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Willis, Glenn Robert. "Drive all Blames into One: Rhetorics of 'Self-Blame' and Refuge in Tibetan Buddhist Lojong, Nietzsche, and the Desert Fathers." Thesis, Boston College, 2014. http://hdl.handle.net/2345/bc-ir:104051.
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Thesis advisor: John J. MakranskyThe purpose of this work is to differentiate the autonomous `self-compassion' of therapeutic modernist Buddhism from pre-therapeutic Mahâyâna Buddhist practices of refuge, so that refuge itself is not obscured as a fundamental Buddhist orientation that empowers the possibility of compassion for self and other in the first place. The work begins by situating issues of shame and self-aversion sociologically, in order to understand how and why self-aversion became a significant topic of concern during the final quarter of the twentieth century. This discussion allows for a further investigation of shame as it has been addressed first by psychologists, for whom shame is often understood as a form of isolating self-aversion, and then by philosophers such as Bernard Williams and Emmanuel Levinas, for whom shame attunes the person to the moral expectations of a community, and therefore to ethical commands that arise from beyond the individual self. Both psychologists and philosophers are ultimately concerned with problems and possibilities of relationship. These discussions prepare the reader to understand the importance of Buddhist refuge as a form of relationship that structures an integrative rather than destructive self-evaluation. The second chapter of the dissertation closely examines Friedrich Nietzsche's work on shame. In a late note, Nietzsche wrote that "man has lost the faith in his own value when no infinitely valuable whole works through him"; the second chapter argues that Nietzsche's vision of a relatively autonomous will to power cannot fully incorporate this important Nietzschean insight, and helps to drive the kind of self-evaluation typical of modernist `personality culture,' which is likely to become harsh. The third chapter first discusses contemporary therapeutic Buddhist responses to self-aversion, particularly practices of `self-compassion' that claim to be rooted in early Pali canonical and commentarial sources, before developing a commentary on the medieval Tibetan lojong teaching Drive all blames into one. Drive all blames into one, though often discussed in contemporary commentaries as a form of self-blame, should be understood more thoroughly as a simultaneous process of refuge and critique--a process that drives further access to compassion not only for self, but for others as well. Chapter Four discusses mourning and self-reproach in the apophthegmata of the Desert Fathers, showing how `self-hatred' in this context is in a form of irony: the self that is denigrated is not an ultimate reality, and the process of mourning depends upon both an access to love and a clear recognition of our many turns away from that love. In conclusion, I draw attention to the irony of modernist rejections of religious self-critique as supposedly harmful forms of mere shaming, even as the modernist emphasis on autonomy is what enables self-critique to become harsh and damaging
Thesis (PhD) — Boston College, 2014
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Theology
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Thiban, Amina Khalifa. "Transformation and modernity in the desert : tribal saga in 'Cities of salt'." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416929.
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Marticorena, Enrique Bruce. "Mujeres fatales y desviados: nuevos deseos al asalto en el desfiladero de la literatura modernista." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/101890.
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Este ensayo expone los puentes comunicantes entre la estilística de las obras de dos autores modernistas: Julián del Casal y Delmira Agustini, y el contexto cultural y los mores sexuales de fines del siglo XIX. Las dinámicas sociales de la vida nocturna expansiva, el sensacionalismo pandémico de la prensa amarilla, el creciente interés sobre la homosexualidad y la incursión de la mirada femenina en las letras, todo confluirá con ciertos preceptos del romanticismo tardío y el simbolismo para darle voz y formas de expresión inéditas a sexualidades alternativas de la época. El alejamiento del sentimentalismo y la pose “malditista” de los modernistas empalma con nuevas representaciones del deseo; el enrarecimiento del objeto como axioma simbolista inspirará el enrarecimiento de un objeto emergente: el del cuerpo masculino, y la insinuación de una nueva mirada: la de la mujer y la del desviado.This essay shed light over the connection between the literary style from the works of two “modernistas” authors: Julián del Casal and Delmira Agustini, and the cultural contexts and sexual mores at the end of the 19th century. The social dynamics of the ever expansive night life, the lurid and ubiquitous tabloids of the time and the growing interests towards deviant sexual behaviors and women’s perspective in books, everything will align with certain guideline of the late Romanticism and Symbolism to shape new voices and expressions of desire. The Modernistas’ retraction from sentimentalism and their maudit pose suit the remodeling of the sexual; the rarified object from the symbolist axiom dictates an evermore rarified new object: the one of the male body and its locus in the nascent representation of women’s and deviants’ libidos.
