Academic literature on the topic 'Chaos motif'
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Journal articles on the topic "Chaos motif"
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Sinyakova, Lyudmila N. "Archetypal Motif of Chaos in the Plot Structure of A. P. Chekhov’s Story The Murder." Philology 18, no. 9 (2020): 169–75. http://dx.doi.org/10.25205/1818-7919-2019-18-9-169-175.
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The article examines the representation of chaos motif, which is the most general one among archetypal motifs, in A. P. Chekhov’s The Murder (1895). Chaos motif arranges the plot structure, being represented in its variants, such as misbelief and nature and space disorder. In The Murder, the central event is determined by mental disorders of characters. Each of them stands on their unique religious outlook. Matvei Terekhov teaches his cousin Yakov to accept the fundamental rules of Church, but he is not always true to his beliefs, too. The true reason of murder is hate towards each other, including Yakov’s sister Aglaya – it is a hate crime, which represents total moral destruction. Matvei’s death awakens new feelings in Yakov’s perception. Now he understands what suffering is. As he looks at prisoners, he gains his faith. All he wants to ask is why it was so hard to reveal the truth. Besides chaotic existence problems, three other types of archetypical motifs are realized. These are the following: natural chaos, spatial chaos, and unsafe home. Nature stands between winter and spring, and it is time for spring to arrive. This causes disorder all around, and makes Matvei feel anxious and frustrated. Space semantics also explicate chaos, especially in the final scene, in which Yakov tries to extrapolate his actual Sakhalin experience on his previous life. The narrative is based on spatial concepts here. And, finally, the symbol of home loses its meaning of safety in the semantic structure of the story. It turns out to be somebody’s else but not the family’s. And it causes panic fears among its habitants. Fear is one of basic reflexes on chaos extension. We conclude that the archetypal motif of chaos connects the plot levels, such as the murder event, lack of faith in the main characters, nature, space, and disorder at home. Thus, it is proven to be the motif core of the story.
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Zaslavskii, O. B. "CHAOS WITHOUT COSMOS (ON THE POEM BY O. E. MANDELSTAM “TELL ME, DESERT DRAFTSMAN…”)." Culture and Text, no. 45 (2021): 104–12. http://dx.doi.org/10.37386/2305-4077-2021-2-104-112.
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In the article there is carried out a structural-semantic analysis of Mandelstam’s poem “Tell me, Desert Draftsman…”. Interpretation of a number of mysterious fragments is suggested. In particular, this concerns “Judaic troubles”. We argue that in this context they are connected with the motif of scattering because of the wind activity. We also find interlingual interference between Russian and French. Its meaning is related to the motifs of mutual metamorphosis and inseparability of entities typical of primary chaos. The key feature of the world embodied in the poem consists in the impossibility of unambiguous separation to opposite entities such as creator and destroyer, creation and annihilation, linear and cyclic processes, etc. In this case, no cosmos creates from chaos, the world remains “not embodied”.
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Nurana Orujova. "THE SUPERIORITY OF TRAVEL MOTIF IN AZERBAIJANI EPIC FOLKLORE." International Academy Journal Web of Scholar, no. 2(44) (February 28, 2020): 26–29. http://dx.doi.org/10.31435/rsglobal_wos/28022020/6914.
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The plot structure of the epic folklore samples consists of the logical order of the different motifs so that there the travel motif is characterized with its domination and serves to certain purposes. At the article the dream, the almond-shaped pattern that attracted to reach as myfogeographical location and conditioned it getting direction “cosmos and chaos travel motive was exlained at the context. Folklore expressions created by each nation are unique and they inform about national psychology being rooted in the mythical mind of that nation as a code. And it is not secret that although there is uniqueness, there is the plot that makes nation closer to each-other, its components and motives.
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Spasic, Ivana, and Vera Backovic. "Urban identity of Belgrade: Perfect chaos, imperfect balance." Sociologija 62, no. 4 (2020): 569–89. http://dx.doi.org/10.2298/soc2004569s.
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Using a typology of urban symbolism, the identity of Belgrade is reconstructed on the basis of accounts by a sample of city residents, foreigners and locals, who work in international companies and organizations. The component of behavioral symbolism is found to prevail, referring to the place?s atmosphere, mood, spirit, or energy. Next comes material symbolism, particularly in relation to Belgrade?s location at the confluence of two rivers, and the Kalemegdan complex overlooking it. All other types of symbolism are much less prominent. Belgrade is described as having a comparatively low global visibility and lacking a readily recognizable landmark. What emerges as a pervasive motif in the different symbolic codes is the attribute of contradiction, and the related qualities of hybridity, liminality, and incompleteness.
