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Lindroth, von Bahr Niki. "Tankar kring ett filmprojekt." Thesis, Kungl. Konsthögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-121.
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Michaela, Notter. "Puzzle, åsnan i lejonskinnet : En analys av den litterära åsnan i C. S. Lewis The Last Battle." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39973.
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Puzzle, the donkey in the lion’s skin, an analysis of the literary donkey in C. S. Lewis’s The Last Battle. This paper intends to examine the portrayal of donkeys in western literature by a close reading of the donkey Puzzle in C. S. Lewis’s The Last Battle. The overall purpose is to examine how donkeys have historically been portrayed in litterature. How the view of the donkey as dumb has come to be shaped by earlier Greko-Roman literature as Aesop’s fables and how it is possible to see these prejudices in the depiction of Puzzle. The focus is to understand how the negative image of the donkey has emerged and is shaped by the purpose and function the donkey has had, and still has, for humans. This paper’s questions are: How is Puzzle portrayed in C. S. Lewis The Last Battle? Is Puzzle presented as inferior/lower class? Are there any characteristics of the fool in Puzzle? The analysis shows how the old prejudiced image of the donkey can be seen in the depiction of Puzzle. This is obvious from how Puzzle is portrayed in relation to other character’s, especially how he is posed as opposite to the unicorn Jewel. But it is also visible in how Puzzle himself uses these prejudices in his defense by claiming that he is too stupid to understand; A defense often used by the fool. I argue that Puzzle bears the traits of the fool even if he remains a donkey in the end.
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Gaillard, Aurélia. "Fables, mythes, contes : l'esthétique de la fable et du fabuleux (1660-1724) /." Paris : H. Champion, 1996. http://catalogue.bnf.fr/ark:/12148/cb358035089.
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Gaillard, Aurélia. "Fables, mythes, contes : l'esthétique de la fable et du fabuleux (1660-1724)." Paris 7, 1994. http://www.theses.fr/1994PA070024.
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Cette these vise a rendre compte du renouvellement de l'esthetique du fabuleux en france au tournant des dix-septieme et dix-huitieme siecles, precisement de 1660 (regne personnel de louis xiv) a 1724 (publication de de l'origine des fables de fontenelle). Partant d'un mot a la polysemie active, "fable", pouvant a cette epoque, designer a la fois un conte, un mythe ou un apologue, cette recherche a donc un double enjeu, historique et theorique. Il s'agit, d'une part, de cerner dans les discours critiques mais aussi dans les representations, les transformations du fabuleux, d'autre part, de determiner les permanences d'une categorie esthetique. La premiere partie traite ainsi du changement de statut du fabuleux au travers notamment des attaques portees par les modernes a la mythologie des anciens. La fable l'allegorie pour l'ornement. La seconde partie montre comment la critique s'est accompagnee d'un renouvellement de l'esthetique, marquee par une extreme theatralisation du fabuleux et propose un inventaire des lieux de la fable, repartis entre lieux de formation (colleges, discours) et lieux de vie (livres, palais, jardins, fetes royales, operas). La fable n'est plus un voile mais un masque et inaugure une strategie complexe du voile et du devoile : le pouvoir des fables devient plaisir du devoilement. La troisieme partie propose alors une etude theorique de la temporalite du recit fabuleux concue comme la mediation necessaire pour acceder a la verite de la fable. La metamorphose est l'outil privilegie de cette mediation. Finalement, la these presente une comparaison entre les trois temporalites du conte, du mythe et de la fable, tout en maintenant l'idee d'une categorie generale du fabuleuxThis thesis aims at studying the renewal of the aesthetics of the fable in france at the turn of the seventeenth and eighteenth centuries precisely from 1660 (with the beginning of louis xiv's reign) until 1724 (with the publication of of the fables'origin, by fontenelle). Considering that the polysemic word "fable" could mean, at that time, either a tale, a myth or a fable, this research follows two points of view, a historical and a theoretical one. We will, therefore, first determine the changes in the characteristics of the fable in pieces of criticism as well as in representations; we will also define the permanence of an aesthetic category. Thus, the first part deals with the changes in the status of fables, especially through the critical attacks of the moderns against the mythology of the ancients. The fable ceases to be an allegory to become an ornament. The second part shows how, along with criticism, came a renewal of aesthetics, notably through an extremely theatrical representation of the fable, and displays an inventory of the places where the fable usually takes place, places of learning (colleges, speeches) and places of everyday life (books, palaces, gardens, royal parties, operas). The fable is not a veil anymore but a mask and starts out a complex strategy of what is veiled and unveiled : the power of fables becomes the pleasure of unveiling things. The third part develops a theoretical study of the fable's narration's temporality conceived as the necessary mediation to gain access to the truth of the fable. Metamorphosis is the most appropriate means of this mediation. Finally the thesis offers a comparison between the three temporalities of the tale, the myth and the fable, while keeping the idea of a general category of the fable characteristics
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Mehta, Arti. "How do fables teach? reading the world of the fable in Greek, Latin and Sanskrit narratives /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3297125.
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Thesis (Ph.D.)--Indiana University, Dept. of Classical Studies, 2007.Title from dissertation home page (viewed Sept. 25, 2008). Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0602. Adviser: Eleanor W. Leach.
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WON, JONG-IK. "La fable en france au xviie siecle : apres le 1er recueil des fables de la fontaine." Strasbourg 2, 1997. http://www.theses.fr/1997STR20089.
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Le but de cette these consiste pour l'essentiel a mieux comprendre l'evolution de la fable en decouvrant les fabulistes ombres par la fontaine. La premiere partie est consacree a une presentation des fabulistes contemporains de la fontaine, precedee d'un resume rapide de l'histoire de la fable. La deuxieme partie traite de la poetique de la fable. Si la fable de cette epoque n'atteint pas la hauteur poetique des grands genres tels que la tragedie,elle ne leur est toutefois pas completement etrangere. Viendra ensuite l'etude des caracteristiques propres de la fable : brievete, moralite sans oublier la definition meme du terme de fable. La troisieme partie presente une typologie des fables, formee selon le gout de l'epoque. D'abord, "la fable morale" a pour but d'enseigner la sagesse pratique de la vie et de corriger les fautes des hommes. "la fable pedagogique", variante de "la fable morale", s'adresse a la jeunesse. Quant a "la fable galante",elle prend pour theme principale l'amour,ses aleas, ses delices et ses douleurs. Les themes et les expressions de la fable galante sont les memes que ceux de la poesie galante, ce qui montre bien que la fable galante s'inscrit d'une maniere decisive dans l'empire poetique et suit avec fidelite le gout de la societe mondaine. Alors que la fable galante est en rapport avec la societe mondaine, "la fable politique" est ancree dans l'actualite politique de cette epoque. La fable reflete la situation internationale de la fin du regne du roi de france, epoque ou la france etait en conflit avec une grande partie de l'europe. En conclusion, il faut convenir qu'il est important de revenir a nos fabulistes, pour mieux comprendre la situation de la fable de la seconde moitie du xviie siecle, et en outre elargir le champ d'etude de la litterature francaise du xviie siecle. Il faut egalement dire que la fable de cette epoque revendique une autonomie de la litterature francaise face a l'autorite de la fable antique, en s'integrant dans l'empire poetique avec une imagination et une variete qu'on ne trouve pas dans la fable antiqueThe aim of this thesis lies in having a better understanding of the evolution of the fable by discovering la fontaine's contemporary fabulistes. The first part is dedicated to a general presentation of the fabulistes and a short summary of the history of the fable. The second part of our work deals with poetics of the fable. Although the fable of the time does not equal the poetical quality of great genres like tragedy, it has something in common with them. Then the characteristics of the fable as a genre will be under scrutiny : brevity,morality,definition of the fable. The third part offers a classification of fables, made according to the taste of this period. In the first place, the "fable morale" aims at teaching a certain wisdom to help people in their lives and to improve their behaviours. The "fable pedagogique", variant of the "fable morale", applies to children. As regards the "fable galante", it is focused on love, its hazards, its delights, its sufferings. The themes and the expressions of the "fable galante" are identical with those of the "poesie galante", which shows that the "fable galante" is deeply rooted in the realm of poetry and follows faithfully the taste of the "societe mondaine". While the "fable galante" is related to the "societe mondaine", the "fable politique" is settled in the political situation of the time. The fable reflcts the international situation at the end of louis xiv's reign, period when the france was waging war against most european countries. To sum up,we must return to our fabulsites so that we can fully understand the situation of the fable in the second half of the seventeenth century and in addition to that, widen our field of investigation on the seventeenth french literatury. We have to add that the fable of the time claims the autonomy of french literatury toward the authority of the ancient fable, incorporating itself in the poetic realm with an imagination and a variety which are not to be found in the ancient fable
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Russell, Pamela A. "Robert Henryson's development of the didactic role of the fable form in "The moral fables of Aesop"." Master's thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/18265.
