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Carlson, Nicole Marie. "Telling History Through the Stories of Women: Julia Alvarez's In the Time of the Butterflies and In the Name of Salomé." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/494.
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My thesis discusses the ways in which Julia Alvarez's In the Time of the Butterflies (1994) and In the Name of Salomé (2000) are revolutionary texts contesting traditional, male dominated history and redirecting historical and communal foci to the lives of Dominican women. I employ Walter Benjamin's theories found in his essays "The Storyteller" (1936) and "On the Concept of History" (1940) to assist my exploration of Alvarez's questions concerning the power and effect of storytelling, and the importance of reconstructing various historical voices and images, specifically, the importance of reconstructing female voices in male dominated cultures. I discuss the female-narrated component to Dominican history which Alvarez creates in her reconstruction of the lives of these women. Alvarez confronts the challenge of breaking these women out of their marginalized status by combining fiction with history in her reconstruction of their lives. Alvarez assumes the multifaceted role of mediator, story-teller, and historian as she remembers and re-presents Dominican history through the eyes of women who lived, experienced, and affected change within the Dominican Republic. Without merely act as a reporter of historical "facts," Alvarez reconstructs the lives of these women fictionally, applying her impressions and ideas about the personalities, feelings, and thoughts of these women, and historically, utilizing first and secondhand accounts and information about the women. Ultimately, the women are presented as individuals but are also connected to a collective memory and history. As individuals with human characteristics, the women are no longer inaccessible legends. As members of a collective memory and history, the women are redeemed from the isolating effect of their patriarchal society which would have women remain silent. Due to Alvarez's reconstruction, their stories finally have the potential for further dissemination in the future with the possibility to affect other oppressed peoples. Thus, Alvarez's reconstruction of the resistance of a few women in Dominican history produces the capacity for additional resistance by Alvarez's audience to the same forces that these women were combating which continue to exist today — forces such as patriarchy, dictatorial governments, fascism, and economic disparity.
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Carlson, Nicole Marie. "Reconstructing history through stories : Julia Alvarez's In the time of the butterflies and In the name of Salomé /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1454.pdf.
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Bonin-Livet, Déborah. "Salomé dans la France musicale au début du XXe siècle. Approche comparative de La Tragédie de Salomé de Florent Schmitt et de Salomé d’Antoine Mariotte." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040019.
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L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècleThe biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century
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Rioux, Ève. "Salomé d'Oscar Wilde, histoire et mythe." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0014/MQ41998.pdf.
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Mavrakis, Annie. "Judith et Salomé : une gémellité paradoxale." Paris 1, 1991. http://www.theses.fr/1991PA010586.
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Vieira, Osvaldo Arthur Menezes. "Simões Lopes Neto : uma Salomé no pampa." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/11390.
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Este trabalho tem por finalidade analisar a representação mítica de Salomé e suas ressonâncias na obra de Simões Lopes Neto e defender a idéia de que o autor, ao reler o mito, ambientando-o nos pampas do Rio Grande, transcende o mero pitoresco e a mera cor local, colocando-os a serviço da releitura desse mito. É objetivo principal deste estudo, portanto, ver nessa releitura um dos elementos responsáveis por tal transcendência. A fim de qualificar o estudo, são feitas uma reflexão sobre mito e literatura e uma investigação sobre a Salomé histórica, bem como as suas releituras. A análise dos contos Cabelos da china, Jogo do osso, No manantial, Contrabandista e O Negro Bonifácio, de Contos Gauchescos, e da obra Cancioneiro Guasca permite constatar nas personagens femininas dos referidos textos elementos que comprovam a releitura do mito de Salomé.Este trabajo tiene por finalidad analizar la representación mítica de Salomé y sus resonancias en la obra de Simões Lopes Neto y defender la idea de que el autor, al releer el mito, ambientandolo en las pampas de Rio Grande, transciende lo pintoresco y el simple color local, poniendolos a servicio de la relectura del mito. Es objetivo principal de este estúdio, por lo tanto, ver en esta relectura uno de los elementos responsables por tal transcendencia. A fin de calificar el estúdio, son hechas una reflexión sobre mito y literatura y una investigación sobre la Salomé histórica, así como sus relecturas. El análisis de los cuentos Cabelos da china, Jogo do osso, No manantial, Contrabandista y O Negro Bonifácio, de Contos Gauchescos, y de la obra Cancioneiro Guasca permite constatar en los personajes femeninos de los referidos textos elementos que comprueban la relectura del mito de Salomé.
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Mons, Isabelle. "Lou Andreas-Salomé et l'anthropologie de son temps." Paris 3, 2003. http://www.theses.fr/2003PA030059.
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L'œuvre de Lou Andreas-Salomé (1861-1937) est au carrefour de différentes cultures (européenne, slave, orientale). Au-delà de l'histoire des femmes, elle appartient à l'histoire des idées et à l'univers de la psychanalyse. Figure charismatique de la femme fin de siècle, Lou Andreas-Salomé est critique, essayiste, diariste, biographe, épistolière et romancière. Elle est aussi l'une des premières intellectuelles à établir un lien entre les disciplines : les lettres (pensée nietzschéenne et Lebensphilosophie, poésie rilkéenne, théâtre naturaliste), les arts (peinture, sculpture), les religions (leur histoire et leurs différences) répondent aux sciences (psychologie, biologie, entomologie, zoologie, psychanalyse). Lou Andreas-Salomé place l'être humain au centre d'une étude dont les paradigmes psychologisants et religieux constituent, entre 1885 et 1911, une préparation fondamentale à son analyse clinique de la psyché : l'Homme est en quête de sa nature première, oubliée sous l'influence des valeurs individualistes de la modernité ; la foi en Dieu, le pouvoir rédempteur de l'Eros, la création artistique le reconduisent vers le confort de la totalité originelle. Dès 1912, la pensée anthropologique de Lou Andreas-Salomé dépasse le cadre de la Tiefenpsychologie : en devenant analyste, la femme-écrivain apporte une subtile contribution à la compréhension de l'inconscient et de l'identité sexuelle de la femme, symbole d'humanité. Le retour au moi profond, thème fédérateur, participe d'une apologie de la vie : il est le fondement de son discours littéraire et psychanalytique qui devient ainsi le moyen jumeau de la connaissance anthropologiqueThe writings of Lou Andreas-Salomé (1861-1937) form a meeting point of different cultures (European, Slavic, oriental). Reaching far beyond women's history exclusively, they belong to the history of philosophy and to the world of psychoanalysis. As a charismatic figure, Lou Andreas-Salomé is the woman of the fin de siècle. She is a critic, an essayist, a diarist, a biographer, a letter writer and a novelist. She is also one of the first women intellectuals to have brought together many disciplines: literature (Nietzschean thought and Lebensphilosophie, Rilke's poems, naturalist theatre), art (painting and sculpture) and religion (histories and differences) go hand in hand with science (psychology, biology, entomology, zoology, psychoanalysis). Lou Andreas-Salomé made the human being the centre of a study whose psychological and religious paradigms, between 1885 and 1911, were a fundamental preparation for her clinical analysis of the psyche: the human being looks for its first nature - forgotten under the influence of the individualist values of modernity - while faith in God, the redeeming power of Eros and artistic creation return him to the comfort of the original whole. After 1912, Lou Andreas-Salomé's anthropological thought went far beyond the context of Tiefenpsychologie: as an analyst, the woman of letters contributed subtly to the understanding of the unconscious and the sexual identity of woman, the symbol of humanity. The unifying theme of return to the deep self is part of a tribute to life: it is the basis of her literary and psychoanalytical works that become the dual path to the appreciation of humankind
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Couto, Diana Marlene Soares de. "O milagre segundo Salomé : (des)encontros entre Miguéis e Barroso." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/2829.