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Spasic, Ivana, and Vera Backovic. "Urban identity of Belgrade: Perfect chaos, imperfect balance." Sociologija 62, no. 4 (2020): 569–89. http://dx.doi.org/10.2298/soc2004569s.
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Using a typology of urban symbolism, the identity of Belgrade is reconstructed on the basis of accounts by a sample of city residents, foreigners and locals, who work in international companies and organizations. The component of behavioral symbolism is found to prevail, referring to the place?s atmosphere, mood, spirit, or energy. Next comes material symbolism, particularly in relation to Belgrade?s location at the confluence of two rivers, and the Kalemegdan complex overlooking it. All other types of symbolism are much less prominent. Belgrade is described as having a comparatively low global visibility and lacking a readily recognizable landmark. What emerges as a pervasive motif in the different symbolic codes is the attribute of contradiction, and the related qualities of hybridity, liminality, and incompleteness.
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Fedotkin, S. V. "Keynote Narration and Theory of Distance: Analysis of the Seasons." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 70–83. http://dx.doi.org/10.17816/vgik9370-83.
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The article explores the leitmotif narration in cinema, i.e. the one based on transitions from one leitmotif to another as exemplified by Artavazd Peleshians short non-fiction film Seasons of the Year. The peculiarity of Peleshians artistic method is that he does not proceed by relations between adjoining images but between the disjoint ones which results in their repetition. The dramaturgy of Seasons of the Year is based on transitions from one leit-motif to another. The main ones here, as well as in other Peleshians films, are the themes of cosmos and chaos.
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Caygill, Howard. "Artaud-Immunity: Derrida and the Mômo." Derrida Today 8, no. 2 (November 2015): 113–35. http://dx.doi.org/10.3366/drt.2015.0106.
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Derrida's public struggle with the spectre of Artaud began in the 1960s ‘La parole Soufflée’ and ‘The Theatre of Cruelty and the Closure of Representation’ and continued forcener le subjectile (1986) and Artaud le Moma (2002). The texts are read as attempts to break with the dominant critical/clinical readings of Artaud inaugurated by Jacques Rivière and as beginnings for a search to secure Artaud-immunity, protection for and against his words and works. It argues that Derrida's readings of Artaud systematically underestimate the power of his deliberate perversion of Platonism and his intimations of an affirmative metaphysics issuing from the replacement of the idea of the One by that of Chaos. The underestimation of the affirmative drive underwriting Artaud's work led Derrida to uncover a suicidal motif in Artaud-immunity that would eventually compromise his own understanding of auto-immunity.
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Kitts, Margo. "The Near Eastern Chaoskampf in the River Battle of Iliad 21." Journal of Ancient Near Eastern Religions 13, no. 1 (2013): 86–112. http://dx.doi.org/10.1163/15692124-12341246.
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Abstract This essay explores the river battle of Iliad 21 in terms of the Near Eastern mythological motif known as the Chaoskampf, wherein an order-promoting storm deity prevails over a water deity associated with chaos. The first section outlines four notable features of the protean Chaoskampf traditions in ancient Near Eastern literature, from Mesopotamia to the Levant to Anatolia. The second section traces these four features into the Iliad’s river battle and explains their presence by proposing cross-traditional mythopoesis, confluent with other cultural exchanges as established in recent decades. Understanding this part of the Iliad as influenced by West Asian traditions will help to explain why it is Hephaistos, not storm god Zeus, who unleashes his fire upon the menacing river god. The role of Hephaistos is examined against the roles of Ugaritic Kothar-wa-Hasis and Hittite-Hurrian Ea in their respective Chaoskampf myths.
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Allen, Jason. "Contraindre le chaos à devenir forme: le motif de la descente aux enfers dans Et les chiens se taisaient d’Aimé Césaire." Australian Journal of French Studies 54, no. 2-3 (July 2017): 185–201. http://dx.doi.org/10.3828/ajfs.2017.14.
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Łączyńska, Klaudia. "“O thou, that dear and happy isle”: Andrew Marvell’s Representations of Insularity." Tekstualia 2, no. 6 (November 8, 2020): 17–26. http://dx.doi.org/10.5604/01.3001.0014.5176.