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INTENT: The purpose of the paper is to examine Henryson's collection of Aesopic and Reynardian Fables in the light of whatever instructive intent he may have had in undertaking the work. METHOD: The paper first examines both Henryson's personal history, and the social and legal background against which the fables were composed. There follows a brief discussion of the development of the fable form from its earliest appearances, incorporating an examination of Henryson's possible didactic intentions in selecting this format for his work. The paper then moves on to examine the various methods according to which instruction has been contained in the fables. This includes a discussion of such topics as Henryson's expansion of the originals, political criticism, the introduction of Aesop as a character, the use of humour and the operation of the "Fables" as a single work. CONCLUSION: It is concluded that Henryson does indeed incorporate both the original moral messages, and a full range of deeper messages, in his Fables without compromising their success as literature, or as entertainment.
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Smith, Greta Lynn. "Imagining Aesop: The Medieval Fable and the History of the Book." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469455774.
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Pouliot, Suzanne. "Lire des fables." Doctoral thesis, Université Laval, 1987. http://hdl.handle.net/20.500.11794/29254.
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Giraud, Thérèse Lise Anita. "La fable comme dixième 'forme simple' : une étude comparative du "Crépuscule des loups" de Jean Dutourd avec les "Fables" correspondantes de Jean de La Fontaine." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/18417.
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The famous fables of La Fontaine date back to the 17th century and have been studied in French schools in many countries throughout the world. They are also the literary source for the "Crepuscule des 10 ups", a collection of satires by Jean Dutourd. I analyzed 12 of these satires, along with the 12 corresponding fables, to establish the procedure for the transformation of the "Fables" and to examine the fmal result. I based myself on Jolles' theory of Simple Forms tackled in Part I. These are ancient literary forms which had not been previously explored. Part 2 examined the socio-political milieu of Jean Dutourd (with Jean de La Fontaine's curriculum vitae relegated to the Appendices section).In the following chapters I aimed to reveal the factors which influenced their work the most. Jolles explains that the history of the form is important for the study of certain forms, especially with regards to the social milieu. The first problem which this thesis explores is, what has happened to the form of the fable. - Could the fable survive the 20th century?- If so, with what transformations? These are the type of questions which Jolles would have posed, because, the Simple Forms date back to antiquity and stem from the anthropological needs of man, fulfilling certain functions. In Part Three, I analyzed the evolved forms of the first degree (the fables of La Fontaine) with respect to the evolved forms of the second degree (each of the 12 corresponding satires). I considered the human aspects, similarities and additions, as well as Dutourd's reversal of situations, where he questions the morals contained in the fables. I also make a comparison between Louis XIV's socio political world, (the milieu of La Fontaine), to that of the De Gaulle era. The role of the associative memory notably that of the various events in their time-span, is of prime importance. It is via the association and the memories of the past that we can reconstruct the sociopolitical milieu which constitute the base of the fables. To conclude, the main aim of the satires is to paint the good, old fables in the hues of the 20th century, rather like one would renovate the fayade of some decrepit construction. Let it suffice to quote the following line taken from the outside back cover of "Le crepuscule des loups": "The fabulist of to-day can perhaps perceive some details which were invisible during the time of Louis XIV"I . The thesis then finally comments on the spirit of 20th century man- has he changed all that much since the 17th century?
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Bao, Jie S. M. Massachusetts Institute of Technology. "Fables of undiscovered cities." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111549.
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Thesis: S.M. in Architecture Studies, Massachusetts Institute of Technology, Department of Architecture, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (page 107).
"Space... The final frontier... These are the voyages of the Starship Enterprise. Its continuing mission: To explore strange new worlds... To seek out new life; new civilizations... To boldly go where no one has gone before!" -- Jean-Luc Picard, Captain, Starship Enterprise; NCC-1701D. Humans have always felt a primordial urge to explore - to blaze new trails, to map new lands, and to ask profound questions about ourselves. The intangible desire to explore and challenge the boundaries of what we know and where we have been make us who we are and what we will become - the voyage of discovery consists not only in seeking new landscapes, but also in having new eyes: the acquiring of an external standard of criticism that incites the journey of self-discovery and self-reflection. By opening a new world, we rediscover the old. As the discipline of urban design developed, designers engaged disciplines assisted by numerous technologies and applications. We have ambitions to digitize and analyze every corner of our existing world, however, in grasping the world more precisely and effectively, we are giving up the possibility of obscurity and the unknown. This thesis is a voyage aiming at the exploration of new possibilities of urban entities: the creation of a series of 'undiscovered' dream worlds in order to rediscover the features of the real world we 'think' we inhabit. These alternative dream worlds are designed not only to expose, engage and open our eyes and minds, but also to evoke critical thinking and reflection on existing urban problems and urban structures of our present world. Stories and drawings are used to materialize those fictitious cities. The more convincing and detailed those cities appears, the more observations and analysis could be applied and further developed. And by doing so, readers are invited to start their own adventures in those "undiscovered" territories.
by Jie Bao.
S.M. in Architecture Studies
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Caycho, Cesar. "Clase Maestra Faber-Castell." Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656819.
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Dallaire, Sylvie. "Fables d'O : images de l'invisible." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de la maîtrise en arts plastiques extentionné de l'Universtié du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU
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Dijk, Johannes Gerardus Maria van. "'Aînoi, lógoi, mŷthoi : fables in archaic, classical and Hellenistic Greek literature : with a study of the theory and terminology of the genre /." Leiden ; New York ; Köln : Brill, 1997. http://catalogue.bnf.fr/ark:/12148/cb37535209p.
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Proefschrift--Letteren--Nijmegen--Katholieke universiteit, 1997.Titre translittéré du grec (polytonique) selon la norme ISO 843 (1997). Bibliogr. p. 577-610. Notes bibliogr. Index. Résumé en néerlandais.
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Laïd, Baptiste. "« Trover » des fables au XIIe siècle : l’élaboration du recueil de fables de Marie de France." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0023.
