisical nuances of the projection display beyond the image, forcing a re-evaluation of the bidimensional and temporal planes. That is to say that it is established the body-image over here (the body) and over there (the image), in an uninterrupted ensemble of concepts that try to define the other, called here a hybrid. In a discourse that aims to be deeply transdisciplinary, we try to define the performative body and the projection of its image in the space of the video installation, and the way that its different elements connect each other and how they build up the different universes and fields of action. Being the hybrid a fusion between different disciplines, expressions, languages, ways of doing and seeing, a study of this case is in the order of the day. Having as object of analysis the work Stillness, an artistic proposal that as become our case study

Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1<br>The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.<br>Art History, Visual Arts and Musicology<br>M.A. (Visual Arts)

Tese de doutoramento, Belas Artes (Especialidade de Instalação), Universidade de Lisboa, Faculdade de Belas Artes, 2017<br>A Tese é acompanhada por uma PEN com 5 filmes: 1.ANA RITO_Pleura_2015 ; 2.ANA RITO_Le Buste_2015 ; 3.ANA RITO_Le Mot et le Fantome_2015 ; 4.ANA RITO_Amatoria_ 2015 ; 5.ANA RITO_Poème - acte_2014, apenas consultável na Biblioteca da FBAUL : com a cota CDA 190<br>Projetar uma imagem implica reequacionar os seus limites, o seu interior e o seu exterior. A imagem é expelida, lançada fora. De forma a que esta imagem (agora liberta do dispositivo e em trânsito) “apareça” e seja visível ao seu espectador, é necessária uma estrutura ou melhor, uma superfície: um ecrã, uma tela, uma parede, um corpo, uma peça de vestuário ou um tecido. Esta superfície (optemos aqui por chamar-lhe ecrã) é o telos da imagem – lugar de onde emerge, onde se “realiza”, onde se “dá a ver e a tocar”. O que esconde esta imagem? Será que a imagem esconde algo que não quer revelar? A sua “frente” funciona como escudo, proteção, máscara? Ou embuste? Será que a imagem, qual canto da sereia, seduz o espectador com a sua pele, não querendo revelar as suas vísceras, os seus desejos – sim as imagens também podem desejar – o seu interior, o seu avesso? Pode uma imagem-corpo movente potenciar este toque, este encontro entre os amantes? A partir da prática artística e curatorial, a presente tese desenha a sua estratégia investigativa: considerar diferentes noções de palco e de ecrã, elasticizando e definindo uma “zona de contacto” hibridizada que se concretiza quer no espaço expositivo (museográfico ou galerístico) quer, mais especificamente, na experiência da vídeo-instalação. A aproximação de duas linguagens, a cinematográfica e a performativa (entre a “aparição” da imagem e a construção do objeto), instaura um novo paradigma do olhar que coloca em cena o corpo do espectador (agora) móvel e ativo na orientação do seu próprio processo percetivo. Em suma, a imagem que respira, o corpo do filme, o toque prometido à visão, o poema-ato, as sensações, os afetos e as quasi-carícias entre imagem e espectador traduzem o desejo pigmaliónico e assinalam a passagem (passo), da morte à vida, a última das metamorfoses.<br>To project an image implies a pitch, a burst forward, which forces to rethink its limits, its interior and its exterior. The image is expelled, thrown out. So that this image (now freed from the device and in transit) can “appear” and be visible to its spectator we need a structure, or rather, a surface: a screen, a canvas, a wall, a body, a piece of clothing or fabric. This surface (we opt here to call it the screen) is the telos of the image – from where it emerges, where it is “realized”, where it gives itself to be “seen and touched.” What does this image hide? Does the image hide something that it does not want to reveal? Does its “front” work as a shield, a protection, a mask? Or is it a scam? Does the image, like the siren song, seduces the viewer with its skin, not wanting to reveal its insides, its wishes – yes, images can also desire - its interior, its back? Can a moving body-image enhance this touch, this encounter between lovers? Working from the artistic and curatorial practices, this thesis draws its research strategy: to consider different notions of stage and screen, elasticizing and defining a hybridized “contact zone”, which is realized either in the exhibition space (museum or gallery) or, more specifically, in the experience of video installation. The approach of the two languages - the cinematographic and the performative (between the “apparition” of the image and the construction of the object) – is established in a new paradigm in the act of looking, that puts on the scene the body of the viewer, (now) mobile and ative in its own guidance of the perception process. In short, the image that breathes, the body of the film, the act of touch promised to vision, the act-poem, the sensations, feelings and the quasi-caressing between image and viewer, translate the Pygmalion desire and mark the passage (the step) from death to life, the last of metamorphoses.<br>Fundação para a Ciência e a Tecnologia (FCT)