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In stanza XLI of Upon Appleton House, Andrew Marvell strikes a nostalgic note regretting his country’s loss of peace and stability in the chaos of civil wars. In the eyes of the poet, the insular nature of Britain is a blessing and a sign of God’s Providence. Calling Britain a “happy isle”, he combines the classical motif of the Fortunate Islands with the biblical account of the Garden of Eden – a common tendency in the Renaissance poetry. Yet Marvell’s images of insularity as well as his presentation of the effects of political or mental isolation that the quest for a secluded “happy isle” may lead to seem more complex and ambivalent than a mere repetition of a poetic cliché. His extensive panegyric seems to be a laboratory in which the poet tests various models of solitary happiness and geographical insularity known from literature and myth, the results of these experiments often leading to disillusionment brought about by the realisation of man’s irreparably fallen condition.
Dissertations / Theses on the topic "Chaos motif"
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Whitworth, Clifford K. (Clifford Kirk). "Mobiles." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278749/.
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Mobiles is a composition for an ensemble consisting of 12 instruments. The piece, in one movement, incorporates intuition, chance, and twelve tone techniques and reflects the relationship between motion and rest or tension and release. The structure is modeled according to principles of growth and decay, starting off slowly, building, and then dying away. Much of the material is inspired by mental images invoked from modern theories concerning chaos. Mobiles' character stems from the principal use of two motives, the chaos motif and the echo motif. Primarily, the chaos motif is representative of a state of motion while the echo motif represents a state of rest. Mobile architecture is usually characteristic of symmetry, balance, and proportion, but because of uncertainty in a natural environment, this proportion often falls short of a perfect symmetrical balance as in the case of a crystal or a fractal design. It is this kind of architecture that Mobiles portrays in its form and developmental process.
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Iyamuje, Bosco Kalame. "Ordre et chaos : symbolisme d'une dynamique créatrice dans le roman africain d'expression française et anglaise." Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10040.
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La dynamique creatrice du roman africain, soit-il d'expression francaise ou anglaise, se trouve au carrefour des symboles de l'ordre et du chaos. La desintegration socio-culturelle des societes africaines et de l'homme africain s'implique dans l'eternel cyclique de retour que symbolise l'ordre et le chaos. La violence qui caracterise l'ecriture romanesque africaine est le reflet de nos impressions sur les origines de l'univers et de notre volonte de maitrise de l'espace et du temps. C'est bien cette dynamique de retour symbolique qui explique la structure cyclique du roman africainThe creative dynamics of the african novel, be it in english or french, is to be found at the crossroads of the symbols of order and chaos. The social and cultural disintegration of african societies and of the african man are contained in the eternal recurrences symbolised by order and chaos. The violence that characterizesthe african novel is the reflection of our impressions over the beginnings of the universe and of our need to domesticate space and time. It is the very same dynamics of recurrences that explains the circular structure of the african novel
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Harish, Omri. "Network mechanisms of working memory : from persistent dynamics to chaos." Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05T073/document.
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Une des capacités cérébrales les plus fondamentales, qui est essentiel pour tous les fonctions cognitifs de haut niveau, est de garder des informations pertinentes de tâche pendant les périodes courtes de temps; on connaît cette capacité comme la mémoire de travail (WM). Dans des décennies récentes, accumule là l'évidence d'activité pertinente de tâche dans le cortex préfrontal (PFC) de primates pendant les périodes de "delay" de tâches de "delay-response", impliquant ainsi que PFC peut maintenir des informations sensorielles et ainsi la fonction comme un module de WM. Pour la récupération d'informationssensorielles de l'activité de réseau après que le stimulus sensoriel n'est plus présent il est impératif que l'état du réseau au moment de la récupération soit corrélé avec son état au moment de la compensation de stimulus. Un extrême, en vue dans les modèles informatiques de WM, est la coexistence d'attracteurs multiples. Dans cette approche la dynamique de réseau a une multitude d'états stables possibles, qui correspondent aux états différents de mémoire et un stimulus peut forcer le réseau à changer à un tel état stable. Autrement, même en absence d'attracteurs multiples, si la dynamique du réseau estchaotique alors les informations sur des événements passés peuvent être extraites de l'état du réseau, à condition que la durée typique de l'autocorrélation (AC) de dynamique neuronale soit assez grande. Dans la première partie de cette thèse, j'étudie un modèle à base d'attracteur de mémoire d'un emplacement spatial, pour examiner le rôle des non-linéarités de courbes de f-I neuronales dans des mécanismes de WM. Je fournis une théorie analytique et des résultats de simulations montrant que ces nonlinéarités, plutôt que les constants de temps synaptic ou neuronal, peuvent être la base de mécanismes de réseau WM. Dans la deuxième partie j'explore des facteurs contrôlant la durée d'ACs neuronales dans ungrand réseau "balanced" affichant la dynamique chaotique. Je développe une théorie de moyen champ (MF) décrivant l'ACs en termes de plusieurs paramètres d'ordre. Alors, je montre qu'en dehors de la