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Marie de France a rédigé en Angleterre vers 1170 le premier recueil de fables en français, original à la fois par son ampleur (104 fables) et par sa variété.Sa première partie est une réécriture des fables classiques issues de la tradition du Romulus et en particulier d’un de ses remaniements, le Romulus de Nilant, composé avant le Xe siècle. Marie a traduit du latin un recueil intermédiaire perdu, le *Romulus anglo-latin, d’où provient également un recueil latin, le Romulus hexamétrique (Xe siècle). Si Marie prétend, à la fin de son recueil, s’appuyer sur un recueil anglais, celui-ci n’a jamais été retrouvé et les indices historiques suggèrent plutôt une source factice. Sa réécriture des fables antiques se caractérise par une réinterprétation des rapports de force dans un contexte féodal.La seconde partie, composée d’éléments variés, contient d’autres fables antiques dont le rassemblement est imputable à Marie elle-même. Le reste des fables n’a pas de source connue mais leurs origines peuvent être liées à différents genres en formation au XIIe siècle : les formes hétérogènes du récit comique qui aboutissent plus tard au fabliau (chansons, contes, aphorismes) et que Marie a pu connaître par l’intermédiaire du monde clérical ; le roman épique animalier qui prend forme aux XIe et XIIe siècles et qui pouvait circuler sous la forme d’assortiments de poèmes latins ; au moins deux exemples de fables arabes ; des fables « philosophiques » issues peut-être du monde de la prédication ou de l’invention personnelle de l’auteur.La répartition de ces fables dans le recueil montre que Marie a pu l’élaborer en « trovant » (découvrant, inventant) différents matériaux de multiples origines sur une longue période de tempsMarie de France wrote in England, around 1170, the first book of fables in the French language, original both by its extent (104 fables) and by its diversity.The first half is an adapation of classical fables taken from the Romulus tradition and in particular from one of Romulus’ many offsprings, the Romulus de Nilant, written before the 10th century. Marie translated from latin a lost intermediary, the *Anglo-latin Romulus, from which also derives the Hexametrical Romulus (10th century). Though Marie asserts in her epilogue that she worked from an English book, historical context and contemporary sources suggest a fictitious claim. The main characteristic of her adaptation of the fables from Antiquity is the recasting of the classical power struggles into the feodal context.The second half is far more diverse and contains other fables from Antiquity probably gathered by Marie herself as well as many fables of unknown sources but whose origins can be linked to different emerging genres of the XIIth century : the comic story in all its varied forms from which the fabliau will soon be born (songs, tales, aphorisms), known to Marie by way of the clerical world ; the beast epic taking shape during the XIth and the XIIth centuries, accessible to Marie in manuscripts collecting latin animal poems ; at least two exemples of Arabic fables and “philosophical” fables taken from predicators or entirely invented by the author.The repartition of theses fables in her anthology-like book shows that Marie could have built it by “finding” (trover, meaning both finding and inventing) diverse materials from many origins over a lenghty period of time
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Beynel, Muriel. "Fables, mythes, apologues : le texte et l'image dans les fables de La Fontaine, Samaniego et Iriarte." Paris 4, 1996. http://www.theses.fr/1995PA040224.
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Etude comparative des sources et du bestiaire des fables de La Fontaine et de deux auteurs espagnols du XVIIIe siècle : Samaniego, proche du poète français, s'affranchit peu à peu du modèle lafontainien pour s'inspirer du britannique J. Gay; les fables d’Iriarte sont plus originales dans leurs formes versifiées et dans leur thématique littéraire, visant à définir un art poétique. Ses choix animaliers le révèlent plus polémiste, approchant l'ironie lafontainienne. Il a déplacé l'aspect didactique de la fable pour l'adapter à un autre public. Cette étude a permis de découvrir des schémas narratifs auxquels la fable semblerait obéir. Elle s'étend à l'illustration, aux rapports texte image. D'où un essai de classification convenant à l'un et à l'autre : pure imitation, inspiration, pure création. L'évolution iconographique semble aller de l'ornementation figée vers une illustration plus interprétative, souvent humanisée, la plus proche du texte dans sa profondeur. De même, les illustrations des fables de Samaniego découvertes en Espagne se dégagent avec le temps des influences françaises. Celles d'Iriarte, plus récentes, semblent y avoir échappéComparative study of sources and bestiary in La Fontaine's fables and those to two Spanish authors of the eighteenth century : Samaniego, close to the French poet, will free himself from the lafontainian model to be inspired by the English poet John Gay; Iriarte's fables are more original concerning their poetic form and their literary topics aiming at defining a poetic art. His choices of animals reveal him as a polemist, not so far from La Fontaine's irony. He displaced the didactic aspects of fables to adapt them to another public. This study enabled to discover narrative patterns in fables. It enlarged upon illustration, relations between text and picture, leading to an attempt to classify both of them: imitation, inspiration, pure creation. The evolution of iconography seems to go from ornamentation to interpretation, often humanized, nearer from texts in their depth. Illustrations of Samaniego's fables, discovered in Spain, lose their French influences through centuries. Those of Iriarte's , more recent, seem to be independent of them
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Madsén, Jenny, and Susanne Nyman. "Identitet, identifikation och kulturella skillnader i animerad film." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2449.
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This essay examines an excerpt of the wide range of animated films that our children has access to in Sweden today.It takes up questions about what kind of messages the films are delivering, if there are certain patterns that are being followed, differences between the films relating to the cultures where they’re from, but above all, what the hero is about and what kind of shape he or she assumes. The film analyses that are being made are anchored in two theoretical investigations; one about how children are influenced by-, and how they use, the stories that are being told in films to develop their own identity. The other one treats classical and traditional patterns and genres in stories.
Denna uppsats undersöker ett utdrag av det utbud av tecknade filmer som våra barn tar del av här i Sverige i dag. Den tar upp frågor som vilka budskap filmerna egentligen sänder ut, om det finns vissa givna mönster som följs, skillnader mellan filmerna i förhållande till de kulturer de kommer ifrån, men framförallt hur hjälterollen ser ut och gestaltas. De filmanalyser som utförs förankras i två teoretiska undersökningar, dels en om hur barn påverkas av och använder filmsagor i sitt utvecklings- och identitetsarbete och dels en som behandlar traditionella klassiska mönster och genrer.
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Siu, Chi-ming Anthony, and 邵志明. "Gender(ed) fables of Maya Deren." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31225135.
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Yung, Lung-kuen, and 翁龍娟. "The modern significance of Zhuangzi's fables." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44489201.
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Carter, David Lee Polycarp. "The Humane Society: A Fable." NCSU, 2003. http://www.lib.ncsu.edu/theses/available/etd-04232003-093652/.
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"The Humane Society: A Fable" Is the fanciful existential saga of a chicken named Charlie who is taught to read by an idealistic young woman named Niniane, an ardent vegan and animal rights advocate. Hopelessly in love with his human protectress, Charlie sublimates his passion by concieving a desire to be baptized into the Roman Catholic Church, thus setting in motion a course of events that leads to inevitable rejection by that ecclesiatical body.
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Cavaillé, Jean-Pierre. "Descartes la fable du monde /." Paris : J. Vrin : EHESS, 1991. http://catalogue.bnf.fr/ark:/12148/cb35490084g.
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Mercier, Claire. "Généalogie de la fable cinématographique." Paris 3, 2006. http://www.theses.fr/2006PA030088.
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Par fable, nous visons le terme grec et aristotélicien de muthos. Cet assemblage de faits imaginaires, événements et actions, suivant le nécessaire ou le vraisemblable, ménageant en son sein une place au merveilleux, fait système et propose une exploration du possible. Pour nous, la fable cinématographique ne s’apparente pas exclusivement à un récit. Tout aussi bien poème dramatique – en acte –, le muthos cinématographique, produit d’une nouvelle présence de la poésie, dépasse par essence, la vieille opposition entre la diègèse, médiate, et le drame. Le scénariste est alors en mesure d’interpréter de novo – comme l’entreprend James A. Creelman dans Les Chasses du comte Zaroff (1932) – les tensions conceptuelles entre geste lyrique et geste mimètique, récit et drame, poièsis et praxis, stase et péripétie. Ses choix esthétiques ne trahiront-ils pas son souci du politique ?By fable we mean the Greek and Aristotelian term muthos. This combining of imaginary facts, events and actions, according to necessity or probability, and keeping place for the astonishing, generates a system and displays an exploration of the possible. We assume that the cinematographic fable is not exclusively akin to a narrative. Being no less a dramatic – i. E. Performed – poem, the cinematographic muthos, as the product of a new presence of poetry, transcends the old opposition between diegesis, mediated as it is, and drama. The screenwriter is thus able to interprete de novo – as James A. Creelman does in the case of The Most Dangerous Game (1932) – the conceptual tensions between lyrical and mimetic gesture, between narrative and drama, between poiesis and praxis, between stasis and peripeteia. Will not his/her aesthetical options betray his/her concern for politics ?
