Dissertations / Theses on the topic 'Doctorow, E. L., 1931-'

This study examines problems of escape in the fictional writings of E. L. Doctorow. It makes clear that the characters in the stories as well as their creator frequently try to break free from restrictions or control--the protagonists physically, the author more theoretically. A description of the nature of the confinements as well as the difficulties associated with getting away reveals much about Doctorow's perception of 20th century American reality and the writer's place in it. Thus, the study moves from a relatively straightforward assessment of the kinds of escape featured in Doctorow's narratives and the way in which these are justified to a more complicated evaluation of Doctorow's situation as a writer in relation to his characters' predicaments and recent critical analyses of his prose.

In my dissertation I examine the steps in and performance of revolution through the writings of three Postmodern authors, Ralph Ellison, Toni Morrison, and E. L. Doctorow, in light of the model of the biblical Exodus journey and the revolution which precipitated that movement. I suggest that the revolution which began with the Israelites' bondage in Egypt has provided the foundation for American literature. I show that Invisible Man, Beloved, and Ragtime not only employ the motif of the Exodus journey; they also perpetuate the silent revolution begun by the Israelites while held captive in Egypt. This dissertation consists of six chapters. Chapter One provides the introduction to the project. Chapter Two provides the model for this study by defining the characteristics of the Exodus journey, Moses as the leader of the Israelites, and the pattern of revolution established by Michael Walzer in Exodus and Revolution. In Chapters Three, Four, and Five, I apply the model established in Chapter Two to the individual texts. In Chapter Six, I draw three conclusions which arise from my study. My first conclusion is that the master story of the Exodus journey and the Israelites' liberation from Egypt informs all Western literaturewhether the literature reinforces the centrality of the master story to our lives or whether the literature refutes the significance of the master story. Second, the stages of revolution present in the biblical Exodus are also present in twentieth-century American literature. My third conclusion is that authors whose works deal with an exploration of the past in order to effect healing are authors who are revolutionary because their goal is to encourage revolution by motivating readers to refuse to accept the status quo and to, instead, join the revolution which demands change. They do this by asking questions which are characteristic of that which is postmodernnot so much looking for answers as demonstrating that questioning what is, is appropriate and necessary.

A search for self through historical reconstruction constitutes a crucial concern of the American postmodern historical novels of Pynchon, Barth, Mailer, Coover, and Doctorow. This concern consists of a self-conscious dramatization, paralleled by contemporary theorists' arguments, of the constructedness of history and individual subject. A historian-character's process of historical inquiry and narrative-making foregrounded in these novels represents the efforts by the postmodern self to (re)construct identity (or identities) in a constructing context of discourse and ideology.

Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains vi, 112 p. Includes abstract. Includes bibliographical references (p. 110-112).

As obras do escritor norte-americano Edgar Lawrence Doctorow aqui estudadas desenham um panorama criticamente iluminador da história dos Estados Unidos no século XX. Em The Book of Daniel, acompanhamos a trajetória da Esquerda americana dos anos 30 aos anos 60. Em Ragtime, o cenário histórico é a Belle Époque e a era do ragtime, do começo do século XX até a Primeira Guerra Mundial. Em Homer & Langley, o arco temporal se expande para abrigar grande parte do século da Primeira Guerra aos anos 80. Nos três romances há uma dialética entre o impulso de suscitar conexões e de figurar um quadro histórico e social mais amplo e a dificuldade de se realizar esse projeto por meio da própria linguagem e lógica da fragmentação, que impedem as articulações e emperram a representação. Nessa tese, procuro ler as ambiguidades e hesitações da forma nesses três romances como incertezas produtivas potenciais lições para o pensamento crítico contemporâneo, o qual tateia certezas num mundo em crise. Romances como Ragtime, The Book of Daniel e Homer & Langley são animados mais por uma hermenêutica da concretude do que por uma poética da relativização. A análise das estratégias de figuração do material histórico que compõe essas obras mostra como essas três narrativas revigoram o romance histórico na contemporaneidade
The novels by E. L. Doctorow studied here draw a critically illuminating panorama of American History in the 20th century. In The Book of Daniel, we follow the trajectory of the American Left from the thirties up to the sixties. In Ragtime, the historical scenery is the Belle Époque and the ragtime era, from the beginning of the century up to World War I. In Homer & Langley, the time frame is broadened to include almost the entire century from World War I up to de eighties. In those novels, we find a dialectical relationship between the impulse to bring forth connections and represent a larger social and historical picture, and the difficulty of achieving such a project through the very language and logic of fragmentation which obstructs the making of articulations and renders representation difficult. In this work, I try to read the ambiguities and hesitations of the form in those three novels as productive uncertainties potential lessons to contemporary critical thinking. Novels such as Ragtime, The Book of Daniel e Homer & Langley are animated more by a hermeneutics of the concrete than by a poetics of relativity. The analysis of the representational strategies those novels employ to depict the historical material from which they are made shows how those narratives reinvigorate the historical novel today

Includes bibliographical references (leaves 135-143).
This dissertation considers the manner in which the thematic and stylistic interests displayed in E. L. Doctorow's fiction derive from the postmodern context in which he works. Encapsulating the spirit of subversion so typical of postmodernism, Doctorow not only questions established modes of perception, but reinvigorates cultural and social traditions through the reformulation of customarily unchallenged norms and values. Departing from the conventions of traditional narrative, he emphasises the need for a continual critical interrogation and revision of absolutist grand narratives in order to achieve a more complex understanding of human experience. He grapples with concepts relating to the fluidity of meaning and the constructed nature of texts, deftly experimenting with narrative form in order to destabilise conventional perceptions of history, reality and representation.

E.L. Doctorow implements ideas of intertextuality and metafiction in his 2007 novel, The March, which is most notably apparent through its resemblance to the 1939 film, Gone with the Wind. Using Michel de Certeau's theory of spatial stories and Linda Hutcheon's of historiographic metafiction, this thesis discusses the layering of Doctorow's The March from the film seen in the character of Pearl from the novel and Scarlett from the film and Selznick's version of the burning of Atlanta and Doctorow's burning of Columbia.