proximité au point de transition-à-chaos, qui peut augmenter la largeur de la courbe d'AC, l'existence de motifs de connectivité peut causer des corrélations de longue durée dans l'état du réseauOne of the most fundamental brain capabilities, that is vital for any high level cognitive function, is to store task-relevant information for short periods of time; this capability is known as working memory (WM). In recent decades there is accumulating evidence of taskrelevant activity in the prefrontal cortex (PFC) of primates during delay periods of delayedresponse tasks, thus implying that PFC is able to maintain sensory information and so function as a WM module. For retrieval of sensory information from network activity after the sensory stimulus is no longer present it is imperative that the state of the network at the time of retrieval be correlated with its state at the time of stimulus offset. One extreme, prominent in computational models of WM, is the co-existence of multiple attractors. In this approach the network dynamics has a multitude of possible steady states, which correspond to different memory states, and a stimulus can force the network to shift to one such steady state. Alternatively, even in the absence of multiple attractors, if the dynamics of the network is chaotic then information about past events can be extracted from the state of the network, provided that the typical time scale of the autocorrelation (AC) of neuronal dynamics is large enough. In the first part of this thesis I study an attractor-based model of memory of a spatial location to investigate the role of non-linearities of neuronal f-I curves in WM mechanisms. I provide an analytic theory and simulation results showing that these nonlinearities, rather than synaptic or neuronal time constants, can be the basis of WM network mechanisms. In the second part I explore factors controlling the time scale of neuronal ACs in a large balanced network displaying chaotic dynamics. I develop a mean-field (MF) theory describing the ACs in terms of several order parameters. Then, I show that apart from the proximity to the transition-to-chaos point, which can increase the width of the AC curve, the existence of connectivity motifs can cause long-time correlations in the state of the network
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Baumann, Ursula. "Sklavenhalter wider Willen und ein Krieg zwischen Cause und Chaos amerikanische Bürgerkriegsromane am Ende des 20. Jahrhunderts." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2006. http://d-nb.info/993179207/04.
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Séverac, Alain. "Les romans de Chinua Achebe : de l'ordre au chaos." Rennes 2, 1995. http://www.theses.fr/1995REN20005.
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Cette thèse étudie les cinq romans publies par Achebe entre 1958 et 1987 et, secondairement, ses autres oeuvres : poèmes, nouvelles, essais. Elle démontre en deux livres (I - la société ; IIi- l'art) que l'oeuvre romanesque décrit une trajectoire la menant d'un haut degré d'organisation au chaos, tant dans les formes sociales décrites que dans les instruments esthétiques. La société, subdivisée en trois parties, analyse le portrait trace par Achebe de l'évolution de sa société. L'oeuvre d'Achebe est une étude concrète et minutieuse des mécanismes de la dégénérescence socioindividuelle, d'abord chez les Igbo, puis dans l'Afrique entière. La société se livre à une analyse théorique systématisée des causes de dégénérescence distinguées par Achebe, depuis l'arrivée du premier missionnaire chrétien dans un village Igbo, en passant par l'accession à l'indépendance, jusqu'à l'effondrement des structures héritées de la colonisation. Le dernier chapitre de la société montre cependant comment, au sein du chaos, le cinquième roman découvre les ferments d'une nouvelle organisation sociale respectueuse de toutes les catégories d'individus, et propose une utopie mêlant populisme et féminisme. L'art recense les prises de positions théoriques d'Achebe puis étudie les instruments de la création littéraire (structures, langage, modes). L'art d'Achebe n'a cessé d'évoluer vers la désintégration, une perte délibérée d'harmonie : confusion chronologique croissante, multiplication et perte de crédibilité des narrateurs, corruption de la langue, ambiguïté et énigmes de la narration, prépondérance grandissante de la modalité sur le contenu représentatif du discours, interférence…This thesis studies the five novels published by Achebe between 1958 and 1987 and, subsidiarity, his poems, stories nd essays. In its two parts (society and art), it contends that the novels evolve from organization to chaos both in the evocation of society and in the aesthetic instruments of this evocation. Society analyses the three stages of Achebe's description of Igbo social evolution. Achebe pursues a concrete, searching enquiry into the mechanics of individual and social degeneracy, first among the Igbo, then throughout Africa. Society is a survey and analysis of the causes of degeneracy Achebe unveils, from the first arrival of a Christian missionary in an Igbo village, through Nigerian independence, to the collapse of post-colonial structures. The last chapter of society shows that, however, in the midst of chaos, the fifth novel perceives the leaven of a new social order respectful of all categories of individuals and combining populism with feminism. Art summarizes Achebe's theoretical stances before investigating his literary technique under three headings : structures, language, modes. Since his beginnings, Achebe's technique has steadily moved toward disintegration and disharmony, manifested in increasing chronological confusion, the multiplication of less and less credible narrators, corruption of language, ambiguous and enigmatic narratives, the prevalence of modality over actuality, growing interference and confusion between modes
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Gros, Ivan. "L' imaginaire du jeu d'échecs et la maîtrise de la complexité : une poétique de l'ordre et du chaos." Paris 3, 2007. http://www.theses.fr/2007PA030127.