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Souza, Iracy Conceição de. "Desejo ou renúncia: eis a questão." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1029.
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Nosso trabalho realiza a interpretação de três contos de Eça de Queirós Singularidade de uma rapariga loura (1874), No Moinho (1880), e José Matias (1897) visando abordar as diferentes relações entre sujeito e desejo. O campo teórico que norteia nossa leitura é a psicanálise, na vertente de seu criador e do projeto de retorno à obra freudiana empreendido por Jacques Lacan. Em cada conto, teremos uma história de amor, que coloca em cena o drama crucial do homem, dividido entre o desejo e o dever. A escolha pelo dever, implicando a renúncia do desejo, faz com que as personagens masculinas sejam massacradas pela imposição moral do superego e pelo medo das mulheres, as quais, como representantes do Outro sexo, permanecem enigmas sem decifração
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Rau, Petra-Utta. "Moving dangerously : desire and narrative structure in the fiction of Elizabeth Bowen, Rosamond Lehmann and Sylvia Townsend Warner." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327523.
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This thesis explores how constructs of gender and sexual identity in both psychoanalytic and fictional writing between the wars affect the fonn and structure of a text. The keen interest Bowen, Lehmann and Townsend Warner show in mental processes and patterns of sexual development, allows us to read across psychoanalytic and fictional discourses and rigid genres. While the psychoanalytic texts utilise elements of the Bildungsroman, the fictional narrative often enacts the pathologies of the story in an erotics of fonn. The intersection of scientific and narrative discourses coincides with a modernist debate about the limitations of conventional modes of representation in Edwardian and realist texts. The shifts between earlier modernist gestures of moving away from realist modes and structures and a later return to a more conciliatory approach of utilising them for modernist agendas, can be interpreted as a specific anxiety of origins. Shifting between modernist and realist modes of writing, and between nineteenth-century and early twentieth-century concepts of sexuality and gender produces peculiarly hybrid texts which negotiate this anxiety in various fonns of ambivalence and in-between-ness. Through the examination of six novels by Rosamond Lehmann, Elizabeth Bowen and Sylvia Townsend Warner, the thesis examines this anxiety in the difficulties psychoanalytic and fictional texts have in talking about the maternal, placing them in the context of socio-cultural ambiguities about femininity and motherhood during the interwar period. The thesis opens with a discussion of the possibilities and limitations of crossing between post-structuralist, psychoanalytic and historicist readings of modernist texts and provides a brief biographical framework for the three women writers in so far as it relates to gender, sexuality and the maternal. The following six chapters are divided into two parts grouping the first novels against the mature work in order to trace changes in the ways of representing sexuality, gender and maternal ambivalences through form, plot and structure. The first part discusses Rosamond Lehmann's Dusty Answer (1927), Elizabeth Bowen's The Hotel (1927) and Sylvia Townsend Warner's Lolly Will owes (1926), while the second part examines The Weather in the Streets (1936), The Death of the Heart (1938) and Summer Will Show (1936) retaining the order of authors. The conclusion summarises the findings, contemplates its implications for the discourse on modernism and broaches the divergencies of Bowen's, Lehmann's and Warner's fictions in the 1940s.
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Bennett, Linda Rae. "Dialectics of desire and danger : maidenhood, sexuality and modernity in Mataram, Eastern Indonesia /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16340.pdf.
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Stubbs, Tara M. C. "'Irish by descent' : Marianne Moore, Irish writers and the American-Irish Inheritance." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:bf87b5ea-4baa-4a46-9509-2c59e738e2a1.