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Schippers, Anda. "Middelnederlandse fabels : studie van het genre; beschrijving van collecties, catalogus van afzonderlijke fabels /." Nijmegen : S. n, 1995. http://catalogue.bnf.fr/ark:/12148/cb39016782c.
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Ali, Arwa. "La poétique de la fable en vers d'après les discours des fabulistes (1719-1792)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20070/document.
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Cette thèse se propose de présenter et d’analyser les discours prescriptifs des fabulistes du XVIIIe siècle, en commençant par celui de Houdar de La Motte qui, dans ses Fables nouvelles, en 1719, s’est posé en adversaire admiratif de La Fontaine, inégalable poète mais moraliste très contestable. Après avoir présenté ce recueil fondateur dans le contexte de la crise générale de la poésie que connaît la France à l’heure de la Qurelle d’Homère, l’on étudie les idées de l’audacieux fabuliste, soucieux d’établir des règles pour réaliser des apologues en vers qui soient conformes à l’objectif didactique qui, selon La Motte, est une priorité dans ce genre d’écrire. Quatre des successeurs de La Motte, dont les recueils sont parus de 1729 (Richer) à 1792 (Florian), ont été retenus pour examiner si cette première poétique prescriptive a été suivie ou contestée par des poètes qui s’y réfèrent forcément, comme d’ailleurs ils se réfèrent à La Fontaine, modèle écrasant qu’on se risque parfois à analyser pour percer son secret ou qu’on se contente d’admirer pour s’autoriser à ambitionner une place après luiThis thesis proposes to present and analyze the prescriptive discourses of the eighteenth-century’s fabulists, starting with the one of Houdar de La Motte, who in his new Fables in 1719 posed as an admiring opponent of La Fontaine, matchless poet but a very questionable moralist. After presenting this founding book in the context of the general crisis of poetry in France at the time of Homer's Qurelle, we study the ideas of the daring fabulist, anxious to establish rules to make apologues in verses that are in conformity with the didactic objective which, according to La Motte, is a priority in this kind of writing. Four of the successors of La Motte, whose collections were published from 1729 (Richer) to 1792 (Florian), were retained to examine whether this first prescriptive poetic was followed or disputed by poets who necessarily referred to it as they would refer to La Fontaine, an overwhelming model that one sometimes dares to analyze in order to pierce his secret or that one merely admires to allow himself to ambition a place after him
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Kamyabee, Mohammad Hadi. "And out of fables gret wysdom men may take, Middle English animal fables as vehicles of moral instruction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ27672.pdf.
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Kirakosyan, Levon. "Spiritual allegory in medieval Armenian parables/fables." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Bower, John La Fontaine Jean de. "Trois fables de Jean de la Fontaine." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1370.
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Zafiropoulos, Christos A. "Ethics in Aesop's Fables : the Augustana Collection." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264612.
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Biard, Jean Dominique. "Le style des fables de La Fontaine /." Paris : A. G. Nizet, 1992. http://catalogue.bnf.fr/ark:/12148/cb37397569r.
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Koyabu, Ikue. "La tradition des Fables d'Esope au Japon." Thesis, Limoges, 2018. http://www.theses.fr/2018LIMO0079/document.
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A la fin du XVIème siècle, les Européens découvrirent le Pays du Soleil Levant et ils apportèrent la civilisation occidentale. Les Japonais eurent besoin de développer le travail de traduction d’oeuvres étrangères. Dans ces conditions, Les Fables d’Ésope furent traduites et devinrent le premier texte occidental connu au Japon grâce aux missionnaires chrétiens. Cette oeuvre a été nommée Les Fables d’Isoho et intégra rapidement la culture japonaise pendant la période d’isolationnisme. Malgré cette situation politique défavorable pour le texte étranger, les fables ésopiques avaient survécu en tant qu’unique texte littéraire occidental pendant presque 200 ans. Même après la réouverture du pays, la popularité de cette oeuvre n’a pas changé. Nous avons donc regardé comment cette première littérature occidentale laissa des traces dans la culture japonaise. Nous avons ensuite comparé plusieurs ouvrages ésopiques afin de comprendre pourquoi ces fables réussirent à être acceptées dans ce pays et comment les traducteurs et les auteurs adoptèrent ces textes grecs dans un pays si lointain. La réception des fables ésopiques ne se limite pas au monde littéraire mais se retrouve aussi dans le cadre pédagogique. C’est pourquoi nous avons également analysé des manuels scolaires pour savoir comment et dans quel but les Japonais employèrent les fables selon la société, l’époque, la politique et la cultureBy the end of the 16th century, European people discovered the land of the rising sun and brought Western culture. Japanese people needed to improve the translation of foreign languages. In that context and thanks to christians missionaries, the Aesop’s Fables were the first Western literature to be translated in Japan. During Japan’s isolationist foreign policy, the translated version took the name of Isoho’s Fables and became quickly a part of Japanese culture. Despite this unfavorable environment for foreign texts, the Aesop’s fables remained a unique piece of foreign literature for almost 200 years. Even nowadays, they are still recognized as famous stories. Therefore, we first took a look at its impact on Japanese culture. Then, we compared several esopian books to understand why those Greek texts managed to get accepted in this faraway country, as well as how translators and writers succeeded on adapting them. Aesopian’s fables were not only present in literature, but they were also used at school. That is why, we have also analysed textbooks in order to discover how and why Japanese people have used the Aesop’s Fables throughout ages, societies, politics and culture
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Biyikoglu, Türker, and Josef Leydold. "Faber-Krahn Type Inequalities for Trees." Department of Statistics and Mathematics, Abt. f. Angewandte Statistik u. Datenverarbeitung, WU Vienna University of Economics and Business, 2003. http://epub.wu.ac.at/826/1/document.pdf.
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The Faber-Krahn theorem states that among all bounded domains with the same volume in Rn (with the standard Euclidean metric), a ball that has lowest first Dirichlet eigenvalue. Recently it has been shown that a similar result holds for (semi-)regular trees. In this article we show that such a theorem also hold for other classes of (not necessarily non-regular) trees. However, for these new results no couterparts in the world of the Laplace-Beltrami-operator on manifolds are known.Series: Preprint Series / Department of Applied Statistics and Data Processing
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Souza, Vinícius Silva de. "O homo faber segundo Hannah Arendt." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14051.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Programa de Pós-Graduação em Filosofia, 2013.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-08-27T14:34:56Z No. of bitstreams: 1 2013_ViniciusSilvaSouza.pdf: 513624 bytes, checksum: ff32579682fe0fd95502a259133dde82 (MD5)
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Hannah Arendt nomeia a atividade humana de produzir objetos como uma atividade decorrente da fabricação. O fabricante dessa instrumentalidade é referido pela autora como homo faber, o qual é caracterizado pela a fabricação manual de artefatos. De acordo com Arendt, a fabricação dá ao homem sua primeira identificação humana e também serve como distinção das outras atividades humanas. O homo faber, produz o mundo através de seu trabalho. Hoje em dia, a produção desse produtor de artefatos é mais evidente nos utensílios eletrônicos. Os objetos refletem a produção atual do homo faber, que mantém a sua identidade através da produção de objetos no mundo. No entanto, o método de fabricar, de produzir artefatos permanece o mesmo ou não? É ainda possível indicar a presença do homo faber arendtiano nos atuais processos de fabricação? São questões pertinentes para qualquer leitor de Arendt. Contudo, nem aqui e nem no livro A Condição Humana há respostas para tais perguntas. Até porque, respondê-las não é o propósito dessa dissertação. Esta pesquisa pretende levantar mais questões sobre o conjunto das atividades humanas que a autora alemã descreve. A relação entre o consumo e a tecnologia no mundo contemporâneo chama a atenção dos leitores de Arendt. Esse ambiente mundano cria espaços novos de convivência e produtos que precisam ser mudados e aprimorados a cada ano. As máquinas podem até mesmo reduzir distâncias geográficas e permitir a comunicação entre indivíduos em diferentes localidades ao redor do mundo, possibilitando o surgimento das chamadas comunidades virtuais. No entanto, esse ambiente artificial poderia ser um lugar para a interação social entre os indivíduos? E qual seria o lugar desses novos espaços virtuais dentro da teoria de Arendt? ______________________________________________________________________________ ABSTRACT
Hannah Arendt names the category of human production of objects as an activity arising from manufacturing. The maker of instrumentality is referred to by the author as homo faber, which is characterized by the manual production of primary artifacts. According to Arendt, manufacturing gives man his primary identity and distinction from other human activities. The homo faber, produces the world through his work. Nowadays, the production of this worker is most evident in man’s electronics and utensils. These objects reflect the current manufacture of homo faber, who maintains his identity by producing objects in the world. However, has the manufacturing method of producing the same artifacts remained the same or not? Is it possible to indicate the presence of Arendt’s homo faber within current manufacturing processes? These issues are compelling to any reader of Arendt. Neither here nor in the book The Human Condition are there answers to these questions. Furthermore, answering these questions is not the purpose of my dissertation. My research intends to raise further questions about the range of human activities that the German author describes. The relationship between the technology and consumption in contemporary world say something to the Arendt’s readers. It develops products that need to be changed and improved every year, but they also create new living spaces. The machines can even reduce geographical distances and allow communication between individuals in different locations around the globe, enabling the emergence of so-called virtual communities. However, can this artificial environment be a place for social interaction between individuals? And what would be its space within Arendt's theory?