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Mestrado em LiteraturaNa presente dissertação propusemo-nos fazer uma análise comparativa entre o romance de José Rodrigues Miguéis, O Milagre Segundo Salomé, e o filme homónimo de Mário Barroso. Neste sentido, estruturámos o presente trabalho em duas partes. Na primeira parte, debruçámo-nos sobre a análise da obra literária, tendo em atenção a estrutura, a acção, as personagens, o tempo e o espaço. Descobrimos, pois, que estávamos perante uma obra complexa e singular, cujo narrador multifacetado nos transportava por entre uma Lisboa republicana, relações humanas atribuladas e um Milagre surpreendente. Acabámos a nossa abordagem ao romance, focando os seus principais temas: o Milagre, que nos fez lembrar o de Fátima, o amor arrebatador, humilde e simples, e a Primeira República, enquanto memória de um passado. Na segunda parte, tomámos como objecto de análise o filme homónimo de Mário Barroso e procurámos, então, proceder a uma análise comparativa entre este e o romance que lhe serviu de adaptação. Delineámos os encontros e os desencontros que existem entre as duas formas de escrita, a literária e a cinematográfica, tendo em atenção a estrutura, a acção, as personagens, o tempo e o espaço em que ambas decorrem. Por fim, procurámos reflectir sobre a fidelidade do filme em relação ao romance. ABSTRACT: On this dissertation we agreed on making a comparative analysis between José Rodrigues Miguéis’ novel, O Milagre Segundo Salomé, and Mário Barroso’s homonym movie. In this way, we structured this work in two parts. On the first part, we gave attention to the analysis of the literary work, paying attention to the structure, the action, the characters, the time and space. We discovered, that we were standing in front of a complex and singular literary work, with a multitalented narrator who shows us a republican Lisbon, bumpy human relationships and a surprising Miracle. We finished our approach to the novel, focusing on its primary themes: the Miracle, which reminds us of Fátima, the overtaking love, humble and simple, and the First Republic, as a memory of a past. On the second part, we take as an analysis object the homonym Mário Barroso’s movie and then search for a comparative analysis between this movie and the novel that served as an adaptation. We traced the encounters and desencounters that exist between two writing styles, literary and cinematographic, while paying attention to the structure, action, characters, time and space in which both ocurr. Finally, we will try to reflect the fidelity of the film to the novel.
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Thomas, Martine. "La Salomé d'Oscar Wilde : épanouissement au XIXe siècle d'une figure des débuts de l'ère chrétienne." Université Marc Bloch (Strasbourg) (1971-2008), 1985. http://www.theses.fr/1985STR20001.
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Ruck-Schröder, Adelheid. "Der Name Gottes und der Name Jesu : eine neutestamentliche Studie /." Neukirchen-Vluyn : Neukirchener Verl, 1999. http://catalogue.bnf.fr/ark:/12148/cb38818608d.
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Trifan, Mircea. "Federated name resolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0015/MQ48187.pdf.
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Hayn, Evelyn. "You name it?!" Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19267.
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Ausgehend von einem sozialkonstruktivistischen, pragmatisch-kognitiven Verständnis von Namen untersucht die Studie die diskriminierenden Wahrnehmungen, die über Personen-namen in Deutschland und Schweden aufgerufen werden. Durch Anwendung der kritischen Theorien und Zugänge der Black Feminist, Postcolonial, Postmigrant, Trans und Disability Studies auf Namensdiskurse werden gegenwärtige sowie historische hegemoniale Normen dekonstruiert. Mit Hilfe des durch intersektionale Machtverhältnisse konstituierten Dispositivmodells wird die Intelligibilität von Personennamen zur Diskussion gestellt.
Vergewohnheitung (accustoming) als neues analytisches Konzept macht nachvollziehbar, wie hegemoniales Wissen zu Namensgebung auf strukturalistische und essentialisierende Weise erworben und internalisiert wird. Die Analyse administrativer und legislativer Diskurse zeigt, wie hegemoniale Namensnormen historisch und institutionell vergewohnheitet wurden. Dass ein Personenname institutionell auch durch individuelle Wahrnehmung bestimmt wird, illustriert die Analyse des ‚Kindeswohl‘, einem zentralen Argument für Namensentscheidungen auf Standesämtern. Ein weiteres Beispiel für die Rechtfertigung ent_wahrgenommener diskriminierender Namenspraktiken ist das Sprachgefühlkonzept, dessen Verwendung daraufhin untersucht wird, inwiefern es nationalistische Vorstellungen des Eigenen und des Anderen aufruft. Schließlich wird die An- und Aberkennung von Menschsein als Konsequenz diskriminierender Namenshandlungen adressiert. Eine Sammlung empowernder Interventionen in diskriminierende Namenspraktiken sowie Empfehlungen für eine kontra_diskriminierende, antistrukturalistische Wahrnehmung von Personennamen runden die Studie ab.
Mit ihrem transdisziplinären Ansatz veranschaulicht die Arbeit, wie disziplinäre Grenzen überschritten und Diskursfelder und -materialien, die traditionellerweise in den Rechts-, Geschichts-, Sprach- und Literaturwissenschaften analysiert werden, in die Genderforschung integriert werden können.Based on a social constructivist, pragmatic cognitive understanding of naming, the study investigates the discriminatory hegemonic presuppositions and perceptions that are interpellated with personal names in Germany and Sweden. The critical lens of Black Feminist, Postcolonial, Postmigrant, Critical Trans and Disability Studies is applied in order to deconstruct current and past hegemonic naming norms. By regarding the un/intelligibility of names as constituted by intersecting power relations, racism_genderism_ableism_migratism_ classism, the dispositive model helps to identify what personal names and naming practices are made un/thinkable. Accustoming is introduced as an analytic tool to understand how hegemonic knowledge on naming is acquired and internalized in a structuralist and essentializing way. The analysis of administrative and legislative discourses demonstrates how hegemonic naming norms have been historically and institutionally accustomed. That a personal name is not only determined by institutional but also by individual decision-making is illustrated on the example of the child’s well-being, a commonly used argument for name decisions at registry offices. The feel for language as another norm to justify de_perceived name discrimination is analyzed against the background of how sprachgefühl as an emotive concept interpellates nationalist images of the self and the Other. The final chapter addresses the consequences of discriminatory naming practices: the definition and denial of personhood. The study concludes with a collection of empowering interventions in discriminatory naming practices and recommendations for a contra_ discriminatory anti-structuralist perception of personal names. By employing a transdisciplinary approach, the study illustrates how disciplinary boundaries are transgressed and how different discourse areas and material that traditionally are investigated in law, history, linguistics and literature is integrated in Gender Studies research.
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Almendariz, Sergio E. ""Her Name Was"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248439/.
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Her Name Was is an examination of the oppression of transgender people in a society that is built on the nominalization of cisgender people, those who gender matchers their sex assigned at birth, and how this oppression lends itself to violence. In the summer of 2015, the body of Shade Schuler, an African American transgender woman, was found in a field outside of Dallas, Texas. Ms. Shade is part of an alarming epidemic of escalating levels of targeted violence against the transgender community. This documentary pulls back the curtain as it captures the feelings and struggles of the transgender community as they attempt to navigate and survive in a cis dominating society.
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Parra, Salomé [Verfasser]. "Verfahren zur Bewertung von Trinkwassernetzen als Grundlage der Anpassungsplanung / Salomé Parra." Neubiberg : Universitätsbibliothek der Universität der Bundeswehr München, 2020. http://d-nb.info/1222755386/34.
