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Drugeon, Marianne. "David Edgar : un théâtre politique." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30036.
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David Edgar, dramaturge anglais né en 1948, est un auteur engagé ; son théâtre est politique. Cette étude tente de faire la lumière sur les notions complexes et parfois contradictoires de création artistique et d'engagement politique, au regard du parcours spécifique d'un auteur représentatif de sa génération. David Edgar a commencé à écrire pour le théâtre dans la mouvance de 1968, inscrivant son œuvre au sein du courant alternatif de l'agit-prop. Très prolifique, il est l'auteur d'une trentaine de pièces qui n'ont jamais été publiées, mais dont nous étudions les manuscrits. Bientôt reconnu, il abandonne le Fringe Theatre pour se lancer dans une collaboration fructueuse avec les grands théâtres londoniens, en particulier la Royal Shakespeare Company, tout en continuant à travailler avec des troupes itinérantes. Son œuvre offre donc de multiples facettes et conduit à un questionnement fécond : quelle est la mission d'un écivain engagé dans le monde contemporain ? Quel public vise-t-il ? Ses créations sont-elles littéraires, artistiques ou pamphlétaires ? Peut-on parler de compromission dès lors que ses créations sont intégrées au courant dominant ?Au croisement de l'étude littéraire, de la recherche dramatique, et de l'histoire contemporaine de la Grande-Bretagne et du monde, ce travail reflète les difficultés rencontrées, les victoires remportées et les échecs consommés d'un théâtre politique<br>David Edgar was born in 1948 in Birmingham England, and decided to write for the theatre in the wake of the events of 1968. He is a committed playwright, and his theatre is political. He started writing agitprop plays for the Fringe theatre, and is the author of more than thirty plays which have never been published. He then became famous and began working with mainstream theatre companies such as the Royal Shakespeare Company in London. This study examines the difficulties encountered by a committed writer who tries to be both successful and disturbing, and who wants to spread a political message through an audience as wide as possible. At the crossroads of such disciplines as theatre studies and contemporary history, this research gives an insight into the particular and representative career of a political playwright
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Elmgren, Alexander. "Taktik i Malaya konflikten kopplat till Kilcullens 28 artiklar : En undersökning om Kilcullens tillämpbarhet på den taktiska nivån i Malayakonflikten 1948-1960." Thesis, Försvarshögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-2736.
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Upprorsbekämpning på taktisk nivå är problematiskt därför att konflikter som kräver sådanbekämpning, alltid är unika. Det finns inte heller någon generell teori som leder tillframgång.Syftet med uppsatsen är att undersöka ifall Kilcullens 28 artiklar går att tillämpa på denlyckade upprorsbekämpningen i Malaya.Metoden som användes är kvalitativ textanalys av britternas taktiska doktrin underkonflikten, the conduct of anti-terrorist operations in Malaya (ATOM), utifrån Kilcullens 28artiklar. Även artiklar skrivna av officerare och soldater under konflikten har använts för attge stöd till påståenden samt för att belysa ifall britterna faktiskt följde sin taktiska doktrineller ej.Resultatet visar att det inte går att applicera Kilcullens teori på britternas taktiska agerande iMalaya. Endast 10 av 28 artiklar var applicerbara.Författaren drar slutsatsen att Kilcullens 28 artiklar möjligen inte är användbara somgenerella riktlinjer för handlingsalternativ på taktisk nivå. Författaren lyfter emellertid att flerstudier på andra konflikter behövs för att fastställa påståendet.<br>Counterinsurgency (COIN) on the tactical level is difficult because these conflicts are alwaysunique and there is no theory that generally leads to victory.The purpose of this study is to analyze if there is a resemblence between Kilcullens 28articles and the succesful COIN of the brittish security forces in the Malayan emergency.The method that has been used is the qualitativ analysis of documens. The main documentthat has been analyzed is ATOM, the brittish tactical doctrine during the emergency. Articlesthat have been written during the emergency, 1948-1960, by officers and soldiers, have beenused to to elucidate if the brits actually followed their tactical doctrine or not.The author concludes that Kilcullens 28 articles might not be useful as general guidelines foraction at the tactical level. The author highlights, however, that more studies on otherconflicts are needed to establish the claim.
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McCoy, Andrew Michael. "Faith at the fractures of life : an examination of lament and praise in response to human suffering with special reference to the theology of Walter Brueggemann and David Ford." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/824.
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This thesis explores the role of lament and praise in the respective theological approaches of Walter Brueggemann and David Ford for the purpose of examining how Christian faith transforms human response to suffering. The first three chapters trace Brueggemann’s engagement with Israel’s lament psalms, beginning with his observation that their typical dual form mirrors the collective shape of Israel’s psalter as well as all biblical faith. Influential interactions with sociology eventually lead Brueggemann to propose faith not simply as response to God’s faithfulness, but rather through rhetorical tension maintained between conflicts perceived in aspects of scripture such as praise and lament. We critique this view of irresolvable textual tension for leaving Brueggemann with an unresolved understanding of divine fidelity which obscures biblical expectation that God will respond faithfully to human lament. The fourth and fifth chapters concern David Ford’s consistent engagement with praise and subsequently, Christian joy. His early collaborative scholarship proposes praise as the result of faith in who God is through the suffering person and work of Jesus Christ. Nevertheless, continued ethical concerns lead Ford to identify Christian faith as an inextricable relationship between joy and responsibility resulting from “facing” Christ’s life and suffering death. We critique Ford for failing to clarify how such “facing” is made possible through who God is in Christ, rendering faith merely the result of human expression of Christ’s example, and thus obscuring any real reason for praise amidst suffering. Beyond a synthesis of Brueggemann and Ford’s respective approaches to lament and praise, the final chapter argues that a trinitarian approach to Christ’s atonement is necessary to propose how God confronts both suffering and sin thereby producing faithful human response amidst persistent evil. We conclude by arguing that a trinitarian understanding of praise cannot be proposed apart from either who God is in Christ’s atonement or how the atoning Christ is humanly faithful in lament.
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Samacher, Jean-Yves Olivier. "Le statut de l'œuvre chez Antonin Artaud et David Nebreda." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC029/document.
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A quelle(s) logique(s) répondent les dispositifs de création réalisés par Antonin Artaud et David Nebreda ? Quel statut attribuer à leurs « œuvres », si tant est que l’on puisse accoler cette appellation à leurs travaux ? Pour répondre à ces questions, nous mènerons une réflexion d’ordre esthétique et nous nous interrogerons parallèlement sur la spécificité du processus de création dans la psychose. Nous étudierons les productions d’Artaud et de Nebreda sous l’angle de la mise en scène et de la performativité. Nous mettrons également en lumière l’abolition de la représentation, l’effondrement de la scène et les limites du jeu / je. Nous montrerons ainsi la prédominance des registres Réel et Imaginaire conçus par Jacques Lacan. Chez ces « artistes » transgressant les frontières des genres et de l’art, les manifestations incontrôlées du corps et les conflits intrapsychiques donnent lieu à des recréations simultanées du monde et du langage, qui, en même temps qu’elles s’apparentent au déroulement d’une cérémonie de mise à mort, tracent des signes inédits, forment d’étranges parcours et s’orientent vers l’horizon d’une nouvelle naissance<br>Which logic is guiding the multimodal creations proposed by Antonin Artaud and David Nebreda ? What kind of status can be applied to their “(art)works” ? In order to answer these questions, we will lead an esthetical research and study concurrently the specificities of the creative process in psychosis. We will examine Artaud’s and Nebreda’s productions through the notions of setting and performativity. We will underline the abolition of representation and the crumbling of the stage as well as the limits of play / subjectivity. We will show the predominance of the Real and Imaginary registers as they have been conceived by JacquesLacan. By Artaud and Nebreda, the uncontrolled corporal manifestations and the intra-psychicconflicts generate simultaneous recreations of the body and language as, in the same time, they achieve a sort of sort killing ceremony, tracing unseen signs, outlining strange trails and pointing toward the horizon of a new birth
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Bevington, Oliver David. "David Jones's contemporary response to fascism, 1938-1941." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/3f2ed792-ac3b-40e6-9ef4-408ada6cc6f8.
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Hoelscher, David W. "Cultivating the Ecological Conscience: Smith, Orr, and Bowers on Ecological Education." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12133/.