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CHAALAL, AHMED. "La fable dans l'oeuvre de sawqi." Université Marc Bloch (Strasbourg) (1971-2008), 1988. http://www.theses.fr/1988STR20043.
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Cette these a pour objet d'etude les fables du poete egyptien ahmad sawqi (1868-1932). Inserees pour la quasi-totalite dans le quatrieme tome de son recueil as-sawqiyyat, elles nous revelent plus d'un trait sur la personnalite et l'epoque de celui qui allait devenir le "prince des poetes". En effet, les apologues d'ahmad sawqi, composes pour la plupart durant son sejour en france, devoilent tout l'impact culturel et politique de cette phase de sa vie sur lui. Les fables sont bien sur pedagogiques, mais aussi tres suggestives politiquement et renvoient a plus d'une circonstance historique de l'egypte. De plus, elles decouvrent une vision misanthropique de sawqi et une certaine immoralite qu'on ne puit relever nulle part ailleurs dans son oeuvreVery few studies have been devoted to the fables of egyptian poet ahmad sawqi (1868-1932). These fables, found practically in their entirety in the fourth tome of his collection as-sawqiyyat, reveal many characteristics of the personality and epoch of he who would become the "prince of poets". Indeed, ahmad sawqi's apologues, composed for the most part during his stay in france, unveil all the cultural and political impact of this phase of his life on him. The hikayat are of course pedagogical, but also very suggestive politically and refer to more than one historical circumstance in egypt. In addition, they uncover a misanthropic vision and a certain immorality found ho where else in sawqi's work
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Smith, Greta Lynn. "“Full of Fruit, Under ane Fenyeit Fabill:“ Robert Henryson and the Aesopic Tradition." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1281098001.
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Wellby, Poppy Loesje Kaitlin. "Fairies, frying-pans and fetishism : fables of femininity." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431437.
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El, Henchi Ahmed. "Les fables de Kalila wa Dimna : analyse sémiotique." Paris 3, 1992. http://www.theses.fr/1993PA030094.
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Cette these s'interesse a la version arabe de kalila wa dimna, a partir de "le lion et le bocuf" et "l'expose du propos du livre". L'interet de cetexte reside dans cette organisation selon le principe du roman a tiroirs, avec des digressions et des enchassements qui cadencent de bout en bout son deroulement syntagmatique. La principale question consiste a trouver l'unite qui organise l'ensemble en un tout coherent, et orchestre ce dialogue entre les differents syntagmes. A la lumiere de la theorie semiotique (ecole de paris), et tout en essayant de degager la definition du sujet telle qu'elle ressort de la mise en parallele de deux positions : kalila dimna. Nous avons boserve ces enonces selon deux types de rapport : syntagmatique (rel. De transformation) et paradigmatique (rel. D'equivalence)This thesis deals with the arabic version of kalila wa dimna, primarily with "the lion and the ox" and "stating the subject of the work", what is of interest in this text is the organisation, based on the principle of the episodic novel, creating digressions and embeddings which pace the syntagmatic unfolding of the text. The principal question is what organises these various elements into a coherent whole, and orchrstrates the dialogue between the different syntagms. In the light of semiotic theory (paris school), and while attempting to define the subject as it emerges from this parallel between two positions, kalila dimna, we have observed these utterances according to two types of relations : syntagmatic (relation of transformation), and paradigmatic (relation of equivalence)
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Gallardo, Jean-Luc. "Thématique et poétique des Fables de La Fontaine." Paris 3, 1994. http://www.theses.fr/1994PA030094.
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Parce que la fable se constitue d'elements divers, qu'elle est un 2petit monde" en relation avec le macrocosme, elle induit une methode critique : il faut etudier chaque texte de maniere minutieuse et le rapporter a d'autres, faire valoir une poetique et poser la question de l'organisation des livres et des recuiels, en somme expliquer le titre de l'oeuvre : fables choisies, mises en vers par m. De la fontaine. Une thematique ne peut s'etablir qu'en fonction d'une poetique. Le premier sujet qui s'impose est celui de l'heritage qui induit celui des qualites naturelles. Ce dernier theme permet de remettre en cause l'imitation, qui parait sous de nombreuses formes : imitation generale, vengeance, creation artistique, plagiat, pratioque litteraire, structure repetitive, fables doubles, couplees, "en abime, arts poetiques implicites, fables dediees. La theme de l'imitation fait penser a l'illusion et a la representation. La pratique de la fontaine s'appuie d'autre part sur les idees d'appropriation, de travail et de technique, de grace, de piete, d'imperfection, d'enfance et d'ecole, de jeu, de rhetorique et de parole, d'animaux bien sur, d'epicurisme et de mythe. Le choix de topus ces sujets a pour motif la reflexion litteraire. Elle portera sur l'illusion, la nature de la poesie et la place de l'artiste dans la societe de louis xiv. Elle implique un art de lireAs fables are made up of various elements first and then because they are a microcosm, a "petit monde", related to the marcocosm, they generale their own critical method : every single fable must be scrutinized, then confronted with others; besides the questio of the arrangement of the collections and of the books must be raised. In short the very title of the work fables choisies, mises en vers par m. De la fontaine must be accounted for. A thematic analysis can't go without a poetical analysis. The theme that comes first is the concept of inheritance which brings about the one of natural qualities. The latter leads us to question the idea of imitation that appears under numerous aspects : imitation as a whole, revenge, artistic creation, plagiarism, literary pratice, repetitive structures, double or twin fables, nest of fables, implicit poetic arts and dedicative fables. The theme of imitation conjures up the ideas of illusion and representation. Moreover la fontaine's crait is founded on the concepts of appropriation, work and technique, grace, piety, imperfection, childhood and education, play, rhetoric and speech, animals of course, epicureanism and myth. The choice of all of these subjects is grounded on the process of thinking about literature. Il deals with illusion, the nature of poetry and the role
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Laruelle, Chloé. "Édition, traduction et commentaire des fables de Babrius." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30025.