L'informazione è alla base della conoscenza umana. Senza, non si potrebbe sapere nulla di ciò che esiste, di ciò che è stato o di quello che potrebbe accadere. Ogni giorno si assimilano moltissime informazioni, che vengono registrate nella propria memoria per essere riutilizzate all'occorrenza. Ne esistono di vari generi, ma il loro insieme va a formare quella che è la cultura, educazione, tradizione e storia dell'individuo. Per questo motivo è importante la loro diffusione e salvaguardia, impedendone la perdita che costerebbe la dipartita di una parte di sé, del proprio passato o del proprio futuro. Al giorno d'oggi le informazioni possono essere acquisite tramite persone, libri, riviste, giornali, la televisione, il Web. I canali di trasmissione sono molti, alcuni più efficaci di altri. Tra questi, internet è diventato un potente strumento di comunicazione, il quale consente l'interazione tra chi naviga nel Web (ossia gli utenti) e una partecipazione attiva alla diffusione di informazioni. Nello specifico, esistono siti (chiamati di microblogging) in cui sono gli stessi utenti a decidere se un'informazione possa essere o meno inserita nella propria pagina personale. In questo caso, si è di fronte a una nuova "gestione dell'informazione", che può variare da utente a utente e può defluire in catene di propagazione (percorsi che compiono i dati e le notizie tra i navigatori del Web) dai risvolti spesso incerti. Ma esiste un modello che possa spiegare l'avanzata delle informazioni tra gli utenti? Se fosse possibile capirne la dinamica, si potrebbe venire a conoscenza di quali sono le informazioni più soggette a propagazione, gli utenti che più ne influenzano i percorsi, quante persone ne vengono a conoscenza o il tempo per cui resta attiva un'informazione, descrivendone una sorta di ciclo di vita. E' possibile nel mondo reale trovare delle caratteristiche ricorrenti in queste propagazioni, in modo da poter sviluppare un metodo universale per acquisirne e analizzarne le dinamiche? I siti di microblogging non seguono regole precise, perciò si va incontro a un insieme apparentemente casuale di informazioni che necessitano una chiave di lettura. Quest'ultima è proprio quella che si è cercata, con la speranza di poter sfruttare i risultati ottenuti nell'ipotesi di una futura gestione dell'informazione più consapevole. L'obiettivo della tesi è quello di identificare un modello che mostri con chiarezza quali sono i passaggi da affrontare nella ricerca di una logica di fondo nella gestione delle informazioni in rete.

L'objectiu principal d'aquesta memòria és l'estudi de l'estructura i evolució tectònica, durant el Cenozoic, de la Conca Catalano-balear, entenent com a tal a la conca desenvolupada durant el Neogen entre la Serralada Ibèrica-Cadenes Costaneres Catalanes i el Sistema Bètico-balear. L'estructura i l'evolució mesozoica de l'àrea estudiada, encara que no constitueix per sí mateixa un objectiu primordial d'aquest treball, ha estat analitzada breument, ja que va condicionar en gran part l'estructura i evolució cenozoica de la Conca Calalano-balear.

L'ordenació dels objectius parcials del present treball mostra el mètode seguit per aconseguir l'objectiu principal de la tesi: 1.- Caracteritzar l'estructura submergida de la Conca Catalano-balear (solc de València) a partir de dades de subsòl (sísmica de reflexió, sondatges, etc); 2.- Contrastar i comparar aquesta amb l'observada a les parts emergides de la conca; 3.- Reconèixer els principals trets de l'evolució litosfèrica de l'àrea estudiada; 4.- Quantificar, a partir de les dades obtingudes amb els treballs anteriors, els diferents processos cinemàtics que van actuar en la regió de la Conca Catalano-balear durant el Cenozoic; 5.- Elaborar i proposar un model evolutiu de la Conca Catalano-balear, que integri totes les dades obtingudes.

Els resultats oblinguts a partir del desenvolupament de tot aquest conjunt de treballs poden sintetitzar-se en els següents punts:

1) L'estructura cenozoica de la Conca Catalana-balear es caracteritza per la presència de dos dominis diferentment estructurats i que presenten una diferent evolució tectònica al llarg del Neogen: el domini catalano-valencià que inclou les àrees de la conca només afeclades per una tectònica extensiva (àrees NE i N del solc de València, Cadenes Costaneres Catalanes i SE de la Serralada Ibèrica) i el domini bètico-balear que comprén les àrees afectades pels encavalcaments i plecs de l'orogen bètico-balear (SE del solc de València. Promontori Balear i Bètiques orientals).

L'estructura del primer (catalano-valencià) correspon a un extens sistema de horsts i grabens limitats per falles ENE-WSW a N-S que presenten un nivell de desenganxameJnt situat a uns 10-15 km. En aquest sistema extensional, poden distinguir-se: a) una zona marginal (NW de la conca) caracteritzada per falles normals amb un desplaçament quilomètric, i b) una zona central, ben preservada únicament en els sectors més septentrionals de la conca, en la que, si bé la litosfera està molt més aprimada, la deformació superficial neògena està molt poc desenvolupada. D'acord amb aquesta geometria es dedueix que l'extensió va realitzar-se segons un model de cisalla pura. L'activitat tectònica extensiva que va donar lloc a aquesta estructura, si bé s'ha perllongat atenuadament fins l'actualitat, va desenvolupar-se enlre l'Oliogè superior i el Burdigalià superior.

El domini bètico-balear, ve caracteritzat, per la seva banda, per la presència d'un sistema d'encavalcaments i plecs dirigits majoritàriament cap al NW que es corresponen a la perllongació nordorienlal del Sistema Bètic. Les làmines d'encavalcament que d'aquest domini mostren una seqüència d'emplaçament a gran escala de tipus coll-i-bé ("piggy·back") i presenten un nivell de desenganxament basal lleugerament inclinat al SE que se situa a uns 10-12 kOl de profunditat per sota el Promontori Balear. Associat al col.lapsament de l'edifici cantractiu bètico-balear (Serraval.lià/Quaternari), en gran pan d'aquestes làmines d'encavalcament es troben desenvolupats sistemes de falles normals lístriques que, clarament posteriors al seu emplaçament compressiu, resulten de la reactivació en sentit normal dels plans d'encavalcament. Aquestes falles normals donen lloc a l'estructuració de les parts internes de l'edifici bètico-balear en un sistema de horsts i grabens orientals preferentment NE-SW.

2) Dins de l'estructuració neògena d'aquests dos dominis es pot diferenciar: a) una etapa oligoceno superior-miocena mitjana de fona activitat tectònica en la que es va formar el sistema de Rift del domini catalano-valencià i es van emplaçar els encavalcaments del domini bètico-balear: í b) una etapa mioceno mitjana-qualernària, en la que al mateix temps que col.lapsa extensivament l'edifici contractiu bètico-balear, té lloc una marcada atenuació de l'activitat tectònica extensiva del domini catalano-valencià.

3) D'acord amb aquesta evolució geodinàmica amb una primera etapa de rining i de flexió litosfèrica (lligada a l'emplaçament dels encavalcaments bètico-balears) i una segona etapa d'atenuació d'aquests dos processos, l'anàlisi de subsidència de l'àrea mostra que l'àrea de la Conca Catalana-balear es caracleritza per: i) un primer estadi, contemporani a la formació de la conca (Oligocè superior-Miocè mitjà), marcat per una important subsidèncía tectònica que és màxima en les àrees centrals de la conca i arran del Promontori Balear; i ii) un segon estadi (Miocè mitjà-Quaternari) en el que la subsidència tectònica decreix gradualment.

4) La formació i posterior evolució de la Conca Catalana-balear va anar acompanyada d'una extensa activitat magmàtica, que es caracteritza per la presència de dos cicles volcànics ben diferenciats: a) un cicle miocè inferior-mitjà representat per roques calcoalcalines de tipus piroclàstic andesític i silícic: i b) un cicle miocè superior-quaternari de caràcter alcalí format principalment per roques basàltiques que afloren principalment al llarg de la zona de fractura Nord-balear.