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During the past two decades, one of the positive developments in academia has been the emergence of a sizable literature pertaining to ecological education-the theory and practice of preparing children and adults alike for ecologically responsible citizenship. Gregory A. Smith, David W. Orr, and C. A. Bowers are three of the more prolific writers in the field. Smith critiques modern primary and secondary education and argues for, and paints a picture of, an alternative "green pedagogy" that seeks to inculcate in students strong community and ecological values. Orr focuses on the social and ethical problems associated with the environmental crisis and the changes that colleges and universities need to make in order to become propagators of, rather than impediments to, a widespread diffusion of ecological literacy. Bowers emphasizes the role that ecologically problematic modern cultural assumptions play in blinkering the ecological vision of most educational theorists and in preventing the flowering of an eco-justice pedagogy. Each writer seeks the transformation of both education and culture with a view toward realizing ecological sustainability, strong communities, social justice, and moral edification. They neglect or ignore some important subjects, including animal welfare ethics, politics, and corporate influence on governments.
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Pinguet, Léo. "Esthétique des clichés : épistémologie, généalogie et usages cinématographiques aberrants d’un phénomène normatif." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H301.
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Ce travail se propose de penser les conditions de possibilité d'une esthétique des clichés en s'appuyant principalement sur trois axes : un commentaire de Gilles Deleuze et son usage de la notion de cliché ; une enquête épistémologique et généalogique croisant les apports des études littéraires et de la philosophie au regard de l'esthétique ; une analyse des films américains de Joe Dante, Brian de Palma, David Lynch, John Carpenter et Paul Verhoeven. Les clichés sont généralement perçus, pensés et jugés de manière strictement dépréciative comme relevant d'un raté du discours ou de l’œuvre d’art qui renvoient à une aliénation et une an-esthésie. Dégager le paradigme d'hostilité qui prévaut à leur appréhension, autant que le modèle ordinaire de reconnaissance et de désignation du phénomène permettent, au contraire, d'entrevoir une aporie des clichés entre normativité et aberration. L'analyse du dispositif esthétique de certains films, qui problématisent le rapport des corps, du cerveau et des images, tout en manipulant les clichés sans pour autant être jugés comme tels, permet d'envisager une autre manière de sentir les clichés et d'autres types de clichés<br>This work examines the conditions of possibility of an aesthetic of clichés. The approach is mainly based on three directions: a commentary of Gilles Deleuze and his use of the notion cliché; an epistemological and genealogical investigation combining the contributions of literary studies and philosophy from an aesthetic point of view; an analysis of American films by Joe Dante, Brian de Palma, David Lynch, John Carpenter and Paul Verhoeven. Clichés are generally perceived, reflected and judged in a strictly depreciative way as a failure of the discourse or as failure for the works of art, a failure that refers to alienation and anesthesia. Identifying the paradigm of hostility that prevails in their apprehension, as much as the ordinary model of recognition and designation of the phenomenon allows, on the contrary, to glimpse an aporia of clichés between normativity and aberration. The analysis of the aesthetic device of certain films, which problematizes the relationship between bodies, brain and images while manipulating the clichés without being judged as such, allows to consider another way of feeling the clichés and other types of clichés
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Pereira, Eduardo Wolf. "Filosofia moral e busca definicional na Ethica Nicomachea de Aristóteles : uma leitura de EN I.1-7 à luz dos Segundos Analíticos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/56371.
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Davy, Frédéric. "La poétique du cliché dans le théâtre américain contemporain : Edward Albee, David Mamet, Sam Shepard." Paris 4, 2006. http://www.theses.paris-sorbonne.fr/davy/davy/html/index-frames.html.
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L'étude des oeuvres des trois auteurs du corpus (Edward Albee, David Mamet et Sam Shepard) a permis de mettre en lumière un paradoxe essentiel de la création artistique et en particulier littéraire du vingtième siècle. En abdiquant l'idéal romantique de l'originalité et en retravaillant les phénomènes de ressassement et de répétition contenus dans la langue, et plus généralement, dans la société américaine, les trois dramaturges ont élaboré un langage fondamentalement original et originel. Bien qu'il permette de constater les crises et les dysfonctionnements de cette langue théâtrale résolument américaine, le cliché se pose également comme tentative de renouvellement du sens. Les pièces des trois auteurs utilisent ainsi le cliché comme matériau dramatique privilégié et proposent une véritable poétique du cliché établie sur la base du banal et du déjà-dit<br>This study of Edward Albee, David Mamet and Sam Shepard has enabled us to emphasize one of the most essential paradox in contemporary artistic and literary creation. Indeed, the three playwrights have built up a highly original language while precisely giving up the Romantic ideal of originality. Based on repetitions and on hackneyed elements, the plays develop their own structures around the notion of cliché. Although the cliché may appear as a sign of the failure and of the dysfunctioning nature of this typical American dramatic language, it can also work the other way round and become a device that produces meaning. Thus, the aesthetics of these plays is one that revolves around the concepts of banality and déjà-vu: a real poetics of the cliché
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Uzan-Milofsky, Michele Marie. "David Gauthier's contractarian moral theory." Thesis, London School of Economics and Political Science (University of London), 2006. http://etheses.lse.ac.uk/1947/.
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Can we derive and internalise moral rules from pure rational agency. If such a project is possible then a contractarian moral theory is conceivable. Restricting the field of morality to social co-operation, David Gauthier is probably the preeminent 20th century champion of such a theory from his Morals by Agreement, published in 1986, to his most recent writings. The purpose of this thesis is present, analyse and argue against his project. The main argument developed is that a pre-conception of morality cripples his rational calculus and that moral rules cannot be internalised through rational calculus alone. In the first part of the thesis, I give full voice to Gauthier. His work from 1963 to 1986 is presented and interpreted. In particular, in the first chapter I describe how, from his Hobbesian background and his research on practical rationality, Gauthier was led to develop a contractarian moral theory. Chapter two is then fully dedicated to developing the core features of Morals by Agreement, providing an interpretation that highlights its main strengths and weaknesses. Gauthier's work has been extensively commented upon since 1986 and Gauthier actively participated in the debates generated by his writings. Although he stopped defending his Morals by Agreement from 1993, he remained faithful to the idea of a contractarian moral theory. In the second part of the thesis, I first review in chapter three the criticisms made of Morals by Agreement as well as Gauthier's responses to them. By 1993, he had abandoned several key points of his theory. However, inspired by his Hobbesian background (chapter six), and within the framework of McClennen's concept of resoluteness (chapter five), Gauthier renewed his attempt to derive co-operation from pure rational agency. Chapter seven is a discussion of this latest attempt.
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Mottet, Jean. "Cinéma et paysage : de la représentation à l'expérience paysagère." Paris 1, 2002. http://www.theses.fr/2002PA010539.
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En Amérique, le problème de la relation avec le territoire vierge est d' abord redéfini dans le courant du 19e siècle par des hommes qui ne sont pas des artistes au sens traditionnel du terme. Des grands photographes de paysage (Jackson, Watkins, Russel. . . ) aux premiers opérateurs de cinéma, ce sont des techniciens ou des entrepreneurs qui inventent et diffusent les premiers paysages américains. Dès le début du 20e siècle, le spectacle de la nature cède la place à la multiplication des visions médiatiques : lanterne magique, panorama, photo, cinéma. Dans ce nouveau contexte, les courts métrages de D. W. Griffith tournés entre 1908 et 1915 sont l'occasion d'analyser les rapports originaux qui s'élaborent entre représentations populaires et scène américaine. De nouveaux schèmes organisationnels se diffusent, en prise directe avec les processus ordinaires de la vie quotidienne, selon les nécessités sociales du moment plutôt qu' en rapport avec une invention réfléchie du paysage dans le cadre d'une esthétique. Cette expérience historique détermine une nouvelle manière d'être à l'espace qui permet de penser les relations du cinéma aux paysages contemporains (naturels et urbains) selon d'autres logiques, intégrant les notions de lieu et non-lieu, sans dissociation. Recroiser le langage du cinéma et du monde conduit par ailleurs à envisager de nouvelles formes d'échanges avec ce qui nous entoure/
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Jahanbegloo, Ramin. "Gandhi et la pensee occidentale (thoreau, ruskin, tolstoi)." Paris 4, 1998. http://www.theses.fr/1997PA040264.