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Cette thèse vise à proposer une édition critique des quelque 143 fables grecques composées en choliambes par Babrius (Ier – IIe siècle après J.-C.), à les traduire en français et à en proposer un commentaire. Un travail complet d’établissement du texte a pour cela été mené, fondé sur l’examen à nouveaux frais des témoins de la tradition directe (papyri, tablettes de cire antiques et manuscrits médiévaux) et sur l’analyse des témoins de la tradition indirecte (la Souda en particulier). Le corpus des fables attribuées à Babrius ne permet pas une histoire du texte traditionnelle, fondée sur un stemma bien déterminé. En effet, les témoins sont peu nombreux, hétérogènes, et leurs leçons si divergentes qu’il est souvent difficile d’en préférer une ; aussi attestent-ils davantage des réécritures et des remaniements successifs dont ces fables ont fait l’objet au cours des siècles qu’ils ne permettent de retrouver avec sûreté la matière originelle voulue par Babrius lui-même. Ce constat a joué un rôle déterminant sur notre décision de nous démarquer des éditeurs précédents. Ces derniers, en effet, désireux de reconstituer un hypothétique « original d’auteur », ont souvent été amenés à réécrire les passages problématiques, si bien qu’ils donnent à lire un texte virtuel, remodelé et figé, incapable de témoigner de l’histoire pourtant passionnante de ce corpus vivant, en perpétuel devenir. C’est pourquoi cette thèse s’attache à élaborer une histoire du texte alternative – c’est-à-dire soucieuse de reconstituer dans sa complexité la fortune des fables de Babrius, l’histoire de leur transmission et de leurs réécritures – et, partant, une édition critique différente, attentive à rendre perceptible pour le lecteur moderne ce processus d’évolution du texte babrienThis doctoral thesis proposes a critical edition of 143 Greek fables composed by Babrius in choliambic verse (1st and 2nd century AD), as well as a French translation and a commentary of the fables. This was achieved by thoroughly establishing the text, through a further examination of the witnesses in the direct tradition (papyri, ancient wax tablets and medieval manuscripts) and through the analysis of the witnesses in the indirect tradition (in particular the Suda). The corpus of fables attributed to Babrius does not permit to establish a traditional history of the text, based on a well-defined stemma. Indeed, there are few, heterogeneous witnesses and their readings diverge so greatly that it is often difficult to choose only one; hence, rather than allowing to retrieve with any degree of certitude the original material intended by Babrius himself, they in fact bear testimony to the numerous rewritings and reworkings of these fables throughout the centuries. This observation was instrumental in our decision to break with the editing tradition. In effect, previous editors, in their will to reconstruct a hypothetical autograph, have often been led to rewrite problematic passages, so that what they propose is a virtual, remodelled and fixed text that is in fact unable to testify to the fascinating history of this living, constantly evolving corpus. This is why this thesis aims to elaborate an alternative history of the text—that is, one that endeavours to reconstitute the complex fortune of Babrius’s fables, through the history of their transmission and rewritings—and, therefore, to propose a different critical edition, that strives to make this evolutionary process of Babrius’s text perceptible to the modern reader
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Andres, Roxane Virginie. "Ars proteus. Fables et pratiques d’un design organoplastique." Thesis, Saint-Etienne, 2013. http://www.theses.fr/2013STET2169.
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Les porosités dont témoigne le design contemporain en font un champ ouvert où viennent s’imprimer et s’entrelacer les enjeux d’autres domaines, aujourd’hui prédominés par la science. Situé à la croisée des territoires, le designer exerce un art de la protéiformité — un ars proteus — révélant, par les objets qu’il conçoit, les métamorphoses et les questionnements que suscite la science — et plus particulièrement la médecine et ses conséquences sur une pensée du corps.Le design aurait-il le pouvoir de rendre visibles les enjeux les plus imperceptibles qui se trament à des échelles qui dépassent la mesure humaine ? Le design contemporain questionne l’échelle du corps dans les objets : peuvent-ils contribuer à faire émerger ou à matérialiser un imaginaire corporel que notre époque ferait subrepticement éclore ? L’organoplastie dans le design est cette possible formulation d’un glissement de territoire qui se produit entre le corps et l’objet, entre la genesis et la technè. Que cette organoplastie soit réelle (comme avec les objets à croissance spontanée de François Azambourg ou de Tobie Kerridge), ou bien métaphorique, elle engendre de nouvelles conceptions de l’objet mais aussi des moyens de production et de création, tout en accompagnant l’émergence d’un imaginaire biologique de nos artefacts. Le designer serait-il le pourvoyeur d’une seconde genèse, d’une néogenèse dont les formes organiques autonomes se constitueraient sur le modèle naturel de la croissance, donnant une nouvelle consistance à l’élaboration d’un monde artificiel ?Porosity highlighted by the contemporary design makes of this one an open field where issues ofother areas, dominated by science, are intertwined. Placed at the crossroads of different territories, thedesigner creates a protean art- an ars proteus- revealing by the objects, the metamorphosis andproblematics elicited by science- and more particularly by medicine and its impact on our bodyconception.Could the design have the power to detect the most imperceptible issues which are plotted beyondhuman measure? The contemporary design questions the scale of the body in the objects: can itcontribute to show or materialize a body imaginary that our time would have secretly create?The organoplastie in design is a word which could express a sliding that occurs between the bodyand objects, between genesis and technè. The organoplastie, either real (like François Azambourg orTobie Kerridge's spontaneous growth objects) or metaphorical, generates new designs of the objectand, moreover, new ways of production and creation, while supporting the advent of a biologicalimaginary of our artifacts. Could the designer be the purveyor of a second genesis, or a neogenesiswhose autonomous organic forms would be based on the natural growth mode!, giving a newconsistencv in the development of an artificial world?
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Shaw, William R. "Broadacre City : American fable and technological society /." Thesis, Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10177.
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Williams, Lynne J. "Fable retelling in closed (trauma) head injury." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ58101.pdf.
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Fausto, Fabiana Macedo. "Linguistic and multimodal perspectives on the fable." Thesis, Queen's University Belfast, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676465.
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This thesis investigates how fable picture books represent and construct reality through language and image. To this end, it draws on a social semiotic view of language and other semiotic modes .(Halliday, 1978; Kress and van Leeuwen, 1996), and provides a first systematic account of the .1 1(. discursive practices involved in the representation of reality on structural, intermodal and ideological levels of fable picture books. Using a dataset of six picture books featuring contemporary versions of the Aesopic fable "The Tortoise and the Hare", the present thesis explores similarities and differences in representation by developing a three-level methodological framework. In the first level of analysis, the fable picture books are analysed in terms of their generic structure (Hasan, 1984), which reveals significant links between text and image in the introductory stages of character representation. The second level of analysis expands on Kress and van Leeuwen's (1996, 2006) theory of multimodal communication and explores in more detail the visual representations of characters in the dataset, and makes use of a ,~ system of Balance, as proposed by Painter et al. (2011) to explain composition patters in fable picture books. Finally, the third level unpacks ideological meanings by means of a multimodal Social Actor analysis (van Leeuwen, 2008) and a study of characters' Appearance and Manifestation (painter et aI, 2013). The present study therefore makes an original contribution to a growing body of critical studies on the visual narrative and attests that picture books in .general should be analysed multimodally, due to the equal importance of images and text in the processes of meaning-making. It is hoped that the results of this research will be relevant to teachers using fable picture books in their pedagogical practices, as well as to children's book authors and editors interested in the discourse of fables.