El primer cicle, contemporani a la formació de la Conca Catalano-balear, denota la fusió d'escorça continental en un context geodinàmic regional caracteritzat per la subducció cap al NW de la placa africana sota Ibèria. En canvi, el cicle posterior alcalí enregistra un marc geodinàmic extensiu caracteritzal per un increment progressiu de la taxa d'extensió en el mantell.

5) La Conca Catalano-balear. per tant, no es correspon a una simple conca de rift, sinó que resulta principalment de a) el desenvolupament d'una situació extensiva que, durant l'Oligocè superior-Miocè inferior, va generar un significant aprimament litosfêric i la formació d'una conca de rift; i b) l'edificació, en el seu marge sudoriental i entre l'Oligocè terminal-Miocè mitjà, d'un edifici d'encavalcaments que, en la seva propagació cap el NW, va donar lloc a una disminució pmgressiva de l'àrea ocupada per la conca, En tal sentit, cal considerar la Conca Catalano-balear com una conca extensiva que va evolucionar en el temps a conca d'avantpaís de l'edifici orogènic bètico-balear.

Posteriorment, també han intervingut en la configuració actual de la conca l'extensió relacionada amb el col.lapsament de l'edifici contractiu bètico-balear (Miocè mitjà-Quaternari) i l'ascens més que probable del mantell astenosfèric.

6) Prèviament a la foonació de la conca cenozoica Catalano-balear, s'ha constatat que l'àrea havia estat sotmesa: primer a) a una situació extensiva mesozoica que va donar lloc a un volcanisme alcalí i a la formació d'àmplies i profundes cubetes orientades l'E-SW i WNW-ESE llue s'aprofundeixen gradualment cap al SE (Tetis); i segon, b) a una etapa compressiva N-S, d'edat paleògena, que va originar l'aixecament de l'àrea de la Conca Catalano-balear a partir del moviment contractiu de les falles que limitaven les antigues cubetes mesozoiques.

Les estructures tectòniques formades el Mesozoic no només van controlar i condicionar les característiques geomètriques de l'estructuració compressiva paleògena, sinò també les de l'estructuració extensiva de la Conca Catalano-balear. En aquest sentit, s'ha constatat que: i) Les deformacions contractives i extensives cenozoiques es concentren en els marges de les antigues cubetes mesozoiques, de manera que la major part de les falles cenozoiques són el resultat de la reactivació de les falles normals mesozoiques; ii) la distribució areal de la Conca Catalano-balear coincideix en gran part de l'àrea que recobrien les cubetes mesozoiques Catalana í de les Columbrets.

7) L'evolució postherciniana de l'àrea de la Conca Catalano-balear, així doncs. pot subdividir-se en 5 grans etapes, el trànsil entre les quals, generalment, s'inicia primer en les parts nordorientals de l'àrea i va migrant progressivament cap al SW.

- Permià-Cretaci superior. Relacionada amb l'obertura de l'Atlàntic i Tetis. durant aquest període l'àrea de la Conca Catalano-balear va ser sotmesa a una situació extensiva que va donar lloc a un aprimament cortical notable (>35%), un vulcanisme alcalí d'edat Triàsic superior i Juràssic mitjà, i a la formació d'un seguit de cubetes i llindars limitats per falles normals NE·SW i WNW-ESE.

-Cretaci superior-Oligocè superior. Durant aquest període, la part oriental d'Ibèria va ser afectada per un regim compressiu induït per la col.lisió entre les plaques ibèrica i euroasiàtica. Aquest nou règim va donar lloc a l'aixecament de les cubetes mesozoiques prèviament subsidents com a resultat de la inversió tectònica de les falles extensionals que les limitaven. La cinemàtica d'aquestes falles durant aquest període va venir controlada per la relació angular que guardaven els seus plans envers la direcció de compressió regional; així, mentre les orientades perpendicularmente a la direcció de compressió N-S es van reactivar com a encavalcaments (p,e, Zona d'Enllaç i Pirineus), les disposades obliquament van removilitzar-se amb un important component direccional (p.e. Cadenes Costaneres Catalanes i Serralada Ibèrica).

- Oligocè superior-Miocè inferior. Relacionada amb l'obertura de la Conca Liguro-provençal, l'àrea ocupada per l'actual Conca Catalano-balear va ser sotmesa de nou a un règim extensiu que es va manifestar mitjançant l'enfonsament i aprimament de les àrees aixecades durant el Paleògen, i el desenvolupament d'un sistema de horsts i grabens al llarg del domini catalano-valencià. Sincrònicament, al SE de la posició actual de les illes Balears, va iniciar-se l'emplaçament cap al NW de les primeres làmines d'encavalacament bètiques i van extruir roques volcàniques calcoalcalines, processos que semblen indicar el començament de la subducció d'Àfrica sota Ibèria.

- Miocè inferior-Miocè mitjà. La Conca Catalano-balear va passar de ser una conca extensiva o de rifting a una conca d'avantpaís de l'orogen bètico-balear. En efecte, durant aquest període, mentre l'activitat extensiva es va anar atenuant en el domini catalano-valencià, la litosfera va ser flexurada cap al SE com a conseqüència del progressiu apilament de les làmines d'encavalcament bètico-balears. Aquests encavalcaments emplaçats cap al NW segons una seqüència de propagación de tipus coll-i-bé, van anar incorporant progressivament dins de l'edifici d'encavalcaments les parts més sudorientals de la conca d'avantpaís, de manera que en l'actualitat la major part d'aquesta es troba involucrada en el sistema d'encavalcaments. La flexió litosfèrica conjuntament amb l'aprimament litosfèric creat per l'extensió oligocena superior-miocena mitjana van donar al desenvolupament d'una etapa de forta subsidència tectònica entre l'Oligocè superior i el Miocè mitjà. Per altra handa, la propagació cap al NW del front d'encavalcaments va anar acompanyada per una migració en el mateix sentit de l'activitat magmàtica calcoalcalina que va desenvolupar-se preferentment al llarg de l'eix del solc de València, migració que pot relacionar·se amb una prosecució de la subducció d'Àfrica sota Ibèria.

- Miocè mitjà (Serraval.lià)-Quaternari. Correspon a un període de relativa calma tectònica. En el domini bètico-balear, la compressió bètica és substituïda per un règim extensiu que, relacionat amb l'obertura de la Conca Nord-africana, donà lloc al col.lapsament de l'edifici d'encavalcaments. En el domini catalano-valencià, a excepció de la zona de fractura Nord-balear on hi ha una forta activitat extensiva que crea noves fosses orientades NW-SE, continua l'atenuació de l'activitat tectònica extensiva. Aquesta atenuació queda enregistrada en la subsidència tectònica que únicament reflecteix una relaxació de les perturbacions tècniques produïdes pel rifting Oligocè superior-Miocè inferior. D'acord amb la finalització de l'activitat contractiva, durant aquest període, el vulcanisme calcoalcalí és substituït per un de tipus alcalí que sembla assenyalar una remuntada del mantell astenosfèric.