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Despite having a rather weak family connection to Ireland, the American modernist poet Marianne Moore (1887-1972) described herself in a letter to Ezra Pound in 1919 as ‘Irish by descent’. This thesis relates Moore’s claim of Irish descent to her career as a publisher, poet and playwright, and argues that her decision to shape an Irish inheritance for herself was linked with her self-identification as an American poet. Chapter 1 discusses Moore’s self-confessed susceptibility to ‘Irish magic’ in relation to the increase in contributions from Irish writers during her editorship of The Dial magazine from 1925 to 1929. Moore’s 1915 poems to the Irish writers George Moore, W. B. Yeats and George Bernard Shaw, which reveal a paradoxical desire for affiliation to, and disassociation from, Irish literary traditions, are scrutinized in Chapter 2. Chapters 3a and b discuss Moore’s ‘Irish’ poems ‘Sojourn in the Whale’ (1917) and ‘Spenser’s Ireland’ (1941). In both poems political events in Ireland – the ‘Easter Rising’ of 1916 and Ireland’s policy of neutrality during World War II – become a backdrop for Moore’s personal anxieties as an American poet of ‘Irish’ descent coming to terms with her political and cultural inheritance. Expanding upon previous chapters’ discussion of the interrelation of poetics and politics, Chapter 4 shows how Moore’s use of Irish sources in ‘Spenser’s Ireland’ and other poems including ‘Silence’ and the ‘Student’ reflects her quixotic attitude to Irish culture as alternately an inspiration and a tool for manipulation. The final chapter discusses Moore’s adaptation of the Anglo-Irish novelist Maria Edgeworth’s 1812 novel The Absentee as a play in 1954. Through this last piece of ‘Irish’ writing, Moore adopts a sentimentality that befits the later stages of her career and illustrates how Irish literature, rather than Irish politics, has emerged as her ultimate source of inspiration.
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FRANCO, GUSTAVO NAVES. "THE GESTURES OF DESIRE: PLAY, LONGING, MODERNITY AND FORM IN JULIO CORTÁZAR`S SHORT STORIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7744@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOTrata-se de uma análise das narrativas curtas do escritor argentino Julio Cortázar (1914-1984), como alternativas à criação literária diante de determinados impasses colocados pelo mundo moderno. Pressupondo a dificuldade de delimitação da experiência em inícios e fins - ou seja, da representação dos propósitos finais das ações humanas -, num primeiro momento os contos de Cortázar surgem como totalidades cerradas que proporcionam o alcance de uma meta no território do jogo. O que se dá em um gesto contundente e preciso: um nocaute, uma estocada, um assassinato. Tais configurações, porém, são incapazes de satisfazer plenamente o desejo de unidade que alimentam; e assim são enfocados, numa segunda etapa, relatos que reconhecem a impossibilidade de cessação da vontade, manifestando uma cisão interna do discurso, mas ainda assim seguem em busca da criação de formas como espaço do diálogo e tentativa de um contato. Inscritos sobre as superfícies móveis do mundo moderno, estes contos trabalhariam cuidadosamente a matéria informe da linguagem para que, em gestos sutis, às vezes hesitantes - um olhar, um toque, um traço - manifeste-se a procura de um encontro e uma fugaz iminência de sentido.
The objective of this work is to analyse the short stories by the Argentine writer Julio Cortázar (1914-1984), as alternatives to literary creation in front of certains impasses placed by the modern world. Pressuposing the dificulty in delimitating experience in begginings and ends - that is, the representation of human action`s final purposes -, in a first moment Cortázar`s narratives appear as enclosured totalitys which provide the reach of a goal, in the territory of play, with a contusing, precise gesture: a knock-out, a thrust, a murder. These configurations, however, are incapable to satisfact the desire of unity they nourish; and so, in a second moment, the dissertation focuses stories which recognize the impossibility of ceasing desire, and then keep the the search of form as a dialogical space and attempt of contact. Inscribed on modernity`s unstable surfaces, these short stories work carefully the matter of language, so as to, in subtile, sometimes hesitating gestures - a look, a touch, a trace - they manifest the will of a gathering and an imminence of sense.
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Magri, Mailce. "Juntos mais desiguais: um desejo de "nação" paulista não-realizado." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/6731.
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Previous issue date: 2011-09-21Assuming that every nation is an imagined community concept created by Benedict Anderson in his book Imagined Communities I propose a discussion about the existence of different projects for the construction of a Brazilian nation, paying special attention to a "Sao Paulo state project". As guideline, I use the subaltern studies, which question the hegemonic centers' theoretical colonialism and the modernity dominant conceptions. This dissertation is based on the subaltern studies literature and on the selection of texts from the period chosen for this study: the years between 1870-1922. These analyses intend to show the existence of a "Sao Paulo project" for the nation, which demonstrates a "admiration" for the North- American racial segregation. This "admiration" was a common theme in many papers written after such project failed.