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Costa, Leandro da. "O "diário de classe" de Isadora Faber." reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/172176.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação, Florianópolis, 2016.Made available in DSpace on 2017-01-03T03:14:00Z (GMT). No. of bitstreams: 1 343116.pdf: 923407 bytes, checksum: c3b134954df0a3e961baa1cd353ae2d1 (MD5) Previous issue date: 2016
Esta dissertação é fruto de uma pesquisa na qual se procura trazer à tona o discurso de Isadora Faber, aluna com 12 anos de idade à época e cursando a 7ª série na Escola Básica Municipal Maria Tomázia Coelho, escola da Rede Municipal de Ensino (RME), de Florianópolis localizada no bairro do Santinho (Norte da Ilha). O discurso de Isadora foi largamente difundido na mídia em 2012 e, também ou principalmente, por seu perfil da rede social Facebook, Diário de Classe: a verdade . Procura-se investigar num primeiro momento: por que alguns profissionais observam com certo estranhamento, atitudes como a de Isadora que revelava, por meio do seu dizer franco, o seu descontentamento com as condições precárias de ensino-aprendizagem e infraestrutura oferecidas pela sua escola? É também objetivo desta pesquisa, ampliar o horizonte formativo, alargando as possibilidades de produção de verdades na escola, e levar em consideração outros dizeres sobre a verdade e não somente aqueles que vêm sendo valorizados tradicionalmente na escola, ou seja, o dos professores em detrimento dos estudantes. Metodologicamente, a operação de pesquisa acontece por meio de procedimentos que se interpenetraram. Toma-se o fenômeno enquanto um caso a ser estudado, pois se pode considerar a pesquisa que aqui se apresenta como um estudo de caso pelas características singulares e inéditas relacionadas com as atitudes e reações dos atores envolvidos com os fatos que se apresentaram no decorrer da criação e do desenvolvimento do Diário de Classe de Isadora Faber e que de forma tão contundente abalaram as relações existentes entre os estudantes e os professores da escola Maria Tomazia Coelho. É um estudo empírico baseado nas experiências deste autor com a repercussão negativa que o fenômeno causou na escola Maria Tomázia Coelho e também nas demais escola da referida rede, onde tentou-se analisar , por meio de um olhar mais apurado e distanciado, a interpretação que os professores, e em menor escala os estudantes, tiveram frente ao advento do caso do Diário de Classe de Isadora Faber e que como resultado fez incidir uma interpretação crítica das ações e das relações que existiam naquela escola e que até então não eram evidentes. Interpreta-se o fenômeno Isadora Faber a partir da base empírica constituída de um conjunto de elementos materiais como o seu perfil da rede social Facebook, Diário de Classe: a verdade e o seu livro de mesmo nome publicado em 2014. Tendo em vista que o termo verdade aparece tanto na rede social como no título do livro, nesta pesquisa foi tomado como conceito filosófico fundante. Ampliando este horizonte, busca-se cotejar a ideia de verdade apresentada por esta base empírica com elementos concorrentes na fabricação de sentido, tais como o dizer dos professores, da diretora, as reportagens que saíram nas mídias eletrônicas e impressas. Trata-se de uma pesquisa qualitativa de cunho híbrido: é bibliográfica, tendo em vista que o estudo sistematizado foi desenvolvido com base em material publicado em livros, revistas, jornais e redes eletrônicas; empírica, quando vai ao encontro da realidade escolar; e conceitual, quando remete o elemento empírico ali selecionado a uma reflexão teórica que não dispensa o aporte da tradição filosófica no entendimento do conceito de verdade. As reflexões filosóficas procuram se orientar pelo referencial teórico, entre os quais os mais importantes, o que nos ofereceram Nietzsche e Foucault, notadamente deste último, os seus conceitos de verdade, parresia e cuidado de si, como elementos que operacionalizam a análise discursiva sobre as verdades aqui apresentadas: de Isadora Faber e dos professores. Temos então, o imediatamente dado exposto ao que transcende, ou seja, a possibilidade de a verdade não ser de única fonte, mas sim, estar perspectivada e objetivada pelo dizer dos seus enunciadores.
Abstract : This dissertation is the result of a survey which seeks to bring out the speech of Isadora Faber, student with 12 years of age at the time and attending seventh grade in Municipal elementary school Maria Tomázia Coelho, the Municipal School of education (RME), located in the neighborhood of Florianópolis s Santinho (Northern Island). The speech was widely diffused Isadora on media in 2012 and also or mainly, on the profile of the social network Facebook, the notebook class: the truth . Seeks to investigate at first: why some professionals note with a certain estrangement, attitudes like Isadora which revealed, through his say franco, his displeasure with the precarious conditions of teaching and learning and infrastructure offered by your school? It is also objective of this research, expand the horizon formation, extending the possibilities of production of truths in school, and take into consideration other say about truth and not only those that have been traditionally prized in school, that is, the teachers at the expense of students. Methodologically, the search operation happens through interpenetraram procedures. Take the phenomenon as a case study because it may consider the research here is presented as a case study by unique features and unseen related to attitudes and reactions of actors involved with the facts that were presented during the creation and development of Isadora Class Faber and that such scathing shook the relationship between students and teachers of the school Maria Tang rabbit. It is an empirical study based on the experience of this author with the repercussions that the phenomenon caused the school Maria Tomázia rabbit and also in other school of that network, where an attempt was made to analyse, through a more refined look and distanced, the interpretation that teachers, and to a lesser extent, students had outside the advent of Daily case of Isadora Class Faber and which as a result did focus a critical interpretation of actions and relationships that existed at that school and that until then were not evident. interprets the phenomenon Isadora Faber from the empirical base consisting of a set of material elements as his/her profile from the social network Facebook, the notebook class: the truth and his book of the same name published in 2014. Considering that the term true appears in both the social network as in the title of the book, in this survey was taken as a fundamental philosophical concept. Expanding this horizon, collate the idea of truth by this empirical basis with competing elements in the production of meaning, such as the saying of the teachers, the principal, the reports that came out in the electronic and printed media. It is a qualitative research of a hybrid: is literature since the systematic study was developed based on material published in books, magazines, newspapers and electronic networks; empirical, while meeting school reality; and, when it refers the empirical element thereselected a theoretical reflection that cannot do without the contribution of the philosophical tradition in the understanding of the concept of truth. The philosophical reflections seek to guide by the theoretical reference, among which the most important, what we ve been offered Nietzsche and Foucault, notably, their concepts of truth, parresia and care of themselves, as elements that operacionalizam the discursive analysis about the truths presented here: Isadora Faber and teachers. We then immediately given exposed to that transcends, i.e. the possibility of the truth not be only source, but rather, be considered and objectified by saying its enunciators.
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Faber, Heiko [Verfasser]. "Innere Geistesfreiheit und suggestive Beeinflussung. / Heiko Faber." Berlin : Duncker & Humblot, 2019. http://d-nb.info/1237896274/34.
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Folebo, Moa. "Berättelser om medmänsklighet som uppfostrande exempla : Från antikens exemplum via fabeln till moderna berättelser." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48352.
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Syftet med uppsatsen är att se hur moraliska föredömen framställs i två texter av olika karaktär - Stefan Einhorns berättelse ”Läraren” samt Aisopos fabel Lejonet och musen. För att få fram dessa moraliska föredömen genomförs en narrativ analys. För att lyfta likheter och skillnader i de båda texterna används berättar- och lyssnarinstans samt symboler och allegorier från den narrativa analysen. Berättar- och lyssnarinstans används för att se till den konkreta texten medan symboler och allegorier används för att se det underliggande budskapet. I analysen jämförs även texternas sensmoraler och hur de båda är uppbyggda fram till sensmoralen. Texterna jämförs för att se huruvida de båda kan verka som didaktiska texter.Grundtanken är att försöka komma fram till ifall respektive text kan ses som exempel på moraliska föredömen utifrån exemplumgenren. Vidare ligger syftet vid att försöka förstå hur texterna tas emot av läsaren och hur framställningen av de moraliska föredömena sker. Tanken är att se huruvida enklare texter kan fungera som moraliska ”kompasser” för människor. Slutsatsen blir att ingen av de valda texterna har ett narrativt djup vilket gör de svåra att analyser. Men bara för att en text inte har ett narrativt djup så behöver det inte betyda att den inte har en mening eller ett budskap den vill förmedla. Därför fungerar båda verk bra som exemplum då tolkningen är att författarnas syfte med texterna är att vara sedelärande.The purpose of this paper is to see how the role models in moral are visible in two texts of different character - Stefan Einhorns short story "teacher" and Aisopo's fable Lejonet och musen. To obtain these moral role models a narrative analysis was used. To highlight the similarities and differences in the two texts a narrative- and listen instance as well as symbols and allegories from the narrative analysis are used. Narrative- and listen instance is used to analyze the concrete text and symbols and allegories are used to see the underlying message. The analysis also compared the texts morals and how the two are built up to the moral. The texts are compared to see whether the text can be seen as didactic texts. The basic idea is to try to come to the event and the text can be seen as examples of moral examples based on the exemplum genere. Further the aim at trying to understand how texts are received by the reader and the production of the moral role models occurs. The idea is to see whether simple texts can act as a moral "compass" for the people. The conclusion is that none of the selected texts have a narrative depth which makes them difficult to analysis. But just because a text does not have a narrative depth that does not mean that it does not have a meaning or a message it wants to convey. Therefore both texts works good as exemplum when the interpretation is that the authors' purpose of the texts is to learn the listener about there moral.
