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Allen, Chris W. "Coast to coast and border to border : the influence of Jack Shelley on broadcast journalism /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9809666.
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Priolet, Mathilde. "Les pratiques culturelles et l'éclipse du politique." Paris 8, 2006. http://www.theses.fr/2006PA083673.
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Au tournant des XIXe et XXe siècles apparaissent deux mouvements concomitants qui marquent d'un côté un processus d'éclipse du politique, et de l'autre un processus d'expansion de la culture qui, peu à peu et de manière liquide, viendra englober toutes les sphères de la « vita activa » ne relevant ni de la subsistance, ni de la procréation. Advient alors un processus de culturisation des enjeux du politique qui le vide de sa substance polémique et prétend aborder la pluralité, condition du politique, sous le signe de la normalisation et du consensus. La foule est au cœur de ces deux processus, qui passe d'un état de foule émeutière et révolutionnaire à celui de foule attroupée. Parallèlement, la démocratie culturelle cohabite avec une démocratie immunitaire qui gère