The thesis is an analysis of the birth of the Rhesus (Rh) Factor Research Programme in the Faculty of Medicine, University of Manitoba. Rh Factor is one of the blood groups which can lead a pregnant mother to react to her baby’s blood and destroy it. Research on this disorder yielded one of Manitoba’s most profound medical discoveries. The account reveals that three elements contributed to this research, namely the researcher, the circumstances and chance. The narrative identifies the researcher, Dr. Bruce Chown, as a major influence in the development of the Faculty of Medicine, University of Manitoba. The conditions nationally and locally that enabled him to succeed in his research are examined. The role of chance in his picking a research subject is considered. The story of Bruce Chown and the start of the Rh research illustrates the beginnings of medical research in Manitoba. The primary sources for the study were the Archives of the University of Manitoba, Archives Manitoba and the National Archives Ottawa.

This investigation centred on the perception and subjective interpretation of the artistic work, which is closely related to the experience of the spectator. My analysis thus focused on the spectator’s physical and perceptual interaction with specific works, which was activated by the effects of reflection. Reflection is considered in the theoretical and philosophical writings of Merleau-Ponty and Jacques Lacan as a fundamental element in the construction of the identity and ego consciousness of each individual. I therefore analyse the impact of the theories of both philosophers on the conceptual approach to artistic production in the 20th and 21st centuries. The artworks mentioned here have in common the deepening of the collective perceptual experience. In these sculptural environments or installations each spectator constructs his or her perceptual experience of space from the interaction with others. Space is understood here as real space, including both architecture and nature. Reflection is in this investigation also approached from the technical and methodological point of view of the sculpture. In this case, it results from a combination of materials that were specifically designed and prepared by the artists to create the most diverse reflecting surfaces. Finally, a selection of original studies, experiments and sculptures is presented in the final chapter. They were conceived during this master's degree and stemmed from my experiences with reflection. The final chapter highlights two sculptural works and the conceptual process that preceded their production. It also emphasises the relationship between my artistic practice and all the research and investigation developed within the scope of this project.

In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space

Bibliography: leaves 169-197.<br>xiv, 197 leaves :<br>Title page, contents and abstract only. The complete thesis in print form is available from the University Library.<br>Hypothesises that the physis has an internal mechanism of repair to restore physeal function. Aims to establish a defined degree of deformity by partial growth plate excision, then to examine different methods of reversal of such deformity to observe the process of growth plate repair. A secondary aim was to define the percentage of physis that could be resected yet still enable reversal of deformity.<br>Thesis (Ph.D.)--University of Adelaide, Dept. of Pathology, 1989

Tese de mestrado, Arte e multimédia (Audiovisuais), Universidade de Lisboa, Faculdade de Belas Artes, 2012<br>O titulo apresenta-se escrito de forma inversa como se de negativo se tratasse<br>The human binocular vision results from a stereoscopic phenomenon. This allows one to acquire a three-dimensional image of the perceptual space based on the laws of perspective. The confidence with which one accepts and interacts with this alleged truth is the same that allows one to admit the virtual, a world of illusion. Taking an Art and Multimedia’s theoretical and practical dissertation as a connection between two worlds – the textual and the visual –, one can verify that it’s established accordingly to a cyclic and self-referential system. This articulates the dichotomies: theory/practice and textual/visual. The virtual demonstration of its complementarity generates a hybrid language inherent to it, which shapes a dissertation that presents itself as a symbol of its theoretical and practical condition

The present dissertation provides an investigation that uses drawing as a composition method to deepen the knowledge about fictional creatures composed of two materials with different origins. Organic and mechanical. The purpose is to structure a constructive methodology that serves as an example to follow for the creation of biosynthetic fictional living beings, based on concept art drawings. Consequently, the theoretical aspect of this research describes the form of drawing used, as well as the method of how these creatures will be demonstrated through concept art. Afterwards the catalyst inspiration of these fictional creatures is deepened, where their idea was originally contextualized, which is through science fiction. In this sense, some artists who produce art associated with the subject of biomechanics are exemplified, as well as creatures from film and video game media, to be based on and analyzed for the composition of the creatures present in this dissertation. Regarding the practical approach of this work, it is deepened and reflected the issue of the creation, exploration and visual patterns of these fictional creatures, as these are crucial aspects to develop for their design. From there, it is demonstrated the creative process that encompasses the studies and research of the drawings made as well as its development. Then in the final realization of the developed creatures, the entire practical archived process is demonstrated through the digital drawings made. From the silhouette chosen for each creature, the initial sketches, line drawing and color of the final appearance, as well as drawings showing all the general physiognomy and shapes that some creatures have. A description of each creature is also given, mentioning what kind of place and function they have in the fictional society in which they find themselves.

Summaries in Afrikaans and English<br>In 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.<br>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.<br>Afrikaans & Theory of Literature<br>M.A. (Afrikaans)