Per tant, l'evolució oligoceno superior-quaternària de la Conca Catalano-balear, dins de l'àmbit de la Mediterrània occidental és compatible amb un model de conca de rera-arc que evoluciona, al pas del temps, primer a una conca d'avantpaís i després a una conca de rifting afectada per una possible remuntada del mantell astenosfèric.
This Thesis deals with the structure and geodynamic evolution during Cenozoic of the Catalan-Balearic Basin. This basin, located between the Iberian Peninsula and the Balearic Islands, corresponds to the southwest prolongation of the Provençal Basin.

The integration of subsurface data from the offshore Catalan-Balearic Basin areas and data obtained from geological studies carried out on its emerged margins permits the recognition of two well differentiated structural domains in the basin: The Catalan-Valencian domain, along the Iberian coast, which is characterized by extensional tectonics that persisted during the whole Neogene; and the Betic-Balearic domain, located southeast of the former domain, that represents the northeastern prolongation of the external part of the Betic thrust and fold belt (emplaced in Early-Middle Miocene times). The Betic-Balearic domain, overthrusts the previous domain and has undergone a phase of extensional tectonics during Late Miocene times.

The present day structural and morphological features of the Catalan-Balearic Basin, as well as the crustal thisckness variations across them, can not be explained as the result of a simple rift event. These features resulted of the coeval development of (1) a system of horsts and grabens in the northwest part of the basin during the Late Oligocene-Early Miocene, and (2) a thrust and fold system which lasted up to the Middle Miocene and which was followed by extensional tectonics during the Late Miocene.

The Early Miocene rifting caused a generalized crustal thinning in the Catalan-Balearic Basin area, whereas the stacking of the Betic-Balearic thrust-sheets led to a weak crustal bending of the previously thinned crust and to a thickening of the crust un the Balearic Promontory during the Early and Middle Miocene (Burdigalian and Langhian). Therefore, from the Burdigalian to Langhian, the Catalan-Balearic Basin acted as a foreland basin in relation to the Betie-Balearic thrust and fold bell. Later on, from the Langhian-Serravallian transition, a crustal thinning has affected to a degree considerably the southeaster most Balearic promontory areas but has been weak in the Catalan-Balearic Basin. This extensional thinning has been related to the progressive opening of the Algerian Basin.

Cette étude porte sur les modalités de l'écriture dans les six romans de Toni Morrison. Elle s'attache d'abord au découpage du texte et à la structure profonde comme stratégie allusive de signification, ou bien miroir des relations entre personnages, trajet plein d'énigmes et fausses pistes ou parfois la linéarité éclate et dont la fin reste ouverte. L’espace de l'homme se distingue des lieux de la femme : maison et foyer, géographie comme théâtre de la mobilité, lieux de tradition et espaces de modernité, territoires de la ville et pôles de la grande migration jalonnent les récits mais on assiste aussi au brouillage des repères. Les cadres et niveaux de la temporalité incitent à proposer une théorie du temps féminin et du temps noir vécu linéaire et temps cyclique, retour à l'origine ou dilatation du temporel, remise en mémoire à partir du présent des ressassements, personnages vivant au rythme et à l'heure de leur époque. Le nom a une grande importance comme vecteur d'identité, signe de l'appartenance au groupe enracinement dans la généalogie mais il apparait parfois comme parodie du symbolisme chrétien ou marque de l'indétermination tandis que la nomination, fonction de puissance, devient synecdoque du roman. L’étude de la narration relevé l'inégalité des narrateurs, les réflecteurs multiples, le récit polyphonique. Surtout dans jazz le narrateur à part entière prend la parole et figure les intrusions de l'artiste. Par-delà la narration se font entendre la voix du texte et la voix de l'auteur. Enfin, l'étude aborde l'expression créatrice et les métaphores de l'écriture. Les thèmes récurrents de l'"artiste manquée" et l'expression collective de la communauté, l'envol et l'essor créateur, la pratique du conte et du chant la musique-métaphore. Soulignant le refus du cliché et l'œuvre ouverte, la conclusion débouche sur le recours assez constant à la différance et à la coexistence des sens possibles
This dissertation deals with the writing techniques in Toni Morison’s six novels. First it applies to the division of the different sections of the text and its deep structure. This structure is depicted on the one hand, as a strategy alluding to "signification" and on the other hand as a mirror reflecting relationships between characters. This relationship, in turn, is considered as a path full of riddles and false tracks where sometimes linearity breaks out and the end remains open. Second, it shows the distinction between male's space and women's places. House, family and home all places, from a geagraphical stand point, are associated to an envionment proper to women as if these places aretheir stage of mobility. Whereas space of modernity, territories of "la grande migration" are supposed to be male's space. Still this study proves, with multiple examples from the novels, the possible discorder of the landmarks. Third, the framework and levels of times put up a theory of women's time and black time. In other words, the linear lived time and the cyclic one, including notions like return to origins, expansion of the temporal, call to memory the notion of transcending the past into the present. The name plays an important role in this study. It is presented as a broad hint to identity that is a sign of belonging to the group and anchored in the genealogy. But, at times, it appears as a parody of the christian symbolism or a mark of indetermination. Naming on the other hand goes beyond its role of power and becomes an indivisible part of the novel. The analysis of the narratives reveals the unequality of the narrators. In fact we find that, in jazz, the narrator is more present, more powerful and can also influence the reader's opinion. In jazz the narrator speaks and illustrates the artistic intrusions. Finally, the study speaks about creative expression, metaphor of working, the reccurents themes of "l'artiste manquée" and the collective expression of the community, including flight, creative expansion and the practice of oral communications (tales, chant, songs. . . ). Emphacising on the refusal of the "cliché" and "l’oeuvre ouverte", the conclusion leads to almost a constant use of the "differance" and to the coexistance of multiple meanings