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Almeida, Thais de Souza [UNESP]. "O mito bíblico de Salomé em Oscar Wilde e Stéphane Mallarmé." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151103.
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A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista – a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística –, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 – 1900), e Hérodiade (1864 – 1898), poema de Stéphane Mallarmé (1842 – 1898), com a finalidade de verificar se existem e quais seriam as confluências – e mesmo influências – entre as duas produções, visto que ambas foram idealizadas na mesma época e cenário – o simbolismo francês, no final do século XIX. A importância das duas obras para a arte moderna é incontestável: com Hérodiade – que, embora carregue em seu título o nome da mãe por questões sonoras, trata, na verdade, de Salomé –, vemos surgir em uma obra que transcende o episódio sanguinário da decapitação do profeta João Batista, para se debruçar sobre a imagem da princesa virginal submersa em ennui, que, em suas próprias palavras, “não quer nada de humano” e que almeja até o último e imaculado fio de seus cabelos a sua “desconcretização” enquanto ser desse mundo, na busca incessante pela Pureza. Já em Salomé, deparamo-nos com aquela que se tornou a versão “eleita” do mito, e que povoou o imaginário de diversos artistas do século XX, desde compositores até diretores cinematográficos. Em Wilde, à dança dos sete véus e à decapitação do profeta, segue-se uma dose fatal de loucura, que conduz a princesa a uma morte sanguinária. O fio condutor de ambas as produções parece culminar naquilo que Balakian (2000, p. 65) classificou como “narcisismo obsessivo, não-recompensador, porque não tem saída” ao tratar da obra mallarmeana: em Hérodiade, a autocontemplação leva a princesa à solidão, ao ennui e ao desejo de evasão do mundo; em Wilde, a autocontemplação conduz ao caminho da loucura e, em seguida, da morte. Em ambas, portanto, e cada uma a seu modo, o leitor se depara com a estéril (auto)contemplação. Seja por meio da Salomé wildeana - sanguinária, apaixonada, delirante - ou mallarmeana – pura, virginal, ennuyée – essas duas representações da princesa-odalisca se debruçaram fatalmente sobre a estéril contemplação – contemplação vã de sua própria beleza ou da beleza do outro – e, de maneira magnânima, unem-se ao sem-número de obras dedicadas à musa absoluta, topus do fin-de-siècle.
The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself – with the transgression of the poetic language, theme and attitude of the contemporary artistic productions – as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences – and even influences – between the two productions, whereas they were both idealized at the same period and scenario: the French symbolism, at the end of the nineteenth century. The importance of these two works for the modern art is unquestionable: with Hérodiade – who is actually Salomé, although bears his title from the mother's name on account of the sonority – we see the ontological mallarmean scheme emerging, one of the most important precursors of modern poetry, in a work that transcends the epithet of the bloody beheading of the prophet John the Baptist, to dwell on the image of the virgin princess submerged in ennui, who, in her own words, “doesn't want anything human”, and who longs until the last and unblemished thread of his hair to unconcretize herself while a human being in the pursuit of Purity. Meanwhile in Salomé, we came across the one that became the "elected" version of the myth, and that populated the imaginary of several artists of the twentieth century, from composers to cinematographic directors. In Wilde, to the dance of the seven veils and to the beheading of the prophet, follows a fatal dose of madness, leading a princess to a bloodthirsty death. The leading thread of both productions seems to culminate in that Balakian (2000, p. 65) classified as "obsessive, non-rewarding narcissism, because it has no way out", in relation to the mallarmean work: in Hérodiade, the self-contemplation leads the princess to solitude, to the boredom and the desire to evasion the world ; In Wilde, (self) contemplation leads to the way of madness and death. In both, therefore, and in each in its own way, we are faced with sterile (self) contemplation. Be it trhough Wilde's bloody, passionate, delirious Salomé, or Mallarmé's pure, virginal, ennuyée Hérodiade, these two representations of the princess fatally leaned on a barren contemplation – vain contemplation of their own beauty, or of beauty of other – and, magnanimously, join the countless works dedicated to the absolute muse, topus of the fin-de-siècle.
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Almeida, Thais de Souza. "O mito bíblico de Salomé em Oscar Wilde e Stéphane Mallarmé /." Araraquara, 2017. http://hdl.handle.net/11449/151103.
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Orientador: Andressa Cristina de OliveiraBanca: Renata Soares Junqueira
Banca: Flávia Nascimento Falleiros
Resumo: A retomada do mito bíblico de Salomé, retratado primeiramente nos evangelhos de S. Marcos e S. Mateus, fez escola no movimento simbolista francês. Salomé, que até então havia sido apresentada como mero apêndice de sua mãe, Herodíade, aparece, no final do século XIX, como a grande personificação da anima perversa, assumindo o papel que outrora pertencera a Cleópatra e Helena. O mito trata da história de Salomé, princesa da Judeia, que, sob a influência de sua mãe, realiza a dança dos sete véus para seu padrasto e, como prêmio pelo espetáculo voluptuoso, recebe a cabeça do profeta João Batista. Retratada pelos artistas de diversas vertentes da arte, essa Salomé remodelada vem representar a essência própria do movimento simbolista - a transgressão da linguagem, da temática e da atitude do poeta com relação à produção artística -, bem como a de seus poetas (e artistas) malditos, que se vêem marginalizados por uma sociedade opressora e utilitarista, e que, fazendo justiça à princesa, fazem justiça à própria classe. Assim, com a princesa-odalisca Salomé, o simbolismo afirma sua postura combativa, de luta pela libertação da poesia e da arte. Neste trabalho, pretende-se analisar e comparar as obras Salomé (1891), drama de Oscar Wilde (1854 - 1900), e Hérodiade (1864 - 1898), poema de Stéphane Mallarmé (1842 - 1898), com a finalidade de verificar se existem e quais seriam as confluências - e mesmo influências - entre as duas produções, visto que ambas foram idealizadas na mesma época ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The resumption of the biblical myth of Salome, first portrayed in the Gospels of St. Mark and St. Matthew, became a school in the French symbolist movement. Salome, who has been presented as a mere appendage of his mother, Herodias, appears, at the end of the nineteenth century, as a great personification of perverse anima, assuming the role that once belonged to Cleopatra and Helen. The myth deals with the story of Salome, Princess of Judea, who, under the influence of her mother, performs a dance of the seven veils for her stepfather, and, as a reward for the voluptuous spectacle, receives the head of the prophet John the Baptist. Portrayed by artists of all segments of art, this remodeled Salome represents the essence of the symbolist movement itself - with the transgression of the poetic language, theme and attitude of the contemporary artistic productions - as well as his maudits poets (and artists). They are marginalized by an oppressive and utilitarian society, and that, by doing justice to the princess, they do justice to their own class. Thus, with a Princess-Odalisque Salome, symbolism affirms its combative stance, of struggle for the liberation of poetry and art. In this work, we intend to analyze and compare the works Salomé, drama in one act by Oscar Wilde, and Hérodiade, dramatic poem by Stéphane Mallarmé, in order to verify if there are and which would be the confluences - and even influences - between the two productions, whereas they were both idealized at ... (Complete abstract click electronic access below)
Mestre
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Monteiro, Júlio César dos Santos. "Salomé de Oscar Wilde na tradução brasileira de João do Rio." Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/96174.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução.Made available in DSpace on 2012-10-26T09:30:12Z (GMT). No. of bitstreams: 1 310575.pdf: 5738181 bytes, checksum: a27e7f277a64442815bdd48cd329d752 (MD5)
Este estudo investiga a tradução do texto dramático Salomé, de Oscar Wilde, realizada por João do Rio, na primeira década do século XX. O trabalho aponta os contatos e as repercussões na literatura brasileira desencadeadas a partir da tradução da peça de Oscar Wilde. Examinamos a função da tradução feita para a concretização cênica e a possível primazia do texto escrito dentro do sistema teatral. Iniciamos com o percurso literário de Oscar Wilde na literatura inglesa e sua recepção no Brasil. Discutimos fundamentos teóricos propostos por Antoine Berman e Itamar Even-Zohar, entre outros, e refletimos sobre a tradução do texto dramático de acordo com as teorias de Susan Bassnett, Sirkku Aaltonen e Patrice Pavis. Finalizamos com uma análise da tradução de Salomé
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Vernadakis, Emmanuel. "Le prétexte de "Salomé" : pour une approche de l’œuvre d'Oscar Wilde." Paris 7, 1988. http://www.theses.fr/1988PA070076.