Partindo do pressuposto de que toda nação é uma comunidade imaginada , conceito cunhado por Benedict Anderson em sua obra Comunidades Imaginadas, proponho, nesta dissertação, versar sobre a existência de diferentes projetos para a construção da nação brasileira ressaltando, o que entendo ser, um projeto paulista para a nação. A referência utilizada encontra-se nos Estudos Subalternos, perspectiva que questiona o colonialismo teórico dos grandes centros hegemônicos e as concepções dominantes de modernidade. A fundamentação material deste trabalho está na literatura alusiva ao referencial teórico adotado e na seleção de alguns textos produzidos dentro do período que delimita o estudo proposto: os anos de 1870 a 1922. Buscamos com as análises aqui desenvolvidas acenar para a existência de um projeto paulista para a nação que, não sendo bem sucedido, deixará transparecer certa "nostalgia da segregação racial norte-americana presente em obras publicadas posteriormente.
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Castro, Andreia Alves Monteiro de. "Amor, desejo e transgressão as cartas de amor na novela camiliana." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2013.
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O propósito desta dissertação é analisar as várias funções exercidas pelo discurso epistolar, em especial as cartas de amor, nas novelas camilianas do período de 1860 a 1870, de cujo conjunto destacamos Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). Nestas obras, as cartas têm presença bastante relevante, ligada à forma e, por conseguinte, à elaboração de conceitos e significados de dimensão social e íntima. Muito em voga à época, as cartas se fazem presentes em outros romances oitocentistas: em Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) e O Primo Basílio (de Eça de Queirós). As cartas trocadas pelos casais enamorados revelam muito mais do que uma história de amor contrariado, que seguiria os moldes da escola romântica. Retratam antes de tudo os anseios pessoais, os conflitos e as tensões sociais do Portugal do século XIX. O discurso epistolar acaba sendo um modo de dar dimensão intimista aos dramas maiores da sociedade. Ao olhar perspicaz, inquieto e, até mesmo, desesperançado de Camilo Castelo Branco, que critica os valores da sociedade na qual está inserido, sem muitas das vezes avistar uma saída possível, as cartas tornam-se um modo de trazer novas vozes ao romance. Assim, Camilo fala pelos narradores, pelos seus personagens em diálogo, mas também por aquilo que naquele mundo não se diz, mas se escreve (nas cartas)The purpose of this dissertation is to analyze the several functions exercised by the epistolary discourse, specially the love letters, in the camilian novels in the period of 1860 to 1870, from what collection we point out Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). In these works, the letters have a very strong presence, linked to the shape and, in consequence, the elaboration of concepts and meanings of social and intimate dimension. Very popular in that time, the letters are present at another eighties romances: at Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) and O Primo Basílio (de Eça de Queirós).The letters changed by the couples in love reveals much more than one annoyed love story which would follow the patterns of the romantic school. They portray before all the personal desires, conflicts and social tensions lived in Portugal of 19th century. The epistolary discourse is a manner of giving an intimate dimension for the main dramas of the society. To the perceptive, anxious and, unhopeful look of Camilo Castelo Branco, that criticizes the values of the society in which he is inserted, many times without seeing a possible solution, the letters become a way to bring new voices to the romance. Therefore, Camilo speaks for the narrators, for his characters in dialogue, but also for what in that world is not said, but it is written (in the letters)
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Rodrigues, Aline Paula de Melo. "Desver o mundo: da palavra poética de Manoel de Barros ao gesto de leitura." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1699.
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Esta dissertação propõe-se à construção de um gesto de leitura atualizada da obra poética de Manoel de Barros, poeta inscrito no programa da modernidade, na perspectiva de fomentar reflexões teóricas e políticas acerca da proposição lançada no livro O Menino do Mato, que diz ser precisodesver o mundo pela palavra. A análise do fragmento me conduziu ao pensamento acerca da relação entre literatura e vida, literatura e política, literatura e transformação do olhar sobre o mundo. Foram tomadas como referências fundamentais as idéias de Maurice Blanchot e Gilles Deleuze para o campo literário, fundamentalmente, os conceitos de Fora e Plano de Imanência. Para ponderar sobre o topos poético moderno, além dos autores referidos, foram trazidas referências de alguns teóricos da modernidade. Destaco: Walter Benjamin, Roland Barthes, Octávio Paz, Hugo Friedrich e Marcos Siscar. Todos foram essenciais para perscrutar os paradoxos que compõem a poesia barrosiana que ressoa, complexa e instigante, no leitor da atualidade. Para discorrer sobre os gestos de leitura, reiventados na incursão na obra de Barros, me apropriei das considerações de Pierre Lévy, Jorge Larrosa, Eliana Yunes e mais uma vez, Gilles Deleuze em torno do ato leitura e suas implicações.