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The large number of new products that are developed and made available to the consumer has allowed access to industrialized food, which are sources of carbohydrates and saturated fats. The high consumption of this type of product in Brazil associated with the decreased physical activity, resulted in the epidemiological phenomenon known as nutritional transition, characterized by overweight and obesity. This trend is not only observed in Brazil, therefore the World Health Organization (WHO) recommends the reduction of sugar and fat consumption. From this scenario, this study aimed to develop a beverage of pomegranate as a healthier alternative to products available in the market. The pomegranate is a fruit with low use in Brazil; however, it presents nutritional characteristics that justify the increase in consumption. It was performed an online study to identify the fruit that would compose the mixed juice with pomegranate, and it has been suggested the orange. Then, it was evaluated the beverages intention to purchase. The blend of orange and pomegranate reached the highest average score for such as parameter by consumers, and the sugar content reached the highest relative importance. In a second phase of the study it was evaluated the formulations by varying the ratio water/pulp, pomegranate/orange and sugar content. The most preferred sample had a lower proportion of pomegranate pulp, higher orange content and sugar. The following study has focused on the replacement of sucrose by high intensity sweeteners (sucralose, stevia and monk fruit extract) were evaluated. Firstly it was estimated the sweetness equivalence for each of them using two different methods (paired comparison and magnitude estimation), and two ways of data analyses (logistic regression and survival analysis). The methods provided similar results, but the survival analysis showed a better alternative for the data analysis. From this result it was investigated the effect of information on the sweetener used on the perception of the product. It was considered the effect of extrinsic variables, namely: design (traditional vs. minimalist), nutritional information (present vs. absent), processing information technology (present vs. absent) and nutritional traffic light (present vs. absent) on the consumer intention to purchase, considering the time constraint as a variable in the study. The time factor did not affect the purchase intent and the highest averages were achieved by packaging with traditional design, which was used in the subsequent study. The study investigated the effects of the information on the additive used to sweeten beverages (sweetener: sucralose, stevia or extract of monk fruit; or sucrose: sugar or no added sugar) on the acceptance, sensory characteristics and wellbeing associated with the beverages. The information was significant on the sensory description of the samples, wellbeing associated to the products and acceptance. Results have shown that samples with the most similar characteristics to the beverage sweetened with sugar were those that achieved the highest acceptance means. The findings achieved in the several studies carried out in this Thesis can be considered relevantto the development of healthier products, which include pomegranate in its composition.
O grande n?mero de novos produtos que s?o desenvolvidos e colocados ? disposi??o do consumidor vem permitindo o acesso aos alimentos industrializados fontes de carboidratos e gorduras saturadas. No Brasil o elevado consumo desse tipo de produto, associado ? diminui??o da pr?tica de atividade f?sica, resultou no fen?meno epidemiol?gico conhecido como transi??o nutricional caracterizado pelo sobrepeso e obesidade. Essa tend?ncia n?o se restringe apenas ao Brasil, por isso a Organiza??o Mundial de Sa?de (OMS) recomenda que o consumo a??car e de gordura seja reduzido. A partir deste cen?rio, o presente trabalho teve por objetivo desenvolver uma bebida ? base de rom? como alternativa mais saud?vel aos produtos encontrados atualmente no mercado. A rom? ? uma fruta com pouca utiliza??o no Brasil; por?m, apresenta caracter?sticas nutricionais que justificam o incremento do seu consumo. Foi realizado estudo on-line a fim de identificar a fruta que comporia o suco misto junto com a rom?, tendo sido identificada a laranja. Em seguida foi avaliada a inten??o de compra das bebidas a partir dos front-of-packs de prot?tipos de produtos mistos e de elaborados com apenas uma das frutas utilizadas na bebida mista (rom? e laranja). O suco misto alcan?ou maior m?dia quanto a esse par?metro, sendo o teor de a??car a caracter?stica com maior import?ncia relativa. No estudo subsequente foram avaliadas formula??es do produto variando-se a propor??o de ?gua/ polpa, rom?/ laranja e o teor de a??car. A amostra mais aceita pelos participantes continha menor propor??o de polpa de rom?, maior teor de laranja e a??car. Foram realizados estudos onde o foco foi a substitui??o da sacarose por edulcorantes de alta intensidade (sucralose, stevia e extrato da fruta do monge). Inicialmente foi estimada a equival?ncia de do?ura para cada um deles utilizando dois m?todos distintos (compara??o pareada e estima??o de magnitude) e duas formas de tratamento de dados (regress?o log?stica e an?lise de sobreviv?ncia). Os m?todos forneceram resultados similares; por?m, a an?lise de sobreviv?ncia se mostrou melhor alternativa para o tratamento de dados. A partir desse resultado foi investigado o efeito da informa??o sobre o edulcorante usado na percep??o do produto. Foi realizado estudo para avaliar o efeito de vari?veis extr?nsecas, a saber: design (tradicional vs. minimalista), informa??o nutricional (presente vs. ausente), informa??o da tecnologia de processamento (presente vs. ausente) e sem?foro nutricional (presente vs. ausente) na inten??o de compra do consumidor considerando a restri??o de tempo como vari?vel no estudo. O fator tempo n?o afetou a inten??o de compra e as maiores m?dias foram alcan?adas pelas embalagens com design tradicional, o qual foi utilizado no estudo subsequente que investigou o efeito da informa??o sobre o aditivo usado para ado?ar as bebidas (edulcorantes: sucralose, stevia ou extrato da fruta do monge; sacarose ou sem adi??o de a??car) na aceita??o, caracter?sticas sensoriais e no bem-estar associado a elas. A informa??o sobre o aditivo usado para ado?ar a bebida teve efeito (p>0,05) na descri??o sensorial das amostras, no bem-estar associado a elas e na aceita??o. Os resultados demonstraram que as amostras com as caracter?sticas mais parecidas com a bebida ado?ada com a??car foram as que alcan?aram maiores m?dias de aceita??o. Os achados encontrados a partir do desenvolvimento dos diversos estudos podem ser considerados relevantes para a elabora??o de produtos mais saud?veis, os quais incluem a rom? em sua composi??o.

Cette thèse propose une étude de 1'« Internationale situationniste» et de son histoire, en tant que projet artistique et mouvement d'avant-garde. Nous analysons ce projet comme un projet d'« art total », et tentons l'élucidation de ses dimensions, à la fois esthétique et politique, de ses manifestations sensibles et conceptuelles. Deux perspectives principales sont adoptées. La première, historique, retrace tout d’abord les parcours de Guy Debord et Asger Jorn, jusqu’au moment de la fondation de l’ « Internationale situationniste » en juillet 1957. Nous considérons comme point de départ de cette histoire, le surréalisme, comme principale source d’inspiration idéologique et poétique de ces derniers. Le mouvement Cobra et le Lettrisme d'Isidore Isou sont étudiés comme phases préliminaires durant lesquelles une grande partie des pratiques et des concepts situationnistes commencent à être élaborés. La deuxième perspective adoptée est celle des œuvres et des concepts. Nous replaçons l'I. S. Dans le contexte artistique des années soixante, et tentons ainsi de contribuer à la réflexion sur le sens et l'avenir du concept d'« avant-garde »

Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale
Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches

Ce travail envisage Learning from Las Vegas, le livre co-écrit par les architectes Robert Venturi, Denise Scott Brown et Steven Izenour, du point de vue de sa réception par la critique journalistique, architecturale et universitaire entre 1968 et 1988. Le sens et la valeur de ce texte tels qu'ils sont aujourd'hui unanimement reconnus, Y apparaissent comme le fruit d'une interaction constante pendant vingt années entre ses auteurs et ses lecteurs. Dans une première partie, est décrite l'apparition de Learning from Las Vegas dans le contexte politique et culturel particulièrement agité de la fin des années 1960, et la polémique qui immédiatement s'en est suivie dans le milieu architectural tant américain qu’européen. Dans une seconde partie, l’attention se porte sur le rôle que jour Learning from Las Vegas, parmi d’autres ouvrages, dans la reconfiguration idéologique qui accompagne la critique du modernisme au cours des années 1970. Dans une troisième partie enfin, il est expliqué la manière dont le livre devient ensuite l’un des principaux manifestes du postmodernisme américain, et comment à ce titre il rattache ce mouvement à la tradition de l’avant-gardisme. On voit là aussi comment il inaugure à cette occasion un nouveau genre littéraire, le manifeste rétroactif. En présentant finalement ce classique de la littérature architecturale contemporaine comme le résultat d’une construction sociale et historique, ce travail contribue à expliciter les processus de formation de la théorie et de la culture architecturale dans l’après-modernisme.