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"Salomé" sert de prétexte pour reconstituer, a partir de la thématique wildeenne, le regard critique de son auteur sur la problématique d'unité historique, sociale et individuelle de son temps. Détachée des écoles marginales fin-de-siecle et rattachée a l'ensemble de la littérature du XIXe siècle, "Salomé" sert encore de prétexte pour étudier les différences entre l'esthétisme anglais et la décadence française, ainsi que pour démontrer l'originalité de l’œuvre de Wilde qui inaugure un nouveau genre de création : la création critique. "Salomé" sert enfin de prétexte pour découvrir la création wildeenne a travers une analyse thématique de son oeuvre"Salomé" has served as a pretext to create, through the principal patterns of Oscar Wilde's work, a possible 19 th century point of view on the lack of historical, social and individual unity in the occidental culture. Making use of the victorian conflict between hellenism and hebraism, wilde's french religious tragedy has again served as a pretext to study the fundamental differences between the english aesthetism and the french decadence and to discover Oscar Wilde's "critical" creation. Finally, "Salome" has served as a pretext to establish the technique of the wildean creation through a thematical analysis of his work
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Besson, Agnès. "Itinéraires cosmologiques : Lou Andreas-Salomé, Catherine Pozzi, une métaphysique au féminin." Paris 1, 2004. http://www.theses.fr/2004PA010515.
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Si la crise de la métaphysique semble avoir noué les conditions de possibilité d'un discours féminin à travers une critique de la subjectivité classique et la réhabilitation de la question de la différence sexuelle, on peut se demander comment les femmes ont alors investi le territoire de la philosophie. Deux auteurs, Lou Andreas-Salomé et Catherine Pozzi, nous ont ainsi permis de saisir une stratégie de subversion des catégories philosophiques par laquelle ces femmes ont certes surenchéri sur la modernité, notamment à travers une quête identitaire et anthropologique qui poursuit un travail de défection du sujet, mais sans pour autant totalement adhérer à elle, en se réappropriant une " exigence métaphysique " qui survivrait à la crise de celle-ci, à travers une co-présence de l'homme et du monde. C'est par une présence au monde renouvelée qu'elles s'engagent dans un itinéraire cosmologique où prévaut un souci du monde qu'elles savent ressourcer du côté des récits cosmogoniques primitifs ou de la Naturphilosophie, tout en étant réceptives à un imaginaire poétique par lequel elles tissent un réseau métaphorique cohérent. Leur souci cosmologique sait aussi s'approprier une épistémologie moderne grâce à un décloisonnement des savoirs, que ce soit la psychanalyse pour l'une ou la physique quantique pour l'autre, mais dont par un subtil écart elles deviennent les poètes. Dès lors font-elles entendre la modernité des variations d'un contre-chant.
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Arcangeli, Fabio, and Anna Edlund. "Brand name translation : How translation distorts Oriflame’s Chinese brand name communication." Thesis, Uppsala University, Department of Business Studies, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-126269.
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This pre-study explores how the process of translating from English to Chinese may distort intended brand name messages, using Oriflame as a case study. The findings show that the brand name had a tendency to be perceived as phonetic rather than phonosemantic and that the character combination was perceived to make no clear sense. The study identified these as two main reasons to why Oriflame’s intended brand name messages did not get through.
Denna förstudie utforskar hur varumärkesnamnens avsedda budskap kan bli förvrängda genom översättningsprocessen från engelska till kinesiska genom att använda Oriflame som en fallstudie. Resultaten visar på tendenser för varumärkesnamnet att uppfattas som fonetiskt snarare än fonosemantiskt och att kombinationen av tecknen inte anses vara begriplig. Studien identifierade dessa två resultat som den främsta anledningen till att Oriflames avsedda budskap inte nådde fram.
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Quintela, Maria Paula Alves Pereira. "Implications of hierarchical name space and name resolution in dynamic distributed networks." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300118.
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Deegan, Timothy John. "The main name system." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614140.
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Nardandrea, Coral H. "Her Name is Albatross." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1490701861485156.
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Jijana, Thabo. "Happiness is somebody’s name." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/7268.
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This collection of loosely interlinked short stories is a “book of imaginary beings”. It draws its influence from amaXhosa history, religion and mythology. Written in a fluid blend of isiXhosa and English, the stories make use of innovative forms and an inventive, pared-down language to create new and strange perspectives on our past, present and future. Ranging in length from brief mini-sagas to longer vignettes, the collection touches on such diverse subjects as the lore and superstitions surrounding the mythical being of tokoloshe, sorcery in the black community, and other fantastical elements of amaXhosa folklore. Literary influences include the Syrian writer Osama Olamar, whose writing about inanimate and everyday objects is both interesting and rare; Amos Tutuola, whose appropriation of Yoruba mythology I have learned much from; the Argentinian writer Julio Cortazar who has the facility to articulate the fantastical in a straightforward narrative; and Taban Lo Liyong, the Ugandan writer, whose fabulist work has served as stimulus for many of these stories.
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Tian, Nina. "L'évolution de la figure de Salomé dans la littérature française du XXème siècle." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030024.
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Étant un personnage secondaire issu de l’épisode évangélique qui raconte le martyre de Jean-Baptiste, Salomé est devenue un des thèmes préférés dans la littérature et les arts de la seconde moitié du XIXe siècle. En faisant partie des « femmes fatales », elle correspond bien aux interprétations fin-de-siècle : la faiblesse de l’homme, le pouvoir de la femme, l’esthétique raffinée mais morbide, la décadence nonchalante mêlée à un effroi irrémédiable. Le célèbre drame d’Oscar Wilde fait d’elle le sujet d’une réflexion philosophique du désir et de la mort. La fin du XIXe siècle ne signifie pas la fin de l’évolution de la figure de Salomé. Au contraire, elle constitue un nouveau point de départ. Au XXe siècle son histoire a connu non seulement un enrichissement au niveau structurel, mais aussi une diversification formelle. Aujourd’hui, les textes qui abordent Salomé forment un système. La formation et la transformation de ce système demande une observation qui porte une attention particulière à la continuité et à la rupture, à l’héritage et au renversement. Lorsque la danseuse est mise à côté du martyr, l’histoire doit faire face au déchirement : l’homme et la femme, le vocable et le visuel, l’ascétisme et le désir…d’où l’incertitude et la diversité de l’interprétation qui permettent à l’histoire de Salomé de résister à l’écoulement du temps. L’existence d’une multitude de textes sur le même mythe crée un espace où l’étude intertextuelle est rendue possibleAs a secondary character from the Gospel story that recounts the martyrdom of John the Baptist, Salome became one of the favorite themes in art and literature of the second half of the nineteenth century. As one of the “ femmes fatales ”, this figure corresponds to the Fin de Siècle imagination : the man’s weakness , the women’s power, the refined aesthetic but morbid, the decadence mixed with an irremediable terror. The famous play of Oscar Wilde made her the subject of a philosophical reflection of the desire and the death. The end of the nineteenth century doesn’t mean the end of the evolution of this mythic figure. On the contrary, it becomes a new starting point. In the twentieth century, Salome’s story has been enriched not only at the structural level, but also by a formal diversification. Today, the writings about Salome form a system. The formation and transformation of this system requires an observation that pays particular attention to the continuity and rupture, to the inheritance and reversal. When the dancer is compared to the martyr, the Salome’s story has to face a series of contrast : man and woman, word and vision, asceticism and desire ... The uncertainty and the diversity of interpretation allow the story of Salome to resist the passage of time. A multitude of texts on the same myth creates a space where the intertextual study is possible
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Fernelius, Julia. "Hysterics and Prophets: : Gender Fluidity and Sexual Transgression in Oscar Wilde´s Salomé." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21126.