This paper proposes the construction of anupdated gesture of reading of the poetic work of Manoel de Barros, expecting to foster theoretical and political implications of the proposition that we need todesver( “unsee”, tranlated literally) the world through the word. Such proposition was floatedin the book O Menino do Mato ( The boy from the woodlands, translated literally), published in 2010. The analysis of the fragment guidedme to think about the relationship between literature and life, literature and politics, for which were taken, as fundamental references,the ideas of Maurice Blanchot and Gilles Deleuze on the literary field, mainly, the concept of the Outside and Plane of Immanence.Besides the authors mentioned, in order to reflect upon the modern poetic topos,other references from theorists of the modernity were used. I highlight the following names: Walter Benjamin, Roland Barthes, Octavio Paz, Hugo Friedrich and Marcos Siscar were important to scrutinize the paradoxes that make Barros‟s poetry, founded on the bases of modernity, complex and intriguing, echoing in the contemporary reader. In order to talk about the act of reading, reinvented through the plunge into the work of Manoel de Barros, I borrow ideas fromthe authors Pierre Lévy, Jorge Larrosa, Eliana Yunes, and once again, Gilles Deleuze.
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Silvano, Carolina. "O impasse feminino nas personagens de Eça de Queirós: entre o desejo e o dever." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4001.
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O tema principal de nosso trabalho é o estudo de três mulheres na obra de Eça de Queirós: Luísa, Amélia e Maria Eduarda. Para isso, é preciso situar o tempo e o contexto em que essas mulheres, divididas entre o desejo e o dever, se inserem. A leitura de alguns pensadores do século XIX foi fundamental para compreendermos os principais aspectos da sociedade portuguesa do século XIX: a família, a educação, o ócio e a ausência de papel social da mulher. Feito isso, foi necessário recorrermos aos estudos biográficos para compreendermos a importância e o lugar que essas mulheres tiveram na vida do escritor.The main subject of our work is the study of three women in the work of Eça de Queirós: Luísa, Amélia e Maria Eduarda. To do this, it is necessary to consider the time and enviroment in which, between the desire and obligation, those women live. The reading of some thinkers of the XIX century was fundamental to understand the main aspects of the Portuguese society of the XIX century: such as family, education, the idleness and the lack of social role of Portuguese women. In such way, it was necessary to analyze some biographical studies to learn the importance which those women had in the writers life.
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Birgy, Philippe. "Les modernistes anglais : du texte litteraire au fait de societe. les mecanismes sacrificiels et les desirs mimetiques dans la societe de l'entre-deux-guerres et leur expression dans la litterature de l'epoque." Toulouse 2, 1995. http://www.theses.fr/1995TOU20072.