L'Impressionnisme et la Bossa Nova — une Thèse de Surface se présente comme une vaste mosaïque dans laquelle des champs disciplinaires divers et éloignés les uns des autres peuvent interagir d'une façon harmonieuse et libre. Sollicitant des données issues de domaines comme la théorie de la chanson, l'histoire culturelle, la psychologie cognitive, la musicologie, la critique d'art, les neurosciences et la biologie de l'évolution, parmi d'autres, le travail est structuré en trois parties qui sont à la fois autonomes et complémentaires. Dans la première sont abordés des thèmes liés à la dimension mélodique et linéaire de la musique ; à sa relation avec la mémoire et la perception du temps. Les oeuvres de Tom Jobim servent alors de modèles nous permettant de mettre en lumière le caractère éminemment mélodique de la chanson commerciale. En tentant de définir la place qu'occupe cet artiste dans la tradition de la chanson brésilienne on met également en évidence le caractère innovant d'une oeuvre qui rompt avec le passé. Dans la deuxième partie, le regard se déplace vers le rôle de l'harmonie et sur la dimension verticale dans la musique, dimension responsable de son impact instantané sur l'auditeur. En plus d'une longue introduction sur le changement du discours harmonique qui s'est opéré dans la musique européenne du XIXe siècle, on met l'accent sur l'importance des sensations les plus directes dans la tradition musicale moderne, au rebours d'une vision qui en privilégie les dimensions narratives et linéaires. On montre ensuite comment, à la faveur d'un tel déplacement, il devient possible d'opérer un rapprochement non seulement entre la musique de Claude Debussy et la peinture de Claude Monet (l'Impressionnisme), mais aussi entre l'art de ces derniers et le nouveau style créé par Tom Jobim et Joâo Gilberto au Brésil (la Bossa Nova). Dans la troisième et dernière partie du travail, on propose un regard nouveau sur la dimension rythmique de la musique brésilienne. L'objectif est ici un élargissement, à la lumière d'études récentes, de la compréhension de la relation du rythme avec le corps (l'organisme), avec la langue et avec l'idée d'une formation culturelle. Dans cette partie, la musique de Tom Jobim et de Joâo Gilberto demeure le principal paramètre comparatif
Created in the format of an argument essay, Impressionism and Bossa Nova - A surface analysis proposes a broad mosaic in which distinct and distant fields of knowledge, which are usually considered in isolation can interact fluidly and freely link together. Using information from areas such as song theory, cultural history, cognitive psychology, musicology, art critic, neuroscience and evolutionary biology, among others, the essay is structured in three multifaceted frames, simultaneously autonomous and complementary. In the first part of the essay, topics related to the melodic and linear dimension of the music are addressed, in relation to the memory and perception of time. Compositions authored by Tom Jobim are highlighted and help to shed light on the eminently melodic character of the folk song, while revealing their own level of innovation in the past and defining its place in the tradition of Brazilian music. In the second part the essay, focus is given to the role of harmony and to a proper vertical dimension of music, a dimension that relates to the prompt impact of the instant. Apart from a long introduction regarding the change in harmonic discourse in the European music of the nineteenth century, a emphasis is given to the more direct impact of feelings and sensations, rather than on a linear and narrative conception of the musical discourse. This shift can be seen as a point of approximation not only between the music of Claude Debussy with the painting of Claude Monet (Impressionism) but also with the new style created by Tom Jobim and Joao Gilberto in Brazil (Bossa Nova). The third and last part of the essay proposes a new focus on the rhythmic dimension of the Brazilian music, broadened in light of recent studies, and taking the music of Tom Jobim and Joâo Gilberto as the basis for comparison, thereby increasing the understanding of its relationship with the body, the language, and the idea of cultural development in the country

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Instituto Federal Fluminense, Diretoria de Ensino, Campos dos Goytacazes, RJ
Esta tese se propõe a discutir em que medida a literatura constitui um viés de resgate memorial de um indivíduo e, ao mesmo tempo, da sociedade em que se insere. Também pretende mostrar como as leituras constituem uma genealogia literária e colaboram para a formação da identidade de leitores e escritores. Para tal, serão consideradas quatro obras da escritora antilhana Maryse Condé: Le coeur à rire et à pleurer- souvenirs de mon enfance (1999), Victoire, les saveurs et les mots (2006), La vie sans fards (2012) e Mets et merveilles (2015). Entre Maryse Condé e seu leitor, que entra (ou não) no jogo proposto pela narrativa autobiográfica, estabelece-se uma espécie de “pacto” entre quem escreve e quem lê: de um lado, tem-se a autora, desejosa de escrever, de ser lida e reconhecida, que se compromete a dizer a (sua) verdade, esperando, em troca, um comprometimento afetivo por parte do leitor; do outro lado, encontra-se o leitor que, perante as vivências partilhadas com a narradora, dificilmente permanecerá incólume, manifestando reações diversas (da adesão à rejeição, da identificação ao distanciamento), podendo mesmo colocar-se a si próprio em causa. Esse jogo, aliás, é proposto em todo texto literário, mas no caso da narrativa autobiográfica, a cooperação textual é ainda mais premente, já que o sucesso da sua recepção depende da predisposição do leitor para pactuar com uma lógica discursiva que cria uma teia narrativa de ilusões, que parece ser uma coisa, mas que, na realidade, pode ser muitas outras. A escritora antilhana, nesses relatos, recorda, escreve e lê o passado, o que implica necessariamente a evocação de uma ausência recuperada pelo poder das palavras através da memória ou da imaginação transfiguradoras. Nesse sentido, os relatos (auto) biográficos de Condé são narrativas que representam um desafio face ao esquecimento e às traições da memória, uma possibilidade face às dificuldades enfrentadas na busca do autoconhecimento e uma confirmação das capacidades da linguagem para recuperar e recriar vivências e mundos possíveis. Eles constituem, afinal, um contributo literário para a busca de respostas em torno das inúmeras questões sobre a autobiografia, seus modos de fazer e seus modos de ler, sugestões de receitas (sempre mutáveis, é claro) sobre os modos possíveis de se contar a própria vida, sempre um compósito da vida dos seus, dos lugares pelos quais passou e também de suas leituras e incontáveis interpretações
Cette thèse se propose à discuter dans quelle mesure la littérature constitue un moyen de réappropriation mémorielle de l’individu ainsi que de la société dans laquelle il est inséré. Elle a également l'intention de montrer comment les lectures sont une généalogie littéraire et collaborent pour la formation de l'identité de lecteurs et d'écrivains. Quatre ouvrages de l'écrivaine antillaise Maryse Condé seront analysés: Le coeur à rire et à pleurer- souvenirs de mon enfance (1999), Victoire, les saveurs et les mots (2006), La vie sans fards (2012) et Mets et merveilles (2015). Entre Maryse Condé et son lecteur, qui entre (ou non) dans le jeu proposé par le récit autobiographique, se met en place une sorte de «pacte» entre celui qui écrit et celui qui lit: d'une part, nous avons l'auteur, désireux d'écrire, d'être lu et reconnu, qui se charge de dire (sa) vérité, en attendant, en échange, un engagement émotionnel du lecteur; d'autre part, nous trouvons le lecteur qui, vis-à-vis des expériences partagées avec le narrateur, ne pourra pas demeurer indemne, exprimant des réactions diverses (de l’adhésion au rejet, de l’identification à la distance) il peut même se remettre en question. Ce jeu est, d'ailleurs, présent dans tous les textes littéraires, mais dans le cas du récit autobiographique, la coopération textuelle est encore plus importante, puisque le succès de sa réception dépend de la volonté du lecteur de collaborer avec une logique discursive qui crée un tissu narratif d’illusions, qui paraît quelque chose, mais en fait, peut être beaucoup d'autres. L'écrivaine antillaise, dans ces récits, se souvient, écrit et lit le passé qui implique nécessairement l'évocation d'une absence récupérée par le pouvoir des mots par la mémoire ou l'imagination qui transfigurent. Dans ce sens, les rapports (auto) biographiques de Condé sont des récits qui représentent un défi contre l'oubli et les trahisons de la mémoire, une possibilité face aux difficultés de l'auto-recherche et la confirmation des capacités de la langue pour récupérer et reconstruire des expériences et des mondes possibles. Ils sont, après tout, une contribution littéraire à la recherche de réponses sur les nombreuses questions concernant l'autobiographie, les façons de faire et les manières de lire, des suggestions de recettes (toujours mouvantes, bien sûr) sur comment l’on peut raconter sa propre vie, toujours un composite de la vie des autres, des lieux parcourus et aussi de lectures et des innombrables interprétations