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Cinquante apres son assassinat, m. K. Gamdhi reste indeniablement l'une des figures politiques et morales les plus marquantes de l'histoire de l'humanite. Homme d'une profondeur quasiment insondable et personnage hors de commun, gandhi etait a la fois un grand sage et un grand politicien. Au contraire des vieux sages indiens, gandhi considerait la politique comme une dimension de la vie humaine a trouvers laquelle il fallait essayer d'atteindre ce qu'il appelait "l'esprit de verite". La vision politique de gandhi se presente donc comme un nouvelle attitude dans la pensee politique de l'indemoderne. En verite l'attitude de gandhi en ce domaine releve strictement de son evolution spirituelle. On doit rappeler qu'il a ete profondement marque pas d'autres sources intellectuelles que la pensee indienne et notamment par trois grands penseurs du xixe siecle: ruskin, thoreau et tolstoi. Si le royaum de dieu est en vous de tolstoi permet a gandhi de vivifier sa passion pour la parole du christ et de raffermir sa foi en l'ahimsa, unto this last de ruskin, lui offre une nouvelle vision pratique de la vie de la communaute. Quant a h. D. Thoreau, il consolide intellectuellement la valeur de satyagraha inaugure par gandhi en afrique du sud<br>Mahatma gandhi was one of those rare human beings who was simultaneously a theoretician and practicioner of non-violence. Gandhi possessed an inner conviction that non-violence was not only one of the key words of his own century but of centuries still to come. It is in this sense that his ideas on non-violence and tolerance transcend the context of india itself, even though these ideas were initially conceived in relation to india's independence and future. Nevertheless, in spite of what may seem obvious, it is no mere truism to state that gandhi would not have been gandhi had he not been born indian. But at the same time, gandhi also sought support for his ideas of tolerance and non-violence in other cultures. In all likelihood, he was deeply influenced by three thinkers of the west: thoreau, ruskin andtolstoy. It was leo tolstoy who exerted the greatest influence on gandhi's thought through his concept of love. Thoreau's book, on the duty of civil disobedience provided gandhi with a solid foundation for his satyagraha in south africa. And last but not least, ruskin awakened gandhi's conscience on the idea of community and simplicity
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Jünger, David [Verfasser]. "Jahre der Ungewissheit : Emigrationspläne deutscher Juden 1933–1938 / David Jünger, David Jünger." Göttingen : Vandenhoeck & Ruprecht, 2016. http://www.v-r.de/.
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Kuhlemann, U. C. "Caspar David Friedrich, Christian Friedrich and the woodcut in Germany in the Romantic period." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/19489/.
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This thesis investigates the German artist Caspar David Friedrich and his involvement in the woodcut production of his brother, the carpenter and furniture maker Christian Friedrich. An analysis of published correspondence and other, previously unpublished material reveals that the collaboration of the Friedrich brothers lasted circa 25 years and encompassed the production of at least twelve, probably fourteen woodcuts. During this period, Caspar David Friedrich's role changed significantly, from initial designer to later agent and general advisor. It also becomes apparent that this collaboration was not without tensions, which can be related to the brothers' different backgrounds and respective expectations from the woodcut technique. The Friedrich brothers' various woodcut activities are further investigated in the print-historical context of woodcut making in early nineteenth-century Germany. This includes a discussion of the woodcut practitioners Johann Friedrich Unger and Friedrich Wilhelm Gubitz and the emergence of the English wood-engraving technique, popularised by Thomas Bewick and his pupils. Particular attention is paid to the reproductive applications of the woodcut technique which ranged from ephemeral printmaking, textile-printing, book decorations to fine art reproduction. The thesis concludes with a discussion of the Romantic movement and the discovery of the woodcut's potential as symbol of cultural identity. Within this context, the Friedrich brothers' early woodcuts are re-evaluated as illustrative work for a possible publication of poems and texts by Caspar David Friedrich.
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Finlayson, Marlene Elizabeth. "Intellectual biography of David Smith Cairns (1862-1946)." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11739.
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This thesis explores the formative influences, development and impact of the theology of David Smith Cairns, Scottish minister, academic and writer, during the high point of British imperial expansion, and at a time of social tension caused by industrialisation. In particular, it describes and evaluates his role in the Church’s efforts to face major challenges relating to its relationships to the different world religions, its response to the First World War, and its attitude to the scientific disciplines that called into question some of its long-standing perceptions and suppositions. Examination of Cairns’s life and work reveals an eminent figure, born into the United Presbyterian Church and rooted in the Church in Scotland, but operating ecumenically and internationally. His apologetics challenged the prevailing assumptions of the day: that science provided the only intellectually legitimate means of exploring the world, and that scientific determinism ruled out the Christian conception of the world as governed by Providence. A major feature of his theology was the presentation of Christianity as a ‘reasonable’ faith, and throughout his life he maintained a particular concern for young people, having endured his own crisis of faith when a student in Edinburgh. He enjoyed a decades long involvement with the Student Christian Movement and the World Student Christian Federation, based on a mutually enriching relationship with one of its leading figures, the renowned American evangelist John Raleigh Mott. As chair of Commission IV of the 1910 World Missionary Conference in Edinburgh, Cairns spearheaded efforts to encourage the Church to redefine its role in relation to the different world religions, and to adopt a fulfilment theology that allowed for a dialogical rather than confrontational model of mission. As leader of a Y.M.C.A. sponsored interdenominational enquiry into the effects of the First World War on the religious life of the nation and attitudes to the Churches, Cairns reported on the Churches’ failure to engage with a large section of the population, and in particular with the young men at the Front. The resulting report offered an important critique of the Church and its vision in the early twentieth century, and provided a call for reform and renewal in Church life, with an emphasis on the need for social witness. The thesis concludes that in these three major areas Cairns provided a prophetic voice for the Church as it entered the twentieth century and faced the challenges of that time.
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Hirtzlin-Pinçon, Olivier. "L'influence de la situation géopolitique au Moyen-Orient sur la génération des accords israélo-arabes depuis "Camp David I" : la frontière d'Israël." Phd thesis, Université des Sciences Sociales - Toulouse I, 2008. http://tel.archives-ouvertes.fr/tel-00300769.
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La question moyenne-orientale est dans l'actualité depuis 1948. C'est en cette année que se crée l'Etat d'Israël sur les décombres du mandat britannique en Palestine. Dès le commencement, la guerre va commencer à fixer les frontières entre Israël et ses voisins arabes. Cependant, après 1967, une nouvelle question va apparaître, celle des relations avec les Territoires occupés. En conséquence, l'Etat d'Israël aura deux questions frontalières à gérer : la question interétatique classique et la question interne avec les Palestiniens. Cette recherche tente de démontrer les voies employées par les différents acteurs régionaux et internationaux pour trouver une solution à cette question juridique qui cause l'instabilité régionale. On s'appuiera sur le droit, l'Histoire, la science politique (en particulier, l'étude des idéologies sioniste et arabiste) et les relations internationales pour trouver une cohérence aux réussites et aux échecs qui ont émaillé l'histoire du Moyen-Orient depuis 1948 et le fait qu'Israël n'ait encore que deux frontières internationalement reconnues, une avec l'Egypte et l'autre avec le royaume de Jordanie.
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Pliskin, Sylvie. "David O. Selznick, illusionniste : Selznick International Picture : 1935-1940." Paris 3, 1993. http://www.theses.fr/1994PA030008.
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Cette these etudie les mecanismes mis en oeuvre par david o. Selznick, producteur hollywoodien independant, pour construire artificiellement et consciemment l'illusion du "naturel" pour des spectateurs donnes. L'analyse se fonde sur des documents de premiere mains, memos et notes de production, concernant les onze films de la selznick international pictures 1935-1940, conserves au harry ransom humanities research center a l'universite du texas a austin (usa). La these classique de la transparence est presentee ici non plus du point de vue du spectateur qui regarde un film, mais de l'autre cote, celui de producteur independant, maitre d'oeuvre de ses films<br>This thesis studies the mecanisms used by david o. Selznick, an independent hollywoodien producer, to create artificially and on purpose an illusion of "naturel" for his spectators. The research on the production notes and memos for the eleven films of selznick international pictures 1935-1940 was done at the harry ransom humanities research center at the universite of texas in austin (usa). The classical theory of "transparence" is analysed not from the point of view of the spectator but, from the other side, from the point of view of the maker, the producer, master of his work
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Varner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.
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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.
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Cardoso, Tarcísio de Sá. "Funções não-representativas no design gráfico pós-moderno." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5289.