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Cette thèse porte sur l’imaginaire du jeu d’échecs et s’appuie sur l’examen d’une centaine de nouvelles et de romans contemporains résumés en annexes. Pour comprendre les mécanismes de création de cet imaginaire, ce travail retrace aussi l’histoire de la métaphore du jeu d’échecs et remonte aux premiers textes de la littérature médiévale. La métaphore du jeu d’échecs, figure de la maîtrise, a pour vocation d’exclure la part aléatoire dans les représentations du monde à l’échelle politique, militaire, cosmologique ou érotique. L’imaginaire se définit comme littérature aléaphobe. La métaphore du jeu d’échecs tombée en désuétude après la Renaissance trouve un regain de vitalité grâce à l’apparition de la figure du joueur d’échecs, variation particulière du mythe du génie. Le roman policier et le roman de science-fiction constituent les bornes d’une poétique de l’ordre et du chaos qui appelle l’étude comparée des métaphores de la complexité et l’exploration d’une écriture expérimentaleThis PhD is about the imaginary of chess and is based upon the analysis of some one hundred contemporary short-stories and novels. In order to understand the creative process at work in the literary use of chess, this PhD also retraces the history of the metaphor of chess and goes back to the earliest medieval texts. The purpose of the metaphor of chess - a figure epitomising control - is to exclude the haphazard dimension of world representations, be it on the political, military, cosmic or erotic scales. The imaginary of chess can be defined as an ‘aleaphobic’ literature. The metaphor of chess, which had become obsolete after the Renaissance, found renewed vitality with the emergence of the character of the chess-player, a particular variation upon the myth of the genius. Finally, the detective and science-fiction novels exemplify a poetics of order and chaos, which calls for a comparative analysis of the metaphors of complexity and an exploration of experimental writing
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Wang, Jiaqi. "Du chaos au chaosmos : pour une approche de la création littéraire et picturale d’Henri Michaux." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA069.
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Cette étude consiste à réaliser un portrait original de « Michaux inclassable », en ayant recours à deux figures particulières : « chaos » et « chaosmos », appliquées pour la première fois à la critique sur l’ensemble de la création littéraire et picturale de Michaux. Le terme « chaosmos », néologisme oxymorique joycien, repris par les critiques et les philosophes du XXe siècle, d’Umberto Eco à Philip Kuberski, en passant par Gilles Deleuze et Félix Guattari dans un contexte plus large de la vie scientifique et sociale, désigne par essence un rapport d’« osmose » entre le « chaos » et le « cosmos », une forme de continuité interne entre l’ordre et le désordre, qui donne naissance à un cosmos paradoxal, composé. Cette notion permettra de rééquilibrer la vision globale de l’œuvre de Michaux, par une mise en communication entre la part qui relève du chaos, du côté trouble et la part de l’ordonnance, du côté oriental. En réalité, Michaux oscille constamment entre ces deux directions opposées mais complémentaires : d’une part, il entretient une relation ouverte avec le chaos qui devient un facteur de création ; d’autre part, de cette plongée dans le chaos, il s’efforce de garder un équilibre, de s’acquérir une unité et une consistance sans rien perdre de l’infini. C’est ainsi que le « chaosmos » prend forme en cachette, apparaît de façon implicite et fonctionne discrètement dans la création michaudienne : elle exprime l’ouverture d’un Tout et intègre des mouvements hétérogènes en son sein ; elle a l’air suffisamment fini à chaque instant mais susceptible de se compléter à l’infini ; en fin de compte, elle s’affranchit de tout repère spatio-temporel et accède en ce sens à la transcendanceThis study consists in creating an original portrait of “Michaux described as unclassifiable”, by using two particular figures: “chaos” and “chaosmos”, applied for the first time to criticism on the whole of the literary and pictorial creation of Michaux. The term “chaosmos”, a Joycian oxymoronic neologism, taken up by critics and philosophers of the twentieth century, from Umberto Eco to Philip Kuberski, from Gilles Deleuze to Félix Guattari in a wider context of scientific and social life, refers, in essence, to a relation of “osmosis” between “chaos” and “cosmos”, a form of internal continuity between order and disorder, which give rises to a paradoxical, composed cosmos. This notion will make it possible to rebalance the overall vision of the work of Michaux, by making communication between the part that belongs to chaos, to the trouble side and the part of order, on the eastern side. In effect, Michaux constantly oscillates between these two opposite but complementary directions: On the one hand, he maintains an open relationship with chaos which becomes a factor of creation; on the other hand, from this dive into chaos, he strives to maintain an equilibrium, to acquire unity and consistency without losing anything from the infinite. This is how chaosmos takes shape in secret, appears implicitly and works discreetly in Michaux’s creation: it expresses the opening of a Whole and integrates heterogeneous movements within it; it seems sufficiently finite at every moment but capable of complementing itself to infinity; ultimately, it frees itself from any spatio-temporal reference and in this sense gains access to transcendence
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Mézergues, Juliette. "Pour une esthétique du chaosl : le théâtre de la catastrophe de Howard Barker." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30029.