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Faucquez, Marie. "Les fables d'Ernest : sur les états-limites en art." Amiens, 2011. http://www.theses.fr/2011AMIE0005.
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Bou, Merhi Hussein. "La condition humaine dans les fables de La Fontaine." Paris 3, 1990. http://www.theses.fr/1991PA030058.
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Face a l'univers, l'homme est un "petit monde" soumis a des lois cosmiques auxquelles il ne peut guere echapper. Dans la hierarchie des etres, il occupe une place intermediaire entre l'animal et l'esprit pur. Son destin est inevitable; la vie n'est pas tout a fait bien faite pour lui. Face a lui-meme, l'homme possede beaucoup plus des defauts que des qualites. Dans ses conditions sociales, s'il appartient a la noblesse, au clerge ou a la bourgeoisie, l'homme est degrade; mais s'il appartient a la societe rurale, il fait preuve de generosite. Dans sa condition politique, en tant que souverain, l'homme n'est qu'un despote injuste et cruel; mais, en tant que masse, il est un facteur de desordre et d'autodestruction. Dans leurs relations mutuelles, les hommes sont les uns pour les autres des loups; les plus forts oppriment les plus faibles. Mais la vie reserve aux opprimes d'eclatantes revanches, effet d'une vengeance divine. La fontaine est un poete fataliste, car il croit a l'irrevocabilite du destin. Sa vision sur la condition humaine est fort pessimiste. La conclusion qu'il tire de son enquete sur l'homme rejoint celle de ses contemporains : la rochefoucauld, bossuet, moliere et la bruyereMan is a "miniature world" subject to cosmic laws from which there is no escape. Hisplace in the hierarchy of creatures lies between the animal and pure spirit. Having more faults than qualities, his destiny is inevitable. As a social creature, members of the nobility, clergy or the bourgeoisie are corrupt whereas those of rural society are generous. Poilitically, man as sovereign is no better than a injust and cruel tyrant. As one of the masses hopwever, he is an element of disorder and self-destruction. The law of the jungle presidess as the strong oppres the weak. Nonetheless, through the influence of a divine vengeance, life reserves for the oppressed surprising forms of revenge. A poet of fatality, la fontaine's belief in the irrevacable nature of destiny and his vision of humanity is extremely pessimistic. The conclusion he draws from his examination of man is similar to that of his comtemporaries: la rochefoucauld, bossuet, moliere and la bruyere
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Leydold, Josef. "A Faber-Krahn-type Inequality for Regular Trees." Department of Statistics and Mathematics, Abt. f. Angewandte Statistik u. Datenverarbeitung, WU Vienna University of Economics and Business, 1996. http://epub.wu.ac.at/778/1/document.pdf.
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In the last years some results for the Laplacian on manifolds have been shown to hold also for the graph Laplacian, e.g. Courant's nodal domain theorem or Cheeger's inequality. Friedman (Some geometric aspects of graphs and their eigenfunctions, Duke Math. J. 69 (3), pp. 487-525, 1993) described the idea of a ``graph with boundary". With this concept it is possible to formulate Dirichlet and Neumann eigenvalue problems. Friedman also conjectured another ``classical" result for manifolds, the Faber-Krahn theorem, for regular bounded trees with boundary. The Faber-Krahn theorem states that among all bounded domains $D \subset R^n$ with fixed volume, a ball has lowest first Dirichlet eigenvalue. In this paper we show such a result for regular trees by using a rearrangement technique. We give restrictive conditions for trees with boundary where the first Dirichlet eigenvalue is minimized for a given "volume". Amazingly Friedman's conjecture is false, i.e. in general these trees are not ``balls". But we will show that these are similar to ``balls". (author's abstract)Series: Preprint Series / Department of Applied Statistics and Data Processing
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Charbonneau, Valérie. "L'ekphrasis: pour une nouvelle "fable" chez Claude Simon." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104867.
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This Master's thesis seeks, through the analysis of La Route des Flandres, La Bataille de Pharsale and Les Géorgiques, to illustrate how Claude Simon manages to produce a story with a plot based essentially on the internal logic of the language. Claude Simon ignores the narrative style typical of a traditional fable, instead benefitting a reality based on the description of artwork. With the frequent use of ekphraseis, the writer draws us into a discursive adventure where the external references tend to disappear to be replaced by those of representation. From the outset, the narrative takes a unique shape and brings into question established principles of realist illusions.Ce mémoire de maîtrise cherche, à travers l'analyse de La Route des Flandres, La Bataille de Pharsale et Les Géorgiques, à illustrer comment Claude Simon parvient à produire un récit et une intrigue fondés essentiellement sur une logique interne de la langue qui fait fi des catégories narratives au profit d'une réalité issue de la description d'œuvres d'art. Grâce à l'emploi fréquent d'ekphraseis, l'écrivain nous plonge dans une aventure discursive où les référents externes tendent à disparaître pour être remplacés par ceux de la représentation. D'entrée de jeu, une nouvelle production prend son essor et met en question les nombreux acquis de l'illusion réaliste.
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Richmond, Stewart J. "Magnet therapy for arthritis : a fable of attraction?" Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583362.
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Belief in the healing power of magnets can be traced back to 200AD when magnetic rings were used as cure for arthritis. In the 18th century such beliefs led to the development of the controlled clinical trial. Yet, despite resulting association with charlatanism, magnet therapy is now a multi billion dollar worldwide industry. Magnetic bracelets in particular are widely reported to alleviate the pain and inflammation of arthritis. The central aims of this thesis were to describe the contextual basis for magnet therapy, to review previous research, and to determine whether magnet therapy has any real benefit for people with arthritis. If true the implications would be far reaching. This thesis provides the first systematic review to focus specifically on evidence concerning magnet therapy for arthritis. Findings from previous trials suggest that the practice of wearing permanent magnets has meaningful analgesic effects. However, several of these trials were hampered by methodological problems. Two further randomised controlled crossover trials led by the present author are therefore described. These employed robust methods of controlling for non-specific treatment effects, involving multiple control devices including the novel use of copper bracelets as placebos. Numerous self-reported outcomes were measured. The latest trial also included objective physiological data on inflammation. Findings from these studies demonstrate that magnetic wrist straps, and also copper bracelets, represent ineffective treatment options for osteoarthritis and rheumatoid arthritis. This research also confirmed that demagnetised control devices do not represent valid placebos, but that weak magnets and copper bracelets may adequately control for the effects of treatment expectancy. Subsequent synthesis of data from these and previous trials using meta-analysis, and addressing problems of blinding, indicates that magnet therapy lacks any specific (i.e. genuine) therapeutic benefit for people with arthritis. This conclusion and its implications for patient education, clinical practice and research are discussed.