Afin d'en faire l'expérience, cette thèse explore l'idée d'un espace dit pliable. en tant que « structure modulable comme capture de moment ». L'espace conçu à travers une œuvre n'est pas uniquement envisagé comme le milieu à trois dimensions dans lequel le spectateur se déplace, mais comme l'événement qui interroge et réaffirme sa spatialité. Sans cesse en mouvement parce que pliable sait-on précisément où il se rencontre? Où il se plie et se déplie? Dans le cadre de ma pratique artistique, en développant l'idée d'un Espace Pliable, ces réalisations - à déployer et ployer. à plier et déplier - interrogent aussi bien le volume du point de vue de son extension que le « champ de la sculpture» en expansion. À l'aide d'un corpus d'œuvres allant principalement des années 1960 à nos jours, la thèse liée à ce travail entend repérer et analyser une partie des différentes relations spatiales et temporelles à l'œuvre. Convoquant des artistes tels que Robert Morris, Franz Erhard Walther ou encore Hans-Walter Müller, architecte, l'enjeu de cette recherche est d'étudier l'espace du point de vue de ses particularités plastiques, afin de reconsidérer principalement l'expérience que nous en faisons. Au plus près d'une pratique sculpturale, ces installations entre visible et invisible, matériel et immatériel, ne semblent « capturer» rien d'autre que de l' « espace ». Fortes de l'analyse deleuzienne du pli comme système dynamique - puisque pliable - une fois à l'intérieur de mes sculptures cubiques, celles-ci deviennent un témoin du temps que le spectateur leur donne
In order to have the experience of it, this thesis explores the idea of what's called Foldable Space, meaning a "modulable structure as captured time". Space represented through an artwork, is not only considered as a three-dimensional environment that the spectator moves through, but as an event which questions and reaffirms its spatiality. Constantly moving, because foldable, do we know precisely where the encounter happens? Where it folds and unfolds? As part of my art practice, developing the idea of a Foldable Space, these works made to be unfurled and bent, folded and unfolded, question both the volume from the perspective of its extension and the expanding "field of sculpture". Using a corpus of works mainly from the 1960s to the present day, the thesis linked to this artwork intends to identify and analyse some of the different spatial and temporal relationships at work. Summoning artists such as Robert Morris, Franz Erhard Walther or the architect Hans-Walter Müller, the imperative of this research is to study space in regard to its sculptural and aesthetic characteristics, mainly in order to reconsider our experience of this space. Very nearly a sculptural practice, these installations between visible and invisible, tangible and intangible, seem "to capture" nothing but "space". Supported by Deleuze's analysis of the fold as a dynamic system - because foldable - once inside one of my cubic sculptures, the sculpture becomes a witness of the time the spectator spends with it

La thèse a pour objectif d'analyser les lignes de force et les contradictions de la pensée du cinéma chez les intellectuels français confrontés entre 1950 et 1968 à une rupture des formes et des enjeux filmiques dans l'espace du cinéma européen. Un premier temps définit un Collectif intellectuel critique, extérieur aux cercles cinéphiliques, pour analyser les attentes idéologiques, morales et esthétiques des intellectuels dans leur réception du cinéma durant cette période. Un second temps s'attache à analyser trois piliers théoriques à même d'éclairer, au seuil de 1950, ces grilles de réception : les propositions théoriques de l'existentialisme et de Merleau-Ponty d'une part ; l'impact des textes esthétiques de Malraux d'autre part ; enfin, les propositions théoriques de Cohen-Séat sur le cinéma. Un troisième temps est consacré aux chemins divers de la pensée du cinéma durant la période étudiée, en accordant une place particulière aux textes d'Albert Laffay, Edgar Morin, Christian Metz et Roland Barthes. Enfin, un quatrième temps prend en compte les films privilégiés par la réception du Collectif Intellectuel critique, pour expliciter les difficultés de cette période à penser l'expérience filmique, et souligner le jeu complexe des intuitions qui continueront durablement à nourrir les chemins d'une théorie du cinéma
This dissertation aims at analysing how French intellectuals considered cinema — their main strengths and contradictions — between 1950 and 1968, at a time when they were confronted with a major turnaround in the evolution of forms and in terms of film issues in the European cinema sphere. Firstly, an Intellectual Critical Group is being defined, that stands outside the cinephilic circles, with a view to analyse the intellectuals' expectations (ideology, morale and aesthetic) about movie re,ception. Secondly, these reception grids (in the early 1950's) are made explicit through three theoretical mainstays: the theoretical proposais issued by the Existentialist movement and Merleau-Ponty; the impact of Malraux's writings on aesthetic; and Cohen-Séat's theoretical approach on cinema. Thirdly, the various aspects of film theory are considered during this period, with a particular focus on the works of Albert Laffay, Edgar Morin, Christian Metz, and Roland Barthes. Lastly, the four part deals with the movies favoured by the Intellectual Critical Group's reception to account for the difficulty, at that time, to reflect on film experience, and to emphasise the intricate and complex of those intuitions winch will foster the progression of Film theory, in the long term