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Ma, Chaoying. "Designing a universal name service." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259461.
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McCusker, Sharon. "In the name of God." restricted, 2009. http://etd.gsu.edu/theses/available/etd-04212009-104900/.
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Thesis (M.F.A.)--Georgia State University, 2009.Title from file title page. Mark Burleson, committee chair; Susan Richmond, Constance Thalken, committee members. Description based on contents viewed June 12, 2009. Includes bibliographical references.
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Thomas, Camille. "In the name of ♥︎." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6937.
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In a book, I have gathered 2 years of research on the heart symbol in the context of social media and the responsibility of Facebook Inc. in the propagation of hate speech. In parallel, new far-right parties such as Alternativ för Sverige use the heart symbol as a logo. I question the benefits of a rising discourse of love in nationalist propaganda, often hiding racist and sexist ideologies.This research is accompanied by a music video: six women are reading a spoken-word piece on the sexualisation of the female body and the idealisation of a nation-state. This work is entrenched in my own experiences and those of my friends. I composed the music and recorded our voices, all of us, speaking with different accents, witness of our current history of migrations.Work reviewed by artist and graphic designer Benedetta Crippa
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Sanfelice, Aline de Mello. "One name, several (wo)men." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90639.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-23T13:20:39Z (GMT). No. of bitstreams: 1 240347.pdf: 287732 bytes, checksum: 3cda4806acb143fc6bd7d3f954b8513e (MD5)
This study discusses queer theory as regards the portrayal of Orlando in Virginia Woolf's novel, Orlando: A Biography. The character is first analyzed in light of the intersections between gender, race, class, and nation, and subsequently in terms of the poetic persona, understood from both liberal and radical perspectives. The findings show that the character can be understood to destabilize gender fixity in the construction of a poetic persona, which confirms the tentative hypothesis. Findings also show that there is a conflict in the novel as it presents at the same time a transgressive text and a normatizing subtext, a conflict that must be criticized for its implications in cultural studies regarding queer theories, gender studies, and emancipatory politics. Este estudo discute teoria queer na caracterização de Orlando no romance de Virginia Woolf, Orlando: A Biography. O personagem é analisado primeiramente em relação às intersecções entre gênero, raça, classe e nação, e na seqüência em termos de persona poética, entendida tanto de uma perspectiva liberal quanto radical. Os resultados do estudo mostram que o personagem desestabiliza a fixidez de gênero na construção da persona poética, o que confirma a hipótese inicial do estudo. Os resultados também mostram que existe um conflito no romance por este conter ao mesmo tempo um texto transgressivo e um subtexto normatizante, conflito este que deve ser criticado por suas implicações nos estudos culturais de teorias queer, estudos de gênero e políticas emancipatórias.
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Bremer, Donatella. "Der Doppelgänger und sein Name." Gesellschaft für Namenkunde e.V, 2010. https://ul.qucosa.de/id/qucosa%3A12564.
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The motif of the doppelgänger has been present in literature and the visual arts, but also, more or less concealed, in music, from classical antiquity until today and may manifest itself in the most various forms, dependent on genre, epoch, and culture. This has led criticism to consider the motif of the doppelgänger as a genre in its own right and to propose, especially during the last years, numerous classifications of the ways in which this psychological and anthropological phenomenon is treated in the arts. In the present study I have concentrated my attention on creations in which the doppelgänger represents the disturbing aspects of the hero’s ego. This motif was especially prominent in German late romanticism and has considerably spread during the last decades in cinematography and in fantastic literature. Though there exists a large amount of criticism on the motif of the doppelgänger, what has hardly been analyzed up to now is the role of the characters’ and their doppelgängers’ names. Therefore the aim of my study was to exemplify by means of numerous examples from antiquity until present times the role the proper name has played in literature and other arts dedicated to the theme of the doppelgänger.
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Freire, Sérgio Manuel Silva. "A TCP-layer name service." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/1941.
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Mestrado em Engenharia Electrónica e TelecomunicaçõesA Internet ´e hoje a maior rede mundial mas para al´em disso, ´e tamb´em e essencialmente um meio de disponibiliza¸c˜ao de acesso a conhecimento e a servi¸cos diversos. Tendo como base o protocolo de encaminhamento IP, ´e poss´ıvel endere¸car e comunicar com pessoas, servi¸cos, m´aquinas e dispositivos variados. Uma forma de comunica¸c˜ao usual assenta no protocolo TCP, que permite um di´alogo bidirecional entre servi¸cos locais e/ou remotos, com tolerˆancia e recupera¸c˜ao face a erros e perda de pacotes. No TCP, um servi¸co ´e identificado pelo n´umero do porto a que fica associado, o que tem algumas consequˆencias menos positivas. A mais ´obvia ´e o varrimento de portos (port scanning) para posteriores tentativas de ataque a vulnerabilidades nos servi¸cos identificados/associados a esses portos. Esta tese pretende extender o conceito de endere¸camento dum determinado servi¸co associando-o primordialmente a um nome, ou seja, dotar o TCP dum servi¸co pr´oprio de resolu¸c˜ao de nomes. A fase de estabelecimento da liga¸c˜ao TCP, baseada no three-way handshake, pode ser substancialmente evolu´ıda para suportar mecanismos de resolu¸c˜ao e de autentica¸c˜ao. A solu¸c˜ao encontrada tem a seguran¸ca sempre como um aspecto presente e essencial, por forma a combater diversos tipos de ataque. A resolu¸c˜ao de nomes sugerida pode ser integrada com mecanismos de autentica¸c˜ao/valida¸c˜ao atrav´es do uso de dom´ınios de interpreta¸c˜ao (DOI - domain of interpretation). Os DOIs possibilitam uma forma flex´ıvel de adicionar mecanismos de resolu¸c˜ao e autentica¸c˜ao mais ou menos complexos ao pr´oprio estabelecimento da liga¸c˜ao TCP. ABSTRACT: Internet is the largest network deployed worldwide but besides that it’s also and essentially a way of accessing and distributing knowledge and a way to to interact with services. By using the IP routing protocol it’s possible to address and communicate with other persons, services, hosts or network enabled devices. An usual way for establishing a dialogue between internet endpoints is based on the TCP protocol, permitting a bidirectional, reliable and fault-tolerant data exchange. In TCP a service is identified by an associated port number which by itself has some less positive consequences. The obvious one consists on guessing which services are available by find out the available port numbers (port scanning) so that attacks on service vulnerabilities can take place. The purpose of this thesis is to extend the current concept used for addressing TCP services by associating them with names, or simply to provide TCP an in-band name resolution. The connection establishment phase, three-way handshake, can be improved in order to support simple name resolution mechanisms or even complex authentication. Security aspects towards avoiding attacks was a major concern that is present in the foundations of the proposed architecture. The name resolution model can be integrated with several mechanisms for authentication/validation, implemented as logic defined within domains of interpretation (DOI). DOIs allow a flexible and extensible way for adding those mechanisms to the connection establishment procedures of TCP.