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Plus encore que la fin de siecle, l'entre deux guerres se presente comme une periode d'usure des convictions, et de transition difficile entre un ancien monde et un nouvel ordre. La litterature dite "moderniste" en raison de son inventivite parfois deroutant permet de rendre compte de certains caracteres de la societe anglaise de l'epoque. Nous y trouvons en effet l'expression d'un mimetisme en voie de generalisation, ainsi qu'une resistance a ses effets corrupteurs (manifestee par le desir d'un retour a un ordre traditionnel fortement hierarchise et fonde sur des rituels sacrificiels). Notre etude est informee par les theses de rene girard. Elle couvre un corpus representatif comprenant thomas sterne eliot ("the waste land", "four quartets", the family reunion), aldous huxley ("the defeat of youth", eyeless in gaza, those barren leaves), james joyce ("couterparts", ulysses), david herbert lawrence (mr noon, lady chatterley, women in love, "the ladybird", the plumed serpent), katherine mansfield ("the garden party" et autres nouvelles), ezra pound (the cantos et certains de ses poemes de jeunnesse), virginia woolf (orlando a biography, the waves), and william butler yeatsEven more than the turn of the century, the inter-war period has been perceived as a difficult transition from an old world to a new order, when most convictions came under attack of an ambient skepticism. The type of litterature that has been termed "modernist", owing to its often arresting originalty, helps us to account for certain characteristics of the english society over the period. There, we can find the expressions of mimetic conducts (fastly developing at that time), as well as a resistance to their corruptive effects (in the form of a desire to come back to a traditional and strongly hierarchized order partly founded on sacrificial rituals). The study is informed by rene girard's theses. The list of works under study includes thomas sterne eliot ("the waste land", "four quartets", the family reunion), aldous huxley ("the defeat of youth", eyeless in gaza, those barren leaves), james joyce ("couterparts", ulysses), david herbert lawrence (mr noon, lady chatterley, women in love, "the ladybird", the plumed serpent), katherine mansfield ("the garden party" and other short stories), ezra pound (the cantos and some of his early poetry), virginia woolf (orlando a biography, the waves), and william butler yeats
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"Suppositions for Desert Modernism: An Architectural Framework Informed by Climate, Natural Light, and Topography." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53961.
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abstract: The aim of this research study is to develop a passive architectural design morphology, tuned to the Sonoran Desert, which redefines Desert Modernism and integrates: (a) mitigation of heat transfer through the exterior envelope, and (b) use of daylight to inform appropriate architectural massing. The research investigation was delimited to mid-nineteenth century European modernist examples, and ends with mid-twentieth century modern architecture in the southwestern United States as viewed through the lens of environmental design. The specific focus was on Desert Modernism, a quasi-architectural movement, which purportedly had its beginnings in 1923 with the Coachella Valley, Popinoe Desert Cabin.
A mixed-method research strategy comprised of interpretive-historical research, virtual simulation/modeling analysis and logical argumentation is used. Succinct discussions on desert vernacular design, Modernism’s global propagation, and the International Style reinterpretations were illustrated to introduce the possibility of a relationship between Modernism and the vernacular. A directed examination of climatic responses included within examples of California Modernism, the Case Study Houses and Desert Modernism follows. Three case studies: a) the Frey House II, b) the Triad Apartments, and c) the Analemma House were assessed using virtual simulation and mathematical calculations, to provide conclusive results on the relevance of regionally tuned exterior envelope design and planning tactics for the Phoenix, Arizona area. Together, these findings suggest a correlation between environmental design principles, vernacular architecture, and Modernism.Dissertation/Thesis
Doctoral Dissertation Architecture 2019
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Arthur, Susan Margaret. "Possessed by desire: A.S. Byatt's Possession and its location in postmodernism." Thesis, 2009. http://hdl.handle.net/10539/6645.
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ABSTRACT
This research report explores A. S Byatt’s ambivalent relationship to postmodernism
through a critical engagement with two of her recent novels, Possession and The
Biographer’s Tale. Both use the techniques, while simultaneously constituting a
critique, of postmodernism. The novels challenge postmodernism, indicating Byatt’s
misgivings about the continuing suitability of this mode of literary representation.
Possession is examined in detail, while The Biographer’s Tale is used to provide a
backdrop to the discussion of Byatt’s viewpoints. Possession is a pastiche of styles,
incorporating some of Byatt’s favourite literary forms. Postmodernism allows this
experimentation but disregards qualities the author values highly, such as a
celebration of traditional literature and the emotional affectiveness of history.
Possession considers the positive and negative aspects of the literary movement. This
thesis examines Byatt’s negotiation with postmodernism and the contribution of her
critical attitude towards the success of Possession.
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Mozafari, Ardavan. "Desire of Union." Thesis, 2010. http://hdl.handle.net/10012/5207.
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In our modern world, a signifi cant number of traditional values have been dramatically manipulated, taking on new meanings and definitions quite diff erent from their original or natural signifi cance. Moreover, these traditional values are being replaced by new ones deemed more suitable to today’s world. Ideas such as selfl essness, humility, and longing, among others, have seemingly lost value as a consequence of the frantic pace of modern life and replaced by self-centredness, greed,aridity, exteriority, which will have a direct impact on our surrounding environment. Let’s imagine a land in which selfi shness is not a priority.