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Howard Barker est un dramaturge, poète, metteur en scène et peintre anglais né en 1946. Il commence à écrire au début des années 1970 et développe dès les années 1980 le concept du théâtre de la Catastrophe. Son théâtre reconnaît comme modèle la tragédie antique, qu’il ampute de sa catharsis et dont il ne garde que le point d’orgue, le chaos. Il place l’acteur au centre car il est le porteur du langage. Ce mémoire analyse les concepts de ce théâtre à travers cinq pièces choisies : les Européens, Gertrude le cri, la douzième bataille d’Isonzo, Und et N’exagérez pas (Désirs et insultes) une déclaration politique sous forme d’hystérie. Dans la première partie, nous développons les grands principes de ce théâtre : la base tragique et son adaptation, l’omniprésence de la mort ; la spéculation que pratique l’auteur sur une base historique ou littéraire ; la mise à mal de la morale à travers le savage ego qui caractérise le personnage catastrophiste. La deuxième partie s’attarde sur la construction de la pièce Catastrophiste : quelle en est sa dramaturgie, comment sert-elle l’expression du désir et place-t-elle le langage au centre de ce théâtre, comment le chaos en est indissociable. La troisième partie analyse l’aspect poétique des trois dernières pièces citées où le secret est prépondérant, où le langage du théâtre de la Catastrophe se radicalise. La quatrième partie relate des expériences avec ce théâtre : spectatrice, auditeur libre, stagiaire et assistante à la mise en scène. Divers points de vue y sont confrontés. La conclusion reprend les concepts du théâtre de la Catastrophe et appréhende sa place dans le paysage théâtral contemporainHoward Barker is a playwright, poet, director and English painter born in 1946. He began to write early 1970 and has developed since the 1980's the concept of The Theatre of Catastrophe. His theatre recognizes Greek tragedy as a model, cutting off its catharsis effect and keeping its climax, the chaos. It puts the actor at the centre because it is the bearer of language. This text analyzes the concepts of this theatre through five selectedplays : The Europeans, Gertrude the Cry, The Twelfth Battle of Isonzo, Und and Don’t Exaggerate (Desires and insults) A Political Statement in the Form of Hysteria. In the first part, we develop the broad principles of this drama : the tragic and its adaptation, the omnipresence of death ; speculation that the author practices from a historical or literary standpoint and questioning morality through the savage ego which characterises the catastrophist character. The second part focuses on the construction of the catastrophist play : what is its dramaturgy, how is it an expression of desire and places the language at the centre of the theatre and how the chaos concept cannot be separated. The third part analyzes the poetic aspect of the last three plays cited in which secrecy is predominant and the language of the theatre of Catastrophe is radicalized. The fourth part relate experiences with this theatre : spectator, free observer , intern and workshop assistant. Such various viewpoints are confronted. The conclusion summarises the concepts of The Theatre of Catastrophe and assesses its place in the contemporary theatrical landscape
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Bargiel, Ewa. "A l'affût des variations infinies du chaos : approche de l'oeuve de Rodrigo Fresán." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL038/document.