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Pereira, João Eduardo de Sousa e. Almeida. "GeNS : the genomic name server." Master's thesis, Universidade de Aveiro, 2009. http://hdl.handle.net/10773/2119.
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Mestrado em Engenharia de Computadores e TelemáticaOs desenvolvimentos científicos vindo do campo da biologia molecular dependem em grande parte da capacidade de análise de resultados laboratoriais por parte de aplicações informáticas. Uma análise completa de uma experiência requer, tipicamente, o estudo simultâneo dos resultados obtidos a par com dados disponíveis em várias bases de dados públicas. Fornecer uma visão unificada deste tipo de dados tem sido um problema fundamental na investigação ao nível de bases de dados desde o aparecimento da Bioinformática. Esta dissertação apresenta o GeNS, um data warehouse híbrido com uma abordagem simples e inovadora que pretende resolver diversos problemas de integração de dados biológicos. ABSTRACT: The scientific achievements coming from molecular biology depend greatly on the capability of computational applications to analyze the laboratorial results. A comprehensive analysis of an experiment requires, typically, the simultaneous study of the obtained results with data that is available from distinct public databases. Being able to provide a unified view of this data has been a fundamental problem in database research since the dawn of Bioinformatics. This dissertation introduces GeNS, a hybrid data warehouse that presents a simple, yet innovative approach to address several biological data integration issues.
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Hunziker, April. "A Country With No Name." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4460/.
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A Country With No Name is a collection of thirty-four poems with a preface explaining the style and influences of the author. The preface defends plain-language techniques in poetry, using W.H. Auden, Wislawa Szymborska, and Paul Simon as examples of poets who take a similar approach. The poems range in topic from personal and familial to societal and abstract. The main subjects encompass interpersonal relationships, romantic and otherwise, and larger concerns, such as the effects of war and modern lifestyles.
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Bremer, Donatella. "Der Doppelgänger und sein Name." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-145536.
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The motif of the doppelgänger has been present in literature and the visual arts, but also, more or less concealed, in music, from classical antiquity until today and may manifest itself in the most various forms, dependent on genre, epoch, and culture. This has led criticism to consider the motif of the doppelgänger as a genre in its own right and to propose, especially during the last years, numerous classifications of the ways in which this psychological and anthropological phenomenon is treated in the arts. In the present study I have concentrated my attention on creations in which the doppelgänger represents the disturbing aspects of the hero’s ego. This motif was especially prominent in German late romanticism and has considerably spread during the last decades in cinematography and in fantastic literature. Though there exists a large amount of criticism on the motif of the doppelgänger, what has hardly been analyzed up to now is the role of the characters’ and their doppelgängers’ names. Therefore the aim of my study was to exemplify by means of numerous examples from antiquity until present times the role the proper name has played in literature and other arts dedicated to the theme of the doppelgänger.
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Schaarschmidt, Gunter. "The same name, different things." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-180642.
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Gleicher Name, verschiedene Dinge. – Die vorliegende Arbeit, die etwas verspätet dem Andenken von Prof. Dr. Ernst Eichler gewidmet ist, beschreibt die zwei gegensätzlichen Tendenzen in der Namengebung, einerseits in der identischen Namengebung in den ursprünglichen sorbisch/polabisch/pomoranischen Gebieten Deutschlands, andererseits in der heutigen Umbenennung hauptsächlich britischer Ortsnamen in die ursprünglichen Namen der Erstnationen in Kanada zur Zeit der europäischen Landnahme. Unsere Untersuchung stützt sich vorwiegend auf die Namen im sorbischdeutschen Interferenzgebiet Deutschlands sowie auf die Namen in der Provinz British Columbia in Kanada. Diese Umbenennungstendenz hat damit gleichzeitig auch eine Angleichung der onomastischen Wissenschaftsmethodologie in Kanada an die Methodologie speziell der deutschen Namenforschung in Leipzig zur Folge.
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Tropp, Salomé [Verfasser]. "Morbus Alzheimer : eine szientometrische Analyse der wissenschaftlichen Publikationen von 1985 bis 2006 / Salomé Tropp." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2011. http://d-nb.info/102626538X/34.
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Daouda, Marie Kawtar. "L'Anti-Salomé, représentations de la féminité bienveillante au temps de la Décadence (1850-1920)." Thesis, Brest, 2015. http://www.theses.fr/2015BRES0094.
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À la charnière entre deux siècles, Salomé fait office de lieu commun inévitable de la littérature et des arts. Cependant, aux côtés de la femme fatale, s'affirme la présence discrète mais tout aussi inévitable de la féminité fragile et bienveillante, formée sur le modèle de la princesse de conte et de l'héroïne de roman gothique, mais surtout sur celui de la vierge et martyre du roman édifiant, qu'il soit antiquisant ou contemporain. Parfois discrète jusqu'à l'illisibilité, cet archétype n'est légitimé dans sa fonction bienveillante que par un sacrifice. La signification religieuse du bouc émissaire reste à la fois lisible et efficace dans les structures narratives du roman, mais aussi dans le détail de l'écriture de ces personnages. Les figures mariales, magdaléennes ou féeriques sont soumises à la même épreuve de destruction, par laquelle l'édification qu'elles symbolisent se fait littéralement construction de sens, juxtaposition d'éléments esthétiques disparates mais efficaces par lesquels un personnage en vient à représenter allégoriquement la création artistique elle-même. En reliant le milieu du XIXe siècle aux années 1920 et en mettant les plus connus des héritiers de Baudelaire en perspective avec ceux dont le nom commence à peine à revenir à la postérité, l'enjeu de la recherche est d'établir dans quelle mesure ces représentations de la féminité bienveillante relèvent d'une permanence, d'un monument – au sens de monumentum – où la fin de siècle va non seulement contempler la mort d'une époque révolue, mais concentrer tout ce qui sert, à l'aube du XXe siècle, à théoriser l'art idéalisteAt the crossroads between two centuries, Salome plays the part of a mandatory commonplace in art and literature. Nevertheless, next to the femme fatale and just as unavoidable, stands a fragile and benevolent form of feminity, molded in the cast of the fairytale princess and theGothic novel heroine, but inspired above all by the Virgin and Martyr of the edifying novel, be it antique or contemporary. As it might be discrete enough to become unreadable, this archetype's benevolence cannot be legitimated without a sacrifice. The religious meaning of the scapegoat remains just as obvious and as efficient in the novels' narrative structure, as well as in the detailsthrough which such characters are built. Marial, magdalenian and farylike characters must undergo the same destruction trial, through which their edifying meaning becomes a litteral building-up up meaning, by juxtaposing dissimilar and yet efficien aesthetic elements which turn the character into an allegory of artistic creation. By linking mid-19th century and the 1920es and by weaving a link between the most famous of Baudelaire's heirs and the ones whose name is just merging out of oblivion, the purpose of this study is to analyse how much these representations of benevolent femininity must be seen as a permanence, as a monument – or as a monumentum – where late-19th century will not only gaze a the death of a declining era, but concentrate all what will be used to theorize idealist artistic movements on the edge of the 20th century
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Doan, Phuong Mai. "À rebours de Huysmans et l'intertextualité flaubertienne : étude d'un cas: la description de Salomé." Paris 4, 2005. http://www.theses.fr/2005PA040231.