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Previous issue date: 2010-05-14<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>This research seeks to understand the mechanisms of non-representational contemporary graphic design. The expression "non-representative" is intended to connote some kind of sign that is characterized by polysemy. In print, this aspect has insisted to emerge in many different manifestations. Despite its recurrence, this type of sign has not received the deserved attention by the scientific community, especially in regarding to the theory of signs an instrument that seems privileged to explain the functions of language presented there. Called unreadable and dysfunctional, the graphic design of David Carson, Neville Brody, Edward Fella, April Greiman and many others are still currently subject of contents. To be more specific, we may say that all post-ulmian vanguard from around the world, questions the rationality of an area so close to the arts, and represents a kind of counterpoint to the canonical approach, which from the Bauhaus and constructivism tries to articulate an exclusivist disciplinarity to the design. This objection became important especially in Europe (HOLLIS, 2001) and in the USA (MCCOY, 1990), in which new wave movement has its most characteristic representation. One of the theorists that works with the evolution of the modernist slogan form follows function, Bürdek presents the problem of function in a new outlook not anymore as an exclusively practical function, but mainly what he called a sign function. According to him, these are the most important functions for design (BÜRDEK, 2002). From this point of view, we intend to answer how these sign functions are articulated in visuality of post-modern design from the 1990s, to build communication processes that dialogue with the culture of information, or the culture in which the sign function overcome the function of use (BAUDRILLARD, 1995). Differently from the structuralist conception of the sign in Baudrillard it means by sign function, in this study, the processes that substantiate the sign according to Peirce's semiotics (on aspects of quality, existence and regularity). From this perspective, we will intend a deeping in trichotomies of visual language as presented in matrix theory of language-thought (SANTAELLA, 2005). These trichotomies will be essential to study the controversial expressions of contemporary graphic design, in order to identify what it is innovative, which is commonplace, which transcends the current publishing paradigm and what is considered, even today, polemic by the scientific community<br>Esta pesquisa busca entender os mecanismos não-representativos do projeto gráfico editorial contemporâneo. O neologismo ―não-representativo‖ pretende conotar certo tipo de signo que se caracteriza pela polissemia. Na mídia impressa, esse aspecto tem insistido em despontar sob as mais variadas manifestações. Apesar de sua recorrência, esse tipo de signo não tem recebido a devida atenção por parte da comunidade científica, especialmente no que diz respeito à teoria dos signos instrumento que nos parece privilegiado para explicar as funções de linguagem ali presentes. Taxados de ilegíveis e disfuncionais, os projetos gráficos de David Carson, Neville Brody, Edward Fella, April Greiman e tantos outros são, ainda hoje, motivo de discórdia. Para ser mais específico, pode-se dizer que toda a vertente vanguardista pós-ulmiana de diversas partes do mundo questiona a racionalidade de uma área tão próxima das artes e representa uma espécie de contraponto à abordagem canônica, que desde o construtivismo e a Bauhaus tenta sistematizar uma disciplinaridade exclusivista para o design. Este contraponto ganha voz especialmente na Europa (HOLLIS, 2001) e nos EUA (MCCOY, 1990), em cujo movimento new wave tem sua representação mais característica. Um dos teóricos que trabalha com a evolução do lema modernista form follows function, Bürdek apresenta o problema da função sob um novo prisma, não mais como função exclusivamente prática, mas, principalmente, naquilo que denominou funções de signo. Segundo o autor, estas são as funções mais importantes para o design (BÜRDEK, 2002). A partir disto, busca-se responder como estas funções de signo se articulam na visualidade do projeto pós-moderno, a partir da década de 1990, para a construção de processos comunicativos que dialogam com a cultura da informação, ou com a cultura em que a função de signo supera a função de uso (BAUDRILLARD, 1995). Diferentemente da concepção estruturalista do signo em Baudrillard, entende-se por função de signo, neste estudo, os processos que fundamentam o signo segundo a semiótica peirceana (sob aspectos de qualidade, existência e regularidade). A partir dessa perspectiva, buscar-se-á um aprofundamento nas tricotomias da linguagem visual tal como apresentadas na teoria das matrizes da linguagem-pensamento (SANTAELLA, 2005). Estas tricotomias serão fundamentais para estudar as controversas expressões do design gráfico contemporâneo, com o objetivo de identificar o que nela é inovador, o que é lugar-comum, o que transcende o paradigma editorial vigente e o que nela é considerado, ainda hoje, polêmico pela comunidade científica
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Kowalski, David [Verfasser], and Yfaat [Herausgeber] Weiss. "Polens letzte Juden : Herkunft und Dissidenz um 1968 / David Kowalski." Göttingen : Vandenhoeck & Ruprecht, 2018. http://www.v-r.de/.
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Stoll, Katrin. "David Kowalski: Polens letzte Juden. Herkunft und Dissidenz um 1968." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2019. https://slub.qucosa.de/id/qucosa%3A36502.
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Kowalski, David [Verfasser], and Yifʿat [Herausgeber] Ṿais. "Polens letzte Juden : Herkunft und Dissidenz um 1968 / David Kowalski." Göttingen : Vandenhoeck & Ruprecht, 2018. http://nbn-resolving.de/urn:nbn:de:101:1-2018071817541558480532.
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Boldsen, Kristian. "Afghanistan 1978-1992 : Avsaknaden av Galula." Thesis, Swedish National Defence College, Swedish National Defence College, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:fhs:diva-755.
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<p>Begreppet counterinsurgency har fått stor uppmärksamhet efter 2001 och USA:s militäraengagemang i Afghanistan och Irak. USA har bedrivit ett gediget utvecklingsarbete sedan dess och en ny doktrin för just counterinsurgency presenterades 2006. Redan 1964 utkom fransmannen David Galula med en bok i ämnet. Det har alltså funnits teorier om counterinsurgency sedan dess. Sovjetunionens engagemang i Afghanistan under 1980-talet slutade med att den afghanska kommunistregimen kollapsade. Viljan att vinna konflikten borde ha funnits där och precis som USA har dragit erfarenheter, borde något ha gjorts för att försöka vinna konflikten även på 1980-talet. Syftet med denna studie är att undersöka om de parter som försökte besegra den afghanska motståndsrörelsen gjorde det på ett sätt som kom att likna Galulas teorier om counterinsurgency. Konflikten har analyserats utifrån Galulas teori om upprorsbekämpning med både politiska och militära medel. Analysen har visat att Sovjetunionen och den afghanska kommunistregimen inte utvecklade sitt sättatt hantera konflikten i en riktning som motsvarade Galulas teorier. Den primära politiska orsaken var att regimen förlitade sig på förtryck för att försöka avskräcka motståndssympatier. Detta tillvägagångssätt ledde istället till ökat stöd för motståndsrörelsen. Militärt saknades medlen att befästa närvaro i nya områden där regimen kunde ha börjat utöva inflytande. I förlängningen innebardet att regimen saknade förmåga att bredda sin inflytandesfär.</p><br><p>The term counterinsurgency has received a lot of attention since 2001 and the U.S commitment in Afghanistan and Iraq. The U.S has conducted thorough developmental work since then and a new doctrine on counterinsurgency was presented in 2006. As early as 1964, the Frenchman David Galula issued a book on the subject, and there have existed theories on counterinsurgency ever since. The Soviet Union’s commitment in Afghanistan during the 1980s ended with the collapse of the Afghan communist regime. The will to win the conflict should have been present there, and in the same way that the U.S have capitalized on their experiences something ought to have been done to try to win the conflict during the 1980s. The purpose of this study is to examine whether the parties involved in the fight against the Afghan resistance acted in a way that resembles Galula’s theories on counterinsurgency. The conflict has been analyzed with Galulas theories on how to defeat an insurgency by both political and military means. The analysis has shown that the Soviet Union and the Afghan communist regime did not develop their way of handling the conflict in a way which is consistent with Galula’s theories. The primary political cause was that the regime put its trust in oppression in their attempts to discourage resistance sympathies. This approach resulted in an increase in support for the Afghan resistance rather than the support of the regime. Militarily, the lack of means to secure the regime’s political presence in new areas meant that the regime was unable to broaden its sphere of influence.</p>
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Miranda, Colleir Christian. "La estética de lo abismal en el cine de David Lynch." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/101270.
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l trabajo teórico que se desarrolla a continuación pretende abordar la posibilidad de pensar una estética de lo abismal a partir de la filmografía de David Lynch. Este intento supone que la expresión “estética de lo abismal” no quiere indicar algo así como un sistema reflexivo que tenga una disposición orgánica y sea absolutamente coherente consigo mismo. No es, por decirlo de algún modo, una concepción sobre lo bello, fundamentada desde una estructura doctrinaria. Más bien, lo que se está pensando bajo dichos términos es la idea que, a lo largo de los filmes de este director estadounidense, podemos reconocer una serie de aspectos que se vuelven reiterativos y que son utilizados por él a la hora de componer la imagen de sus películas. Ésta última adquiere un aspecto abismal porque circulan por ella una serie de referencias que no terminan de fundarse en una relación de estricta coherencia narrativa. No pueden explicarse simplemente en base a una sola idea en común, ya sea narrativa, cinematográfica o estética. De cierta manera, nuestra mirada trastabilla, pierde pie, cuando no logra una conexión obvia entre las imágenes, gracias a un sentido que emerja y propicie un vínculo. Entonces, las películas de Lynch implican formas de tratar los recursos cinematográficos que incluyen además una serie de referencias que exceden el ámbito fílmico más tradicional. Por ejemplo, prácticas de producción que tienden a generar, precisamente, relaciones azarosas entre los aspectos que forman parte del contenido. Vemos el asomo de la influencia surrealista en dicha manera de elaborar la imagen, pero no es exactamente un tratamiento surrealista, sino sólo su versión fantasmática.