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Notre recherche s’intéressera à la composition sophistiquée de ce que nous allons dénommer « la maison livresque frésanienne » ou « série intertextuelle ». À travers notre étude, il s’agira de montrer que les neuf ouvrages de Rodrigo Fresán, sans égard à leurs appartenances génériques et leurs thématiques diverses, forment un tout cohérent et ils ne peuvent pas, par conséquent, être étudiés de façon séparée. Nous mettrons en évidence la continuité, la logique et, surtout, le caractère systématique du projet littéraire unissant tous les livres de l’auteur dans une série intertextuelle unique, fractale et « en devenir ». Eu égard au fait que cette écriture génériquement hybride est caractérisée par une tension entre les techniques d’unification et celles de discontinuité, nous effectuerons une présentation des procédés d’intégration et d’atomisation mis en place dans les collections de nouvelles intégrées et dans les romans de l’auteur. Ensuite, nous dégagerons la stratégie principale d’édification du continuum de la maison livresque : le principe de répétition et de variation. Nous explorerons plusieurs domaines d’application du mécanisme de la répétition/variation à différents niveaux de toute la série. Notre étude sera focalisée notamment sur les structures narratives, la dimension métafictionnelle, les hybridations génériques et les modèles extralittéraires de l’écriture frésanienne, c’est-à-dire ses inspirations musicales, picturales, photographiques, cinématographiques, scientifiques et religieusesThe aim of this thesis is to examine and interpret the sophisticated composition of Rodrigo Fresán’s “house of books” or “intertextual series”. Our research will demonstrate that the nine books of the Argentinean writer, in spite of their different generic classifications and their significant thematic diversity, form a coherent whole and they cannot be therefore analyzed separately. The continuity, the logic and, most importantly, the systematic nature of this literary project, that unites all the books of the author in an original and fractal intertextual series “in progress”, will be showed. Considering the fact that this work is characterized by a generic hybridity and a tension between the unification and discontinuity techniques, the processes of literary integration and atomization utilized in the integrated story collections and in the novels of the author will be presented. Then, a repetition and variation principle will be investigated as a main construction strategy of this continuum. Many fields of application of the repetition/variation mechanisms on various levels of the series will be explored. Our study will be concentrated mostly on the narrative structures, the metafictional dimension, the generic hybridity and the extraliterary models of the Fresán’s books, that is, his musical, pictorial, photographic, film, scientific and religious inspirations
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Guerreiro, Emmanuelle. "Réalité et fiction dans l'univers romanesque de José Saramago : étude des œuvres Levantado do Chao et O Ano da Morte de Ricardo Reis." Toulouse 2, 2007. http://www.theses.fr/2007TOU20031.
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Une production romanesque consacrée aux années salazaristes apparaît au Portugal dans les années 1980. Deux romans de José Saramago fictionnalisent cette période : Levantado do Chão (1980) et O Ano da Morte de Ricardo Reis (1984). La présente étude, consacrée à ces deux œuvres, explore les relations complexes entre réalité et fiction. Elle éclaire les diverses modalités de la représentation fictionnelle du réel. La première des trois parties de ce travail retrace le parcours biographique et littéraire de l’auteur. Elle souligne les caractéristiques thématiques et stylistiques de son œuvre, les questionnements sur le temps, l'histoire et l'homme qui se trouvent au cœur de la problématique de l'auteur. La deuxième analyse Levantado do Chão. Héritage néo-réaliste, vision marxiste de l'histoire, mais aussi souffle épique et dimension symbolique caractérisent ce roman sur le monde rural portugais de l'Alentejo qui marque la genèse de la voix littéraire de José Saramago. La troisième partie est consacrée à l'atelier d'écriture de O Ano da Morte de Ricardo Reis, qui plonge l'hétéronyme de Fernando Pessoa dans Lisbonne en 1936. Elle présente l'édition et l'étude d'un agenda manuscrit inédit de l'auteur. Puis le roman est analysé, notamment le travail de réécriture du romancier, à partir de la presse de 1936 et de documents de propagande salazariste. Complexité de l'histoire, éléments fantastiques et dimension intertextuelle sont les composantes de la reconstruction littéraire du réel dans cette œuvre. L'analyse de ces deux romans montre comment José Saramago, pour l'un, dépeint le réel sur un mode fictionnel et, pour l'autre, s'inspire du réel pour élaborer une fictionThis Doctoral Thesis, entirely devoted to two novels by José Saramago which fictionalised the period of the Salazar regime. – Levantado do Chão and O Ano da Morte de Ricardo Reis -, seeks to explore the complex relationship that exists between reality and fiction as well as shed light on the numerous modes of the fictional representation of the real contained within these literary works. The first part of this dissertation focuses on the author’s biography and on his literary ‘path' or evolution. It highlights the thematic and stylistic characteristics of his work, exploring the notions and conceptions of time, history and man that lie at its very heart. The second part is an analysis of Levantado do Chão. This novel about Portuguese rural life in Alentejo is characterised by its neo-realist overtones, its Marxist-influenced vision of history as well as its highly symbolical and epic dimensions. It is also to be regarded as the first expression of Saramago's distinctive literary voice. The third part examines the mechanisms which led to the completion of O Ano da Morte de Ricardo Reis, a novel which has Fernando Pessoa's heteronym wander through 1936 Lisbon. As well as analysing the novel, this final part of the Thesis includes the edition and critical study of an unpublished written diary by the author which served as a backbone to the book. The novelist's efforts at writing and rewriting his text, which revolved around his use of some original 1936 newspapers, are especially dwelt upon. It thereunto appears that the main aspects of the literary reconstruction of reality in the novel are the complexity of the history, elements of the Fantastic genre and intertextuality
Books on the topic "Chaos motif"
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Hecker-Bretschneider, Elisabeth. Bedingte Ordnungen: Repräsentationen von Chaos und Ordnung bei Walt Whitman, 1840-1860. Frankfurt am Main: P. Lang, 2007.