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Nos recherches tentent de mettre au jour l'influence de Flaubert sur Huysmans dans la description des deux tableaux de Moreau dans A rebours à la lumière des théories de l'intertextualité et de l'analyse stylistique. Les cinq chapitres de la thèse proposent la lecture d'un " journal intime " où Huysmans, dans une mise en scène carnavalesque de l'allusion littéraire, a rendu hommage à Flaubert, a exprimé son amertume, et enfin l'a subverti dans l'espoir de créer du neuf. Notre travail est un essai qui prétend élucider pour la première fois la question de l'origine et de l'influence dans la création du personnage de Salomé d'une manière voulue scientifique. Ce processus des analyses constitue un système de théories intertextuelles à travers l'analyse textuelle, dans le cas de J. K. HuysmansOur researches aims to demonstrate Flaubert's influence on Huysmans in the light of intertextuality theories and stylistic analysis. The five chapters of the thesis propose a reading of an “intimate journal”, in which Huysmans pays tribute to Flaubert, expresses his bitterness, and finally subverts him in hope of new creation. Our essay attempts to elucidate, for the first time, the question of the origin and the influence within the creation of Salome by an scientific way. This analysis process forms an intertextual system of theories through textual analysis in the case of J. K. Huysmans
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Swedberg, Mark A. ""Whatever you ask in my name" a study of prayer in the name of Jesus /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
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Coutts, Joshua John Field. "'My Father's Name' : the significance and impetus of the Divine Name in the Fourth Gospel." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22024.
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One of the distinctive features of the Fourth Gospel is the emphasis placed on the divine name (ὄνομα). The name occurs eight times (5.43; 10.25; 12.13, 28; 17.6, 11-12, 26), in key passages and in striking expressions such as “I have made known your name” (17.6) and “your name, which you gave me” (17.11). This thesis uses historical-critical methodology in a close reading of the Fourth Gospel to determine why John is so attracted to the name category. It is argued that, for John, the divine name was fundamentally an eschatological category with a built-in duality or “associative” significance, which he derives primarily from his reading of Isaiah. It is plausible that Isaiah was the primary impetus for John’s interest in the divine name, because name language is bound up with the “I am” expression and glory language in Isaiah— both of which more clearly underlie John’s “I am” sayings and glory motif. Furthermore, the significance of the name in Isaiah as the object of eschatological expectation (Isa 52.6), and as a concept by which God is associated with his Servant, attracted John to the name category as ideal for his nuanced presentation of Jesus. In John’s use of the name category, it is possible to distinguish the question of significance from that of referent, meaning, and function. This, in turn, facilitates a clear evaluation of possible catalysts for John’s name concept. It is demonstrated that a variety of Jewish and Christian background influences contributed to John’s name concept at the level of referent, meaning, and function. However, the eschatological and associative significance of the name in the Fourth Gospel is particularly indebted to the name concept in Isaiah. This is significant, in part, because Isaiah places such emphasis on the exclusivity of God. It may be that a zeal for God’s exclusivity had generated accusations against the community of believers known to John, that, by their allegiance to Jesus, they were guilty of blaspheming the name in particular. The name was, perhaps, a “flashpoint” for the community, and the text of Isaiah a key battle-ground for defining fidelity to God, and the identity of the people of God. By associating Jesus with the divine name, John legitimates the allegiance of believers to Jesus in the face of Jewish opposition, as well as comforts those who were troubled by the continued absence of Jesus, with the point that they were yet identified by the divine name (17.11), and that eschatological revelation of the name promised in Isaiah was extended to their own time as well (17.26b).
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Lieberth, Mitch R. "What's in a name? Lived experiences of transgender college students using a preferred name policy." Cleveland State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=csu1607697772575963.
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Hedlund, André. "Effective Finite Element Analysis Workflow for Structural Mechanics." Thesis, Uppsala universitet, Tillämpad mekanik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254399.
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The Finite Element Method (FEM) is a technique for finding the approximate solution of differential equations. It is commonly used in structural analysis to evaluate the deformation and internal stresses of a structure that is subject to outer loads. This thesis investigates the Finite Element Analysis (FEA) workflow that is used at Andritz Hydro AB, with the objective to find solutions that make the workflow more time effective. The current workflow utilises Siemens NX and Salomé for pre- and post-processing, and Code Aster as the FEM solver. Two different approaches that improve the workflow are presented. The first suggest that the entire FEA workflow is migrated to NX using the built-in FEM package of NX called Advanced Simulation. The second approach utilises the Salomé API (Application Programming Interface) to create a customised toolbox (a script containing several functions) that automate several repetitive and cumbersome steps of the workflow, therefore effectively reducing the time that is required by the analyst to perform FEA. Due to the positive results and ease-of-use, the Salomé toolbox is preferred over the license cost and steep learning curve that is related to NX and Advanced Simulation.
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Cook, Benjamin. "Direct Reference and Empty Names." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/944.
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The purpose of my thesis is to explore and assess recent efforts by Direct Reference Theorists to explain the phenomenon of empty names. Direct Reference theory is, roughly, the theory that the meaning of a singular term (proper name, demonstrative, etc.) is simply its referent. Certain sentences, such as negative existentials ("Santa does not exist"), and sentences in contexts of fiction ("Holmes lived on Baker Street"), present the following challenge to DR Theory: Given that the semantic value of a name is simply its referent, how are we to explain the significance and truth-evaluability of such sentences? There have been various approaches DR Theorists have taken to address this problem, including the Pragmatic Strategy, Pretense Theory, Abstract Object Theory, and the Metalinguistic Strategy. All of these views are analyzed and assessed according to their various strengths and weaknesses. It is concluded that, overall, a Metalinguistic Strategy, supplemented by the notion of pretense, best deals with negative existentials and normal-subject predicate occurrences of empty names, Abstract Object Theory best deals with empty names in meta-fictional contexts, and Pretense Theory best deals with empty names in object-fictional contexts.B.A.
Bachelors
Arts and Humanities
Philosophy
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Nahum-Claudel, Chloe. "Working together for Yankwa : vitalising cosmogony in Southern Amazonia (Enawene-nawe)." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607927.
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Dottin-Orsini, Mireille. "Les représentations de la femme à la fin du XIXe siècle - la figure de Salomé et le dialogue entre la littérature et les arts (1870-1914)." Paris 4, 1996. http://www.theses.fr/1996PA040091.