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Bitzan, John. "When Lawrence of Arabia met David Ben-Gurion : a history of Israeli "Arabist" expertise in the Negev (1943-1966) /." [Beersheba, Israel] : Ben-Gurion University of the Negev, 2006. http://aranne5.lib.ad.bgu.ac.il/others/BitzanJohn.pdf.
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Pragnell, Bradley John School of Industrial Relations & Organisation Behaviour UNSW. "???Selling Consent???: From Authoritarianism to Welfarism at David Jones, 1838-1958." Awarded by:University of New South Wales. School of Industrial Relations and Organisation Behaviour, 2001. http://handle.unsw.edu.au/1959.4/18241.
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This thesis investigates the history of labour management at David Jones, the major Australian retailer and manufacturer, between the years 1838 and 1958. This thesis examines the development of consent-based approach to labour management at David Jones, in particular the development of paternalism and welfarism. In doing so this thesis explores both general questions regarding the factors that influence why certain firms adopt a consent-based approach to labour management, as well as informing debates around the existence of nineteenth century paternalism and the origins of twentieth century welfarism. The historical material contained at the David Jones Archives and elsewhere reveals little evidence of paternalism as a deliberate management strategy. This brings into question the usefulness of paternalism as a concept in the historical study of Australian labour management. The inability to trace paternalism also undermines explanations of twentieth century welfarism premised on the pre-existence of nineteenth century paternalism. The historical materials, however, do note that twentieth century welfarism was a deliberate labour management strategy adopted by David Jones management. Welfarism, combined with systematic management and training, was initially adopted following the First World War to deal with the threat of industrial turmoil. However, in the 1930s, welfarism increasingly became a pro-active strategy designed to create skilled selling and raise the profile of the firm within the community. Further, welfarism at David Jones in the inter-war period was more than merely a new form of paternalism, somehow transformed by being in a larger, more bureaucratic setting or a result of employers confronted an increasingly feminised workforce. Welfarism at David Jones was a deliberate strategy, informed by overseas experiments, management consultants and the new science of psychology. Welfarism at David Jones continued into the post World War Two period. However, new forms of retailing, in particular self-service, undermined attempts to create skilled selling. Elements of welfarism remain at David Jones and continue to support the firm???s corporate image as a provider of high-quality customer service.
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Lobo, Rafael Santos de Gusmão. "New flesh : a cosmovisão de horror de David Cronenberg." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21150.
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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2016.<br>Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-07-18T13:14:48Z
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2016_RafaelSantosdeGusmãoLobo.pdf: 65743304 bytes, checksum: a066bedd3d880f73c9a5a3cd63de25bc (MD5)<br>Este trabalho busca investigar o desenvolvimento da importância do gênero de horror na compreensão da trágica condição humana atual. Para tal fim, investigo o gênero de horror partindo do pensamento da corrente filosófica do realismo especulativo e, em particular, do autor Eugene Thacker, que reconhece no espectro da extinção humana que assombra gradativamente nossas vidas hoje – catástrofes ambientais, pandemias, guerras – a dificuldade em se pensar a existência de um mundo de onde fomos extintos. Tal pensamento traz um limite em si: a imagem de um mundo impensável que se situa nas fronteiras da dicotomia ciência e magia. A necessidade política de se pensar a coexistência entre o mundo não humano dos processos naturais e o mundo humano objetificado aponta para a importância do horror como um campo epistemológico privilegiado de investigação que, há tempos, tem no conhecimento dessa coexistência seu foco de interesse. Nesse contexto, opto por seguir minha investigação por meio do exame do pensamento do cineasta David Cronenberg, considerado um autor fundamental do horror. Juntamente com a perspectiva de Thacker sobre o mundo, investigo a hipótese de que a obra do diretor canadense perfaz uma visão autoral que pode ser compreendida como um dispositivo de uma cosmovisão de horror. A partir de uma particular dicotomia de seu cinema, que se apresenta cindido entre uma estética ora fantasiosa, ora mais realista, minha proposta segue a intuição de que há, na tensão dessa contradição, uma afinidade eletiva entre a dicotomia realidade e fantasia que associa sua obra ao horror. A motivação dessa hipótese está na premissa de que o cinema de Cronenberg encontra sua unidade como um pensamento sobre o corpo humano. Por meio do reconhecimento desta afinidade, os corpos dos personagens dos filmes revelam-se como significantes da monstruosidade, tal como pensada por Georges Canguilhem. Revelada a monstruosidade do corpo, a visão estética autoral do diretor pode ser entendida como a expressão de uma fantasiosa visão de lugar nenhum, cuja perspectiva de estranhamento radical se revela como fonte de uma experiência de horror fundamental. ‘New Flesh’, expressão cunhada pelo diretor em um de seus filmes para nomear a monstruosidade do corpo de seu personagem, é utilizada nesta pesquisa como conceito estético que operacionaliza essa afinidade entre realidade e fantasia no cinema de Cronenberg. Ao fim da dissertação, aprofundando a relação inerente da New Flesh com a noção de construção de realidade, experimento ludicamente este conceito como o dispositivo mediador de uma cosmovisão de horror. _______________________________________________________________________________________________ ABSTRACT<br>This work aims to investigate the development of the importance of horror genre in understanding the tragic human condition today. To this end, I investigate the horror genre following the philosophical thought of speculative realism, and particularly the author Eugene Thacker, who recognizes in the spectrum of human extinction that gradually haunts our lives today – environmental disasters, pandemics, wars – the difficulty in thinking of a world where we went extinct. This thought brings a limit within: the image of an unthinkable world that lies on the borders of the dichotomy science and magic. The political need to think about the coexistence between the nonhuman world of natural processes and the objectified human world point to the importance of horror as a privileged epistemological field of research, that has been having, in the knowledge of that coexistence, for a long time, its focus of interest. In that context, I choose to follow my research by examining the thought of the cinema director David Cronenberg, considered a key author of horror. Together with Thacker’s perspective, I investigate the hypotheses that the work of the Canadian director compiles an authorial vision that can be comprehended as an apparatus of a horror worldview. From a singular dichotomy of his work, divided between films with fanciful aesthetics and others with a realistic aesthetics, my proposal follows the intuition that there is on the stress of that contradiction, an elective affinity between the dichotomy reality and fantasy, which link his work to horror. The motivation of this hypothesis is grounded in the assumption that Cronenberg’s films finds their unity as a thought of the human body. By means of the recognition of this affinity, the bodies of his film's characters are revealed as signifiers of monstrosity as thought by Georges Canguilhem. Revealed the monstrosity of the body, the director's authorial vision can be understood as the expression of a fantasy view from nowhere, whose perspective of radical strangeness is revealed as a source of a fundamental horror experience. ‘New Flesh’, an expression coined by the director in one of his films, is used in this research to name the aesthetics concept that will operationalize this affinity between reality and fantasy in Cronenberg's work. By the end of the dissertation, deepening the relation of the New Flesh with the notion of construction of reality, I experiment playfully with this concept as an apparatus of mediation of a horror worldview.
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Hyman, James. "The battle for realism : figurative art and its promotion in Britain during the Cold War 1945-59." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309932.
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Suredam, Kelly M. "John Sloan and Stuart Davis in Gloucester: 1915-1918." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366383474.
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Hardin, Jennifer L. ""A Season in hell": David Wojnarowicz's Rimbaud in New York series (1978-79) /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1181224804.
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Luker, Ian F. "David Lloyd George : the Navy estimates and the Anglo-German relationship, 1908-1914 /." Title page and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arl9542.pdf.
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Galkina-Gromer, Anna. "Etude comparative de l'ironie chez M. Spark et A. S. Byatt d'une part et chez D. Lodge et J. Barnes d'autre part." Nice, 2011. http://www.theses.fr/2011NICE2016.