Instead, replace it with a society driven by humane preferences. Would the architecture of that society still look like ours does today? Would it be as unsociable as it is in our so-called advanced civilization?
This thesis investigates this query through a juxtaposition of the traditional values of a Persian art with the demands of modern life. It is a study of the calligraphic art of Iran as a transcendental practice, highly intertwined with strong emotions, wherein the intention of the research is to discover the relationship between Persian calligraphy and architecture.
Presenting calligraphy as a context for understanding architecture has the potential to get beyond ourselves in the spaces we author. This research aims to allow the essence of Persian calligraphy into modern space as a means to revive the true essence of architecture: reunion of feeling and space, a concept that is given too little attention in our current architecture.
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Pemeja, Paul. "Modernist Curiosities: Desire, Knowledge and Literature in Gustave Flaubert's "Bouvard et Pécuchet", Elias Canetti's "Die Blendung" and Jorge Luis Borges's "El Aleph"." Thesis, 2011. http://hdl.handle.net/1807/32352.
Full textAbstract:
In modernity, probably more than ever, “knowledge” has become the object of an intense desire. The tensions underwriting this modern desire for knowledge are inscribed in the very term, curiosity, which is at the centre of this dissertation. A venerable motif, curiosity anchors the specifically modern desire to know within a longstanding philosophical, theological and literary tradition. By the 19th century, “curiosity” is certainly an anachronistic paradigm. Yet, inscribed in curiosity, there are two conflicting dialectics which can be found at the heart of modernity’s unquenchable thirst for knowledge: one the one hand, the dialectic between curiosity as a disenchanting desire to see through into the innermost secrets of things, and curiosity as a “thing”, the product of a fetishist desire arrested on the glittering surface of things. On the other hand, curiosity is beset by the dialectic between the desire for a “totalizing”, meaningful vision and the compulsive drive of an increasingly specialized, meaningless pursuit of knowledge.
This dissertation examines a series of Modernist narratives which expose this double dialectic. The protagonists of Gustave Flaubert’s Bouvard et Pécuchet, Elias Canetti’s Die Blendung and Jorge Luis Borges’ El Aleph are all caricatural, anachronistic, curieux ultimately seeking an “absolute knowledge” that cannot be embodied. The moment it seems to have been attained, it is reified, “objectified” into a fetish, a “curiosity”. Yet, these narratives are not only about curiosity; they are in fact true vortexes of curiosity: that of the protagonists of the narratives as well as that of the authors and the readers themselves. As a result, these narratives also speak to the paradoxical location of literature within culture: literature appears simultaneously as the privileged site of all – ultimately phantasmic – totalizing, meaningful visions of the world, as well as a marginal locus, a monstrous cultural residue.
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"The gestures of desire: play, longing, modernity and form in julio cortázars short stories." Tese, MAXWELL, 2005. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=7744:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
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(8850251), Ghaleb Alomaish. "“DOUBLE REFRACTION”: IMAGE PROJECTION AND PERCEPTION IN SAUDI-AMERICAN CONTEXTS: A COMPARATIVE STUDY." Thesis, 2020.
Find full textAbstract:
This dissertation aims to create a scholarly space where a seventy-five-year-old “special relationship” (1945-2020) between the Kingdom of Saudi Arabia and the United States is examined from an interdisciplinary comparativist perspective. I posit that a comparative study of Saudi and American fiction goes beyond the limitedness of global geopolitics and proves to uncover some new literary, sociocultural, and historical dimensions of this long history, while shedding some light on others. Saudi writers creatively challenge the inherently static and monolithic image of Saudi Arabia, its culture and people in the West. They also simultaneously unsettle the notion of homogeneity and enable us to gain new insight into self-perception within the local Saudi context by offering a wide scope of genuine engagements with distinctive themes ranging from spatiality, identity, ethnicity, and gender to slavery, religiosity and (post)modernity. On the other side, American authors still show some signs of ambivalence towards the depiction of the Saudi (Muslim/Arab) Other, but they nonetheless also demonstrate serious effort to emancipate their representations from the confining legacy of (neo)Orientalist discourse and oil politics by tackling the concepts of race, alterity, hegemony, radicalism, nomadism and (un)belonging.