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A la fin du XIXe siècle, la mutation de la figure féminine, de la muse romantique au poncif de la "femme fatale", instaure un dialogue entre littérature et peinture qui manifeste avec une étonnante brutalité l'obsession d'une féminité exacerbée et de sa dangerosité ontologique. Un discours ambivalent donne la femme comme source de mort, mais la désigne aussi comme devant être tuée. L'autorité de la parole scientifique, en particulier médicale, vient nourrir et conforter les affirmations misogynes : un vampirisme féminin est ainsi relié à la physiologie pour devenir fait de nature. Le mythe littéraire et pictural d'une Salomé fin-de-siècle, développé dans toutes les formes d'expression artistique, en présente l'illustration éclatante. Il confère à l'obsession une dimension éternelle ; il lui apporte la caution de l'art par l'évocation de tableaux célèbres, ceux de Regnault ou de Gustave Moreau, mais s'annexe aussi bien les peintures de la Renaissance ; il la dote d'éléments décoratifs ; il propose enfin un résumé spectaculaire et définitif de la guerre des sexes. Le scenario biblique originel est subverti jusqu'à faire de la danseuse une figure quasi divine, sur laquelle sont projetées toutes les hantises de l'altérité féminine et de l'éros fin-de-siècle. Mythe daté, dont un recensement montre l'importance, mais également le caractère répétitif, et qu'une dimension parodique omniprésente vient tenir à distance et banaliser dans le même mouvementIn the late XIXth century, the changing woman figure, from the romantic muse to the femme fatale cliché, triggers off a dialogue between literature and painting which pushes into the limelight the obsession of the ontologically threatening exacerbated feminity. Woman is ambiguously presented as both giving death and sentenced to death. Scientists, more particularly physicians, confirm and foster the current misogynous statements, helping to turn female vampirism into a natural fact. This obsession is brilliantly illustrated by the manifold representations of the literary and pictorial myth of a fin de siecle Salome which gives it an eternal value, as well as the artistic guarantee of contemporary painters like Regnault and Gustave Moreau or even of renaissance painters. It also endows it with decorative elements and, lastly, sums up the war of the sexes in a most striking and final way. The biblical account is tampered with to the point of turning the dancer into a near goddess laden with the haunting fears born from female otherness and fin de siecle Eros. A period myth, both important and repetitive, but kept at a distance and made trite by omnipresent parody
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Benert, Britta. "Contribution à l'invention d'une nouvelle esthétique au tournant du siècle : Rachilde et Lou Andreas-Salomé." Paris 3, 1999. http://www.theses.fr/1999PA030075.
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La confrontation entre les deux femmes de lettres, lou andreas-salome (1861-1937) et rachilde (1860-1953) est organisee autour de la notion d'esthetique. Dans une premiere partie nous decrivons comment les deux auteurs s'inscrivent dans le contexte historique de leur epoque. Le regard de rachilde sur l'allemagne constitue le fil conducteur de l'examen du discours misanthrope, germanophobe de l'auteur francais. L'esthetique de las vise l'humain, au-dela des frontieres nationales. A travers le regard qu'elle porte sur la russie, son pays natal, sa quete est identitaire. Nous avons limite la description de leur tentatives esthetiques au domaine du roman et l'avons focalisee sur l'adolescence, tranche d'age 'decouverte' autour de 1900. La presence de protagonistes adolescentes dans les oeuvres des deux auteurs permet un traitement parallele en suivant des "lieux". Dans le chapitre 'dans l'antichambre de freud' (crises identitaires, sexualite), l'analyse de la princesse de tenebres (1896) et de le pays intermediaire (1902) est dominante. Les chapitres 'l'ecole' et 'la cour d'assises' etudient en outre l'animale, le dessous, l'amazone rouge, combat pour dieu, ruth. L'elargissement du corpus permet l'evaluation esthetique de leurs productions respectives. En etudiant la reception de rachilde dans les pays de langue allemande, celle de las en france, de multiples chasses-croises apparaissent entre deux auteurs si differents de prime abordThe comparism of the two women of letters lou andreas-salome (1861-1937) and rachilde (18601953) is organized around the concept of aesthetics. The first part explores how both authors locate themselves in their historical context. Rachilde's image of germany constitutes the thread running through my examination of her misanthropic and germanophobic discourse. Lou's aesthetics are aimed at humain beings, beyond national borders. Through her image of russia, her mother-land she searches for her own identity. I have limited the description of their aesthetic attempts to novels' and focused on adolescence, 'discovered' around 1900. The adolescents protagonists in both author's novels allows a parallel treatment ordered according to 'spaces'. In the chapter 'in freud's anteroom' (crisis of identity, sexuality), the examination of la princesse des tenebres (1896) and au paysmtermediare{1902) predominates. In my chapters 'school' and 'crown court', i also analyse l animate, le dessous, l'amazone rouge, combat pour dieu, ruth. A widened corpus allows the aesthetic valuation of the work of both authors. In studying the reception of the work of rachilde in the german-speaking countries and that of lou's work in france, multiple cross-connections become apparent between the two authors so different at first sight
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Ollion, Martine. "Face à la critique : Salomé, Oscar Wilde, Lugné-Poe et Richard Strauss : Paris, 1891-1910." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040153.
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Au début des années 1890, Oscar Wilde choisit Paris comme terre d’élection et entreprend de s’y faire un nom. Bientôt connu comme l’auteur du Portrait de Dorian Gray et de Salomé, pièce d’inspiration symboliste écrite en français, la presse le chronique abondamment. En 1896, Aurélien-Marie Lugné-Poe, porte Salomé à la scène et lui offre les conditions d’une nouvelle réception parisienne. En 1902, Richard Strauss voit la pièce représentée à Berlin et s’en empare pour en faire le livret allemand d’un opéra auquel il donne, en parallèle, une version française. Dans un contexte socio-Culturel en mutation et dans un climat politique tendu entre la France et l’Allemagne, Salomé de Strauss arrive à Paris en 1907, accompagnée d’une réception critique exceptionnelle qui ne faiblira pas jusqu’à son entrée au Répertoire de l’Opéra en 1910.Salomé, d’Oscar Wilde à Richard Strauss, se trouve ainsi adoptée à plusieurs reprises par Paris, littéralement portée par les réceptions qu’elle y a reçues, jusqu’à devenir, en ses premières années, malgré des caractéristiques nationales étrangères plurielles et marquées, une œuvre où résonne un fort accent français. Elle peut être appréhendée comme une illustration des discours journalistiques et revuistes parisiens de la fin du XIXe siècle et du début du XXe siècle, dans une perspective verticale – sur une période d'une vingtaine d'années – et horizontale, à travers trois éclairages critiques. Telle que les écrits la montrent ou la façonnent en ses différents avatars, elle est peut-Être aussi une tentative réussie d’art total, héritière superlative du mythe de Salomé revisité en une œuvre-Tiroir, littéraire, dramatique, musicaleIn the early 1890s, Oscar Wilde chose Paris as his adopted land, aiming at becoming famous. Soon known as the author of The Portrait of Dorian Gray and Salomé, a play inspired by the Symbolist movement and written in French, he triggered much curiosity on the part of the critics. In 1896, Aurélien-Marie Lugné-Poe, brought Salomé to the stage and provided the conditions of a new Parisian reception. In 1902, Richard Strauss saw the play represented in Berlin and used it to compose the German libretto of an opera of which he also, simultaneously gave a French version. Against the backdrop of a socio-Cultural context of change and political tension between France and Germany, Strauss’s Salome was performed in Paris in 1907, accompanied by a huge critical reception that would not weaken until it entered the Repertoire of the Opera in 1910. From Oscar Wilde to Richard Strauss, Salomé was thus adopted on several occasions by the Paris, literally sustained by the receptions that it received there, becoming, in spite of its several, marked foreign national characteristics, a work resounding with a strong French accent. Salomé’s critical reception can be seen as an illustration of the journalistic speech in Paris in the late nineteenth and early twentieth centuries, in a vertical perspective - over a period of twenty years - and horizontal, through three critical perspectives. Revealed by this kind of writing or shaped by it into its different types of metamorphosis, this play may also be a successful attempt at total art, superlatively embodying the myth of Salomé in its multiple literary, dramatic and musical dimensions
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Menke, Bettine. "Sprachfiguren : Name, Allegorie, Bild nach Benjamin /." München : W. Fink, 1991. http://catalogue.bnf.fr/ark:/12148/cb36957263x.
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Kim, Jin Mo. "Name matching for data quality mediator." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/36588.
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