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Le sujet de l’ironie est en vogue depuis la fin du 20ème siècle où plusieurs travaux fondamentaux sont apparus. L’objectif de cette étude n’est pas de chercher une définition de l’ironie mais de déterminer s’il existe une différence entre l’ironie des écrivains-femmes et des écrivains-hommes. Pour cela, on a sélectionné quatre auteurs contemporains : Julian Barnes et David Lodge d’une part, et Muriel Spark et A. S. Byatt d’autre part. Les six oeuvres de notre corpus ont été regroupées par paires en fonction de leur proximité thématique et stylistique : Flaubert’s Parrot et Possession sont deux romans postmodernes qui traitent du thème de la quête littéraire. The Finishing School et Nice Work reprennent tous deux la trame classique du roman universitaire en la modifiant. England, England et Aiding and Abetting explorent les thèmes de l’anglicité, l’authenticité et l’artifice<br>In the late 20th century several fundamental works on the subject of irony were published. Today, irony remains a fashionable topic of literary research. The aim of the present study is not to propose a new definition of irony but to determine if there is a difference between the irony of women-writers and that of men-writers. Four contemporary novelists provide the corpus for this work: Julian Barnes and David Lodge on the one hand, and Muriel Spark and A. S. Byatt on the other hand. The six novels under consideration have been grouped in pairs on the ground of their stylistic and thematic similarities. Flaubert’s Parrot and Possession are both postmodern novels dealing with the topic of literary quest. The Finishing School and Nice Work are variations of the campus novel. England, England and Aiding and Abetting explore the themes of Englishness, authenticity and artifice
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Stenekes, Willem Jacob. "History denied a study of David Irving and Holocaust denial /." Sydney : UWS, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030704.164555/.
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Egers, Wayne. "David Cronenberg's body-horror films and diverse embodied spectators." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82863.
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This dissertation is an interdisciplinary study of David Cronenberg's body-horror films in relation to their embodied spectators. In these films, the horror is not only about the vulnerability of the mortal body, but also about the horrific consequences of organizing culture around the philosophical splitting of the mind from the body. To analyze this relationship, I utilize Merleau-Ponty's phenomenology of the body, object-relations psychoanalysis, especially D. W. Winnicott's theory of the intermeshed psyche-soma, various pro-feminist approaches to horror films, and a concept of ideology informed by nonverbal communication research. The historical arc of Cronenberg's body-horror films has produced a unique cultural record of the impact of technological change on physical bodies through dark fantasies of biological-medical technologies in Shivers, Rabid, The Brood, and Scanners; video communication technologies in Videodrome; and genetic-engineering technologies in The Fly .<br>My primary thesis is that Cronenberg's body-horror films encourage spectators to "read" not only with their rational-cognitive skills but with their embodied experience as well, which includes emotional and sensory memories, and fantasies, both archaic and contemporary. Cronenberg's appeal to an integrated psyche-soma reading is crucial for understanding how the culturally induced splitting of the mind from the body impacts on working class resistance to exploitative ideology.<br>In chapter one I argue that the diverse and contradictory readings of Cronenberg's body-horror films are possible, because of the interdependence of the cinematic text, historical and cultural context, and the embodied experience of spectators-critics. Chapter two is a preliminary step towards developing an alternative theory of the horror film spectator, by exploring the productive tension between an active, creative and embodied real viewer, and an ideologically determined, ideal subject of the cinematic apparatus. Chapter three compares Cronenberg's fantasy of metamorphosis body-horror to the fantasy of "leaving the body behind" depicted in many contemporary cyborg films. Chapter four is a series of close readings, analyzing how Cronenberg embeds "imaginary spectators" into his body-horror films through interweaving the body language of his characters and the nonverbal communication of the mise en scene with narrative strategies formulated through the plot.
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Baqué, Zachary. "L'Amérique dans l'œuvre cinématographique et télévisuelle de David Lynch." Toulouse 2, 2006. http://www.theses.fr/2006TOU20056.
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L’œuvre cinématographique et télévisuelle de David Lynch est une incarnation de l’Amérique qui s’inscrit dans la quête des formes artistiques les plus à même de représenter la spécificité du territoire américain. En tant que projection nationale des États-Unis, l’Amérique est le cadre privilégié des fictions du cinéaste. L’américanité de son œuvre s’enracine dans l’espace américain, celui des lieux communs ou spécifiques ainsi que celui de la culture populaire et de l’idéologie. Elle se définit ensuite par une esthétique de la violence fondée à la fois sur une représentation de la dimension charnelle du corps et sur une mise à mal de l’écriture filmique elle-même. Elle se base enfin sur une révélation de son statut de pure construction fantasmatique. Les films de Lynch donnent à voir l’Amérique comme une forme de coexistence entre la banalité du quotidien et la perversion nocturne, sans que l’un ou l’autre de ces mondes parallèles puisse prétendre incarner la vérité de l’Amérique<br>In the ongoing American search for the artistic forms that would best represent its territory, David Lynch’s œuvre is an incarnation of America. As a national representation of the United-States, America has been the main location of Lynchian fictions since Blue Velvet in 1986. The “americanness” of his works is first defined by a settling of his fictions in the American space, in the geographical sense of the term, that of common and specific places, as well as that of popular culture and ideology. It is then based on an aesthetics of violence, which reveals the carnal dimension of bodies while it undermines the codes of conventional cinematography. Finally, it is grounded in the revelation of its own status as a truly fantasmatic construction. Whether it is for Cinema or for Television, the works of David Lynch represent America as the coexistence of mundane day life with nocturnal perversion. However, none of these parallel worlds embodies the ultimate truth about America
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Spada, Thiago Gobet. "Caminhos brasileiros = na trilha musical de David Tygel." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284976.
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Previous issue date: 2006<br>Resumo: David Tygel é um compositor brasileiro de trilhas musicais atuante desde o início dos anos 80 até os dias de hoje. É reconhecido pelo meio cinematográfico brasileiro, com uma filmografia de cerca de 26 longas metragens, e diversos outros trabalhos, tendo sido premiado com quatro kikitos no festival de gramado. David Tygel também é reconhecido no meio educacional, sendo um dos primeiros a compartilhar sua experiência e seus conhecimentos em cursos sobre o assunto no Brasil, atualmente é o professor responsável pela disciplina de Trilhas Musicais na PUC do Rio de Janeiro. Este trabalho visa a análise de suas trilhas musicais nos longas metragens para os quais compôs no período de 1980 a 2005. São analisados aspectos tanto do ponto de vista cinematográfico e narrativo quanto musical. São comentadas suas abordagens composicionais, a estruturação formal da música com relação à estrutura narrativa do filme, o uso de leitmotivs, instrumentação, inserções diegéticas e não-diegéticas, uso de efeitos e sintetizadores, e o uso de elementos da música brasileira. O trabalho disponibiliza ao leitor, a oportunidade de assistir, ouvir e tocar a música de David Tygel, através de exemplos em vídeo, áudio e partituras, permitindo não apenas a assimilação dos procedimentos observados e citados no texto, tornando acessível este material como referência para outros estudos ligados ao cinema brasileiro e sua música<br>Abstract: David Tygel is a brazilian soundtrack composer, actively working since the early eighties until nowadays. He is well known in the brazilian cinematographic mainstream, with a credits list with more than 26 feature films, and many other works, have been awarded with 4 kikitos of Gramado's cinema festival. David Tygel is also known in the educational mainstream, being one of the pioneers to share his experience and knowledge through his courses about the subject in Brazil, actually being the Soundtrack professor at PUC in Rio de Janeiro. This work analises his musical scores for the feature films he worked from 1980 to 2005. It analises aspects from both cinematographic, narrative and musical points of view. It comments about aspects like his compositional approaches, music formal structure in relation with film narrative structure, the use of leitmotivs, instrumentation, diegetic and non-diegetic insertions, the use of effects and synths, and the use of brazilian music elements. This work brings to the reader the opportunity to watch, listen, and play the music of David Tygel through examples in video, audio and musical scores, allowing not only the learning of the procedures observed and quoted in the text, but also that the reader himself could make his conclusions and making this material acessible as reference for other studies on brazilian cinema and its music<br>Dissertação (mestrrado) - Univ<br>Mestre em Música
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Stenekes, Willem J. "History denied : a study of David Irving and Holocaust denial /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030704.164555/index.html.
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Thesis (PhD) -- University of Western Sydney, 2002.<br>"A thesis presented to the University of Western Sydney in the fulfillment of the requirement for the degree of Master of Arts (Honours), May 2002." Bibliography: p. 300-333.
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Andreghetto, Luiz Carlos. "Davi e Golias no labirinto = elementos neobarrocos na poética de Derek Jarman = David and Goliath in the maze : neo-barroque elements the poetics of Derek Jarman." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284566.