Prenant appui sur l'intérêt contemporain pour les rencontres texte/image et la prolifération récente des oeuvres bi-médiales, cette thèse se propose d'étudier les structures et les qualités du photo-roman, en vue de soutenir que cette forme nouvelle offre un espace privilégié à l'interrogation — et potentiellement à la représentation ¬des événements traumatiques collectifs. L'exploration d'une série de travaux photo-littéraires produits entre la fin du 20ème siècle et le début du 21ème et caractérisés par une thématique historiographique ainsi que la concomitance avec une catastrophe historique suggère que la combinaison de la fiction et de la photographie au sein d'un même dispositif photo-narratif est susceptible de fournir une alternative à la problématique bien connue de l'irreprésentabilité du trauma. Nous considérons que la photo-littérature emploie les rapports souvent notés entre la photographie et l'histoire, la biographie, le temps et la mort dans le cadre familier du roman, tout en faisant appel au lecteur comme un acteur indispensable du processus d'élaboration du sens textuel. Les mécanismes complexes du composé photo-textuel permettent de mettre en lumière le fait que les histoires de vie personnelles sont pertinentes à l'expérience collective, ainsi que les parallèles entre des événements historiques traumatiques divers. Ainsi, la photo-littérature permet un passage de l'histoire à un genre de mémoire qui est essentiellement connectif ; par là même, cette forme nouvelle va à l'encontre d'une incapacité présumée à énoncer la mémoire traumatique, en suivant une approche fondée sur l'attention et l'investissement affectif
Drawing on the increased interest in word-image interactions and the recent proliferation of bimedial works of literature, this study proposes an investigation of the structures and qualities of the photo-nove', with the contention that this emergent new form constitutes a privileged space where instances of collective trauma may be addressed, potentially even represented. The exploration of a series of works of photo-literature of the Tate 20th and early 215t century that are affiliated to historiography and unfold in the midst or aftermath of a great historic calamity suggests that the combination of fiction and photography within a single, photo-textual narrative may counter the problematic of unrepresentability raised by Trauma Studies. Photo-literature, as this study purports, employs photography's well-lçnown relations to history, biography, time and'cleath within the familiar schema of the nove', while invoking? the respondent reader as an essential component of the meaning¬making process. These elaborate workings of the photo-textual compound result in the highlighting of the individual life story's pertinence to the collective experience and the establishment of parallels between diverse historical instances of trauma. Thus, photo-literature enables the passage from history to an essentially connective type of memory and, subsequently, responds to a professed inability to enunciate the traumatic experience, by offering an approach that is reliant on affective investment and attention

This thesis discusses the current Japanese language (nihongo) education for immigrant students at public schools in Japan and provides recommendations through the study of language policy and the comparison of bilingual education in the United States. The current situation of a decreasing birth rate and increasing aging population in Japan has led to the acceptance of more foreign workers. Due to this change, language education in Japan has increasing development. The focus of chapter 1 is on the theories of language policy. This paper particularly focuses on the ideas of Wright (2004), Neustupný (2006), Spolsky (2004), and Cooper (1989), and discusses similarities and differences between them. By applying these theories to language policy in Japan, chapter 1 shows how language policy changed throughout Japanese history. Chapter 2 discusses the current environment surrounding immigrant students. It includes a description not only of the expanding population of foreign students, but also the history of Japanese language education and the laws related to it. This chapter also presents the present movement of language policy in Japan and how the movement affects Japanese language education for language minority students. Chapter 3 compares bilingual education in the United States to bilingual education in Japan, and makes three suggestions to improve Japanese language education at public schools in Japan, particularly addressing the classification of language levels for immigrant students, teaching styles, and the limitation of qualified bilingual teachers.

碩士
國立中興大學
外國語文學系所
101
E. L. Doctorow is the most famous American author of postmodern historical novels. In these novels, Doctorow uses historical figures, fictional characters, objects and newspapers to express his ideas about history. This thesis attempts to read Doctorow’s novels Ragtime, World’s Fair, and Homer and Langley using Mikhail Bakhtin’s notions of heteroglossia and carnival. However, it also considers Marxist and postmodernist readings of Doctorow’s works. Introduction briefly summarizes background of the author, theorists’ perspectives about the historical novel and my motivation of the structure of this thesis. Chapter One describes social and financial condition, the rise of female consciousness, the importance of mental problems and racial issues around the 1900s in Ragtime. Chapter Two explains the author selects family history to narrate his family how to face predicaments during the Great Depression and join the carnival activity of the World’s Fair in World’s Fair. Chapter Three illustrates the author chooses objects and newspapers rather than characters around the 1940s to express his ideas about history in Homer and Langley which are different from the previous novel. The conclusion briefly summarizes this thesis and explains how Bakhtin’s theory offers new ways of understanding the historical novel.

This dissertation explores the ways in which four post-modern American novelists continue to use their fiction to address questions regarding the nature and place of ethics and spirituality in contemporary America in spite of the supposed "death" of history, man, and God. The four novels examined represent different ethico-spiritual traditions, which this dissertation seeks to engage in an open and fruitful dialogue. The introduction (Chapter I) traces the trajectory of Modernity, beginning with the Enlightenment's rejection of traditional modes of thought and the devastating effects of that rejection for moral theory, for human beings, and for the world they inhabit. The Modern world that resulted from that rejection forms the backdrop against which play out the dramas of the four novels. Chapter II explores, by way of Walker Percy's The Last Gentleman , Western man's tendency to abstract and alienate himself from the world around him in an attempt to transcend the messiness and uncertainty of the post-modern lifeworld. Chapter III focuses on Toni Morrison's Paradise in order to examine the effects of Modernity's emphases on order, hierarchy, and mastery and its tendency to produce rigid social and religious institutions incapable of adapting and adjusting to the rapidly changing circumstances of the post-modern lifeworld. Chapter IV delves into the chaotic world of E. L. Doctorow's City of God, which acknowledges the chaos and confusion of our contemporary milieu but views post-modernity as an opportunity to establish a new kind of ethics and spirituality more open to the continuing revelation of God in the post-modern urban lifeworld. Chapter V explores Leslie Marmon Silko's Ceremony, which joins the other texts in critiquing Modernity and offers an all-inclusive vision of what we must do if we are to renew our communities and heal our world. The conclusion (Chapter VI) integrates the critiques of the four novels with the recent insights of contemporary moral philosophers and theologians in order to pose a starting point for living more serious, fecund, and worthy ethical and spiritual lives in an effort to renew and heal ourselves and, eventually, the world around us.

This thesis follows debates about economic planning during the 1930s through the work of Lewis L. Lorwin; his organization, the National Economic Planning Association; and its journal, Plan Age, to recover a rich intellectual legacy. Economic historians have marginalized the economic planning movement, regarding it as an aberration and failure. Instead, the planners played a central role in many important transitions, including the shift from laissez faire to Keynesian economics, an essential ingredient in the U.S. ascendance to global power. Marxian class analysis is the method used to explore the contradictions of the economic planning movement, explain its successes and failures, and measure the extent and limits of its challenges to liberal economic and political theory, with special attention to the ways in which the movement simultaneously undermined and reinforced capitalism and imperialism. In the process new directions are suggest for contemporary critics and activists.