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Ruinen: Reflexionen über Gewalt, Chaos und Vergänglichkeit = Ruins : reflexions about violence, chaos and transience. Stuttgart: Edition Axel Menges, 2011.
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Chaos uncreated: A reassessment of the theme of "chaos" in the Hebrew Bible. Berlin: Walter de Gruyter, 2005.
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Sklavenhalter wider Willen und ein Krieg zwischen Cause und Chaos: Amerikanische Bürgerkriegsromane am Ende des 20. Jahrhunderts. Frankfurt am Main: Peter Lang, 2009.
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Quint, David. Fear of Falling: Icarus, Phaethon, and Lucretius. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161914.003.0004.
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This chapter demonstrates how—through a complicated chain of intermediary texts—the depiction of Satan's fall through Chaos in book 2, which invokes the myth of Icarus, and the Son's successful ride in the paternal chariot of God at the end of the War in Heaven in book 6, which rewrites the story of Phaethon, both trace back to the De rerum natura of Lucretius. They counter the Roman poet's depiction of an Epicurean cosmos ordered by chance and in a constant state of falling through an infinite void—the “vast vacuity” of Chaos. The myths of these highfliers who fall are further countered in Paradise Lost by the motif of poetic flight. The shaping power of poetry itself and the epic high style counteract the specter of a universe without bound and dimension, or of the shapelessness of Death; poetry raises the poet over his fallen condition.
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Laird, Donna J. Political Strategy in the Narrative of Ezra–Nehemiah. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.23.
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This chapter surveys the changing narrative voices and diverse literary materials contained in Ezra and Nehemiah. It details how these various components coalesce into a sharply focused argument to define the membership and religious practices of the post-exilic community. To illustrate this in detail, an intertextual study compares the use of holy war motifs (anxiety about chaos, a warring patron deity, herem, concern for purity, and covenant loyalty) in the Nehemiah memoir with their use in the book of Joshua. Then, using Pierre Bourdieu’s sociological work on symbolic language and the social field, Nehemiah’s nuanced usage of holy war is evaluated with respect to the author’s cultural capital and social and political context. The findings suggest that Nehemiah’s rhetorical strategies can be used to map the state of power relations and the social and cultural context of the author.
Book chapters on the topic "Chaos motif"
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Feinman, Peter. "Where Is Eden? An Analysis of Some of the Mesopotamian Motifs in Primeval J." In Creation and Chaos, 172–89. Penn State University Press, 2013. http://dx.doi.org/10.1515/9781575068657-013.
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Jacobson, Yoram. "Primordial Chaos and Creation in Gur Hasidism: The Sabbath that Preceded Creation." In Polin: Studies in Polish Jewry Volume 15, 221–40. Liverpool University Press, 2002. http://dx.doi.org/10.3828/liverpool/9781874774716.003.0016.
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This chapter deals with one of the central themes of the work Sefat emet, the collection of homilies by Rabbi Judah Arie Loeb Alter, the second teacher of the Gur dynasty, which is considered by Gur hasidism to be the canonical text of the school to this day. A wide variety of subjects is discussed in the thousands of teachings (torot) contained in this vast collection. Some of these are more concerned with historiosophical issues, while others present the mystical existentialism of the individual who seeks their spiritual redemption. Nevertheless, all of them, without exception, reflect different aspects of a unified system of thought that revolves around a fixed and steady axis. It is almost impossible to imagine a more monolithic approach — certainly within the framework of the homiletic writings of Beshtian hasidism — be it in terms of the interconnections and coordination among its theoretical aspects or in terms of the conceptual unity of its teachings and the homiletic motifs that serve as their expression, as these teachings were articulated by the rebbe of Gur for the thirty-five years of his leadership of this major hasidic movement.