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Orientador: Mauricius Martins Farina<br>Dissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:34:18Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O texto a seguir propõe uma aproximação maior entre as teorias Neobarrocas, proferidas por Omar Calabrese e Severo Sarduy, com a imagem audiovisual e suas especificidades. Os elementos e as figuras Neobarrocas servem de estrutura para analisarmos a poética do cineasta inglês Derek Jarman, mais especificamente cenas do filme Caravaggio, de 1986. Jarman trafega em suas obras pelo universo Neobarroco, sendo uma constante dentro de sua filmografia o apreço pelas artes plásticas, pelo experimentalismo, pela polêmica e pela construção poética amparada nesses elementos barrocos: o excesso, o caos, a multiplicidade, a dramaticidade, a sexualidade, a intertextualidade, etc. Ao juntar esses dois sistemas de cognição, o cinema e a história da arte, o Neobarroco adentra-se pela pós-modernidade como uma das formas que mais caracteriza esse momento histórico. Sua confluência com as especificidades proporcionadas pela imagem audiovisual (o enquadramento, a fotografia, o som, a iluminação, etc), multiplica seu entendimento e sua ressonância<br>Abstract: The following text proposes a forthcoming between the Neo-baroque theories, given by Omar Calabrese and Severo Sarduy, with the audio-visual image and its specificities. The Neo-baroque elements and figures serve as a framework for analyzing the poetic of a British filmmaker Derek Jarman, specifically scenes from the film Caravaggio, 1986. Jarman travels his works through the universe of Neo-baroque, being a constant in his filmography appreciation of the arts, for experimentation, controversy and the poetic construction supported by these baroque elements: the excess, chaos, multiplicity, drama, sexuality , intertextuality, etc.. By combining these two systems of cognition, cinema and art history, the Neo-baroque enters by the post-modernity as one of the ways that best describes this historical moment. Its confluence with the specifics provided by the audiovisual image (framing, photography, sound, lighting, etc.), multiply their understanding and their resonance<br>Mestrado<br>Artes Visuais<br>Mestre em Artes
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Foubert, Jean. "David Lynch et le film noir (1986-1997)." Paris 7, 2002. http://www.theses.fr/2002PA070049.
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Cette thèse a pour objet principal d'éclairer le rapport de David Lynch au film noir américain classique et contemporain. Notre analyse porte sur les films "Blue Velvet" (1986), "Twin Peaks : Fire Walk with me" (1992) et "Lost Highway" (1997) ainsi que sur la série télévisée "Twin Peaks" : (1989-91). On y étudie plus particulièrement les stratégies d'appropriation et de subversion des conventions narratives du film noir et on y considère les spécificités et les qualités novatrices du "noir" lynchien. On a ainsi voulu montrer comment, en s'appropriant et en renouvelant le genre hollywoodien du film noir, David Lynch célèbre le potentiel expressif et créatif du cinéma<br>This dissertation is essentially concerned in exploring the relation of David Lynch to classic and contemporary American film noir. Our analysis bears on the films "Blue Velvet" (1986), "Twin Peaks : Fire Walk With Me" (1992) and "Lost Highway" (1997) as well as on the television series "Twin Peaks" (1989-1991). It focuses on David Lynch's appropriative and subversive strategies of film noir's narratives conventions and it also deals with the specificities and the innovative qualities of his noirs. Our object was to show how, by reappropriating and renewing Hollywood film noir genre, Lynch celebrates the expressive and creative potential in the cinematographic discourse
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Limb, Matthew K. ""Don't Forget to Remember: The Defiant Queer Hand in David McDiarmid's Man Quilt, 1978"." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1612.
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This thesis examines the role of queer Australian artist David McDiarmid and his negotiation of the tensions prevalent in late-1970s queer culture through his piece, Man Quilt (1978). This paper argues that McDiarmid utilized the queer hand in relationship to materials and process to craft and object of resistance to social hierarchies and the effects of late capitalism.
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Brewer, Christopher R. "Beginning all over again : a metaxological natural theology of the arts." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7554.
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Following Russell Re Manning, I acknowledge the diversity and persistence of natural theology. Going further than Re Manning, however, I propose a 5-type taxonomy stretching from natural theology as natural religion to natural theology as theology of nature. Having met this descriptive responsibility, I then turn in a second chapter to prescriptive possibility in dialogue with the Anglican theologian Howard E. Root (1926–2007). An early advocate of natural theology and the arts, Root called in his 1962 essay, “Beginning All Over Again,” for awareness (i.e., of the arts) rather than formal argument. Critiqued by E.L. Mascall and others, Root responded in his 1972 Bampton Lectures, “The Limits of Radicalism.” Never published, I discovered these lectures in an uncatalogued box at Lambeth Palace Library, London. Drawing upon these lectures, as well as other archival materials, I consider Root's contribution to a natural theology of the arts. That said, Root's work requires further development, and so in an effort to recover Root I have supplemented his contribution with the more recent work of David Brown, his unacknowledged theological heir. In an effort to recover Root more fully I turn in a third chapter to consider the philosopher William Desmond, the result of which is a metaxologically reformulated Root-Brown hybrid. In a fourth and final chapter, I consider the American contemporary artist Jonathan Borofsky and several others in order to see how this theoretical frame might be applied in practice as a metaxological natural theology of the arts.
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Moujahid, Elghalia. "Codes métafictionels et stratégies de renormalisation : le projet romanesque de David Lodge." Lille 3, 1996. http://www.theses.fr/1996LIL30009.
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Centré sur l'oeuvre de David Lodge, le présent travail est une étude de la double orientation des codes métafictionnels chez ce romancier. Formé selon la tradition néoréaliste des années 50 en Grande-Bretagne, David Lodge est un écrivain qui ne cesse de croire en la viabilité et la fiabilité de la tradition réaliste. Cependant, lui-même professeur - honoraire depuis 1987 - à l'Université de Birmingham et auteur d'un nombre considérable de livres critiques, il ne peut dissimuler l'intérêt qu'il porte au développement et aux transformations qui marquent le paysage littéraire contemporain. Partant de ces principes, le présent travail s'offre dès lors comme une étude d'une part des vacillements qui caractérisent cette oeuvre et d'autre part des stratégies dites de "renormalisation" du récit dont elle semble user. Cette étude démontre comment à travers un mécanisme de remise en cause quasi systématique des tentatives expérimentales dans le texte, ce dernier aboutit à une sorte de renormalisation de la trame narrative et par là même à une réhabilitation du modèle réaliste<br>This study is mainly focused on the work of David Lodge as far as metafictional codes are concerned. Taking into account the fact that he considers himself as a product of the neo-realist movement of the fifties in England, David Lodge firmly believes in the future of the realistic tradition. Yet, the fact that he taugh and wrote about literature and critical theory shows that he is quite as much concerned about new theories. This is then an attempt to see in what way David Lodge manages to keep some kind of space to the realistic mode and this in spite of his experimental tendencies. This is what we call "techniques of renormalisation" of the text. They consist of deleating and undermining as many digressions as possible in order to restore the supremacy of realism
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Derfoufi, Mehdi. "L’esthétique de l’altérité dans le cinéma de David Lean, du "Pont de la rivière Kwai" (1957) à "La route des Indes" (1984)." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0008.
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Cette thèse porte sur l’émergence, puis l’évolution, d’une esthétique de l’altérité dansle cinéma de David Lean à partir du Pont de la Rivière Kwaï (1957) et jusqu’à sondernier film réalisé, La Route des Indes (1984). Elle adopte également la perspectived’une réévaluation qualitative du cinéma du cinéaste britannique, en mettant au jourles fondements idéologiques qui expliquent sa marginalisation dans le contextefrançais.Cette thèse interroge la façon dont le cinéma de David Lean contribue aux définitionsanthropologiques et culturelles de l’identité occidentale, dans sa relation avecl’altérité orientale. Le rôle des représentations de genre, de race et de classe estexaminé en lien avec les techniques cinématographiques dans la perspective de faireapparaître l’historicité et l’ethnicité des modalités de la figuration.L’analyse détaillée des quatre films que David Lean a consacrés à la représentationde l’histoire impériale britannique s’accompagne d’une étude précise du contexte deproduction de chacun des films. De plus, les filiations cinématographiques sontprises en compte afin de situer les films dans une histoire des représentations del’altérité. Le rôle central de la relation coloniale et postcoloniale dans l’élaborationd’une esthétique de l’altérité est envisagé tout au long de la période étudiée.Cette thèse aboutit à la conclusion d’une esthétique de l’altérité structurée par lanécessité pour la civilisation occidentale d’intégrer la notion de crise dans unprocessus de reconfiguration permanent. Cette nécessité émerge avec lesindépendances et la décolonisation. Elle s’impose à partir des années 1970 avecl’autonomie des sujets dominés qui composaient jusque-là l’Orient imaginaire<br>The topic of this thesis is the emergence and the subsequent evolution of anaesthetics of otherness in the cinema of David Lean, starting with The Bridge on theriver Kwai (1957) and up to A passage to India (1984), the very last film he made.This thesis seeks as well a qualitative reassessment of the British filmmaker's work,unearthing thereby the ideological factors behind his marginalization in the contextof French critical discourse.This thesis explores the ways in which David Lean's work contributes to theanthropological and cultural definition of Western identity in its relationship withOriental otherness. I examine the role played by gender, race and classrepresentations in relationship with cinema techniques in view of shedding light onthe historicity and ethnicity of modes of figuration.The detailed analysis of the four David Lean films taking as their topic therepresentation of British imperial history is complemented by a meticulous study ofeach film's context of production. Furthermore, I consider cinematic genealogies soas to situate the films within a history of the representation of otherness. I take intoaccount the central role played by colonial and postcolonial relationships in thedevelopment of an aesthetics of otherness throughout the historical period underconsideration.This thesis reaches the following conclusion regarding an aesthetics of otherness :namely, that it is structured by the necessity for Western civilization of incorporatingthe notion of crisis in a process of constant reconfiguration. Emerging with liberationmovements and decolonization, this necessity imposes itself from the 1970s onwardsfollowing the independence of dominated subjects who, up to then, had been makingup an imaginary East
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Chikhoun, Laurent. "David Low, ou la question de l'indépendance d'un caricaturiste britannique engagé dans la lutte contre Adolf Hitler (1933-1945)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040019.
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Bien plus que l’expression d’un style dans l’art du dessin politique au XXème siècle, David Low, caricaturiste britannique d’origine néo-zélandaise, s’érigea en conscience face à la montée des périls totalitaires en Europe et dans le reste du monde. Son rôle d’artiste engagé s’inscrit dans l’histoire politique de la Grande-Bretagne contemporaine. Le travail de cette recherche est articulé sur deux axes principaux. D’une part, allant au-delà d’un exercice de lecture et d’interprétation sur l’image et la représentation des caricatures de Low, il analyse les relations de l’artiste avec le pouvoir politique, entre les années 1930 et l’émergence du national-socialisme allemand, jusqu’à la victoire finale des Alliés contre le Troisième Reich, en mai 1945. D’autre part, il étudie le rôle du caricaturiste en tant que « résistant » artistique, à la fois dans son propre pays, contre les effets des politiques « d’apaisement », et sur la scène internationale dans la lutte contre l’Axe. Comment s’est déclenchée cette forme de contestation ? Quelles en furent les caractéristiques ? Comment son opposition s’est-elle organisée ? Quelle en fut l’évolution au cours de la décennie de « paix froide » et pendant la guerre ? Ainsi, s’agira-t-il de préciser la nature et l’importance des cadres dans lesquels l’artiste a oeuvré pendant plus de quinze ans, puis d’évaluer la réalité des contraintes auxquelles il dut faire face, dans son combat contre Hitler et le national-socialisme<br>More than the expression of a style in the art of political cartoons during the twentieth century, David Low, British cartoonist, New-Zealander by birth, set up himself as a conscience against the rise of the risks of totalitarianism in Europe and in the rest of the world. His role as committed artist is inscribed on the political history of contemporary Great-Britain. The study of this research is organized into two main thrusts. On the one hand, beyond the reading and the interpretation both of the image and the representation in Low’s cartoons, it analyses the relationship between the artist and the political power, from the 1930’s and the emergence of National Socialism in Germany, to the final victory of the Allies against the Third Reich, in May, 1945. On the other hand, it studies the role of the cartoonist as an artistic “freedom fighter”, both in his own country, against the effects of the “appeasement” policies, and on the international scene in his fight against the Axes. How did this kind of objection start? What were its main characteristics? How was his opposition organized? What was its evolution during the decade of “cold peace” and during the war? Thus, the aim will be to precise the nature and the importance of the environment in which the artist worked during more than fifteen years, and to estimate the reality of the constraints he had to face, in his fight against Hitler and National Socialism
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Nunes, Itana Nogueira. "David Salles: da crítica de rodapé a crítica universitária." Programa de Pós-Graduação em Letra e Lingüística da UFBA, 2004. http://www.repositorio.ufba.br/ri/handle/ri/11629.
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Previous issue date: 2004<br>Este estudo examina uma seleção de textos jornalísticos e acadêmicos de David Salles com o objetivo de levantar todas as suas discussões sobre os escritores Jorge Amado e Xavier Marques, destacando o ponto de vista analítico deste crítico, a natureza da sua crítica e as teorias críticas presentes nesses textos. Assim, o intuito primordial desta pesquisa é a delineação do perfil intelectual de David Salles a partir dessas análises, como forma de destacar a importância dessas contribuições para os estudos literários, e em especial, sobre o fenômeno regionalista e a crítica literária brasileira.<br>Salvador
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Sulzbach, Carla. "David Zvi Hoffmann's Die Wichtigsten Instanzen gegen die Graf- Wellhausensche Hypothese : ("The main arguments against the Graf-Wellhausen hypothesis"):." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24106.
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It is the aim of Part I of this thesis, the Introduction, to introduce David Zvi Hoffmann (1843-1921) in his capacity of a Bible scholar and a critic of 19th century German biblical criticism. Ample attention will be devoted to Hoffmann's own background, his German environment as well as that of Wellhausen. This will cover Sections I and III of the Introduction respectively. In order to be able to place Hoffmann's work within the proper context, Section II of the Introduction will explore the history of the general critical reception of the Hebrew Bible in the various cultures and eras where it played a role as well as its interaction with intellectual developments. Part II contains an annotated translation of Hoffmann's attack on Wellhausen's "documentary hypothesis."
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Lima, Valeria Scomparim de. "Mapeamento cognitivo : um estudo do conceito de frações em estudantes de magisterio e professores do 1o. grau (1a. a 4a. series)." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251588.
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Previous issue date: 1996<br>Mestrado<br>Psicologia Educacional<br>Mestre em Educação
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HARDIN, JENNIFER L. ""A SEASON IN HELL": DAVID WOJNAROWICZ'S RIMBAUD IN NEW YORKSERIES (1978-79)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1181224804.
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Bremen, Christian. "Die Eisenhower-Administration und die zweite Berlin-Krise 1958-1961 /." Berlin ; New York : W. de Gruyter, 1998. http://catalogue.bnf.fr/ark:/12148/cb37056561d.
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Manjabosco, Angelo Augusto. "O Brasil não é para principiantes: Lew Parrella, Geoge Love e David Zingg, fotógrafos norte-americanos na revista Realidade (1966-1968)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20072016-123746/.
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Esta pesquisa intenciona investigar as contribuições de três fotógrafos norte-americanos David Zingg, George Love e Lew Parrella - para o fotojornalismo publicado na revista Realidade e de que forma seus trabalhos se diferenciam daquilo que se produzia no Brasil até o início da década de 1960. A importância da revista no período do regime militar, somada ao destaque que alguns dos fotógrafos contratados naquele momento pela Editora Abril obtiveram posteriormente em exposições de arte em museus e galerias, justificam este estudo, bem como a ausência de trabalhos sobre os três fotógrafos norte-americanos em questão. O recorte temporal desta dissertação vai desde a primeira edição da revista em abril de 1966 até a edição de dezembro de 1968 quando da homologação do Ato Institucional nº 5. Essa escolha deve-se ao fato de que ainda havia uma relativa liberdade de expressão, tanto no âmbito da fotografia quanto do texto, nesse período. Além disso, trata-se da fase de maior relevância social da publicação que em meio a ditadura militar levantou temas que confrontavam o regime. As principais fontes de pesquisa utilizadas foram os próprios exemplares da revista e a bibliografia recente produzida por ocasião do cinquentenário do Golpe de 1964. Embora a revista Realidade seja objeto de muitos estudos, o uso que fez da fotografia ainda não recebeu uma análise mais aprofundada, o que abre espaço para esta pesquisa, que se faz apoiada no cruzamento dos campos da história da fotografia e da política.<br>This research is intended to investigate the contributions of three American photographers - David Zingg, George Love and Lew Parrella - for the photojournalism published in Reality magazine, and in what way their jobs are different from what was produced in Brazil until the early 1960s. The importance of the magazine during the military dictatorship regime, added to highlight some of the photographers hired at the time by Editora Abril subsequently obtained in art exhibitions in museums and galleries are some of the elements that justify this study, as well as the lack of published researches focused on these three North American photographers. The time frame chosen for this dissertation is from the first issue of the magazine in April 1966 to the December 1968 edition, when the approval of the Institutional Act No. 5 is instituted in Brazil. This choice is due to the fact that during this period there was still a relative freedom of expression, both within the grafic as textual genres. In addition, it can be consdered the publication\'s biggest stage of social relevance, for during the military dictatorship it raised themes that confronted the regime. The main sources of research used were the copies of the magazine themselves and the recent bibliography on the occasion of the fiftieth anniversary of the 1964 coup in Brazil. Although Reality magazine is already the subject of many studies, it makes room for this research, which is supported at the intersection of the fields the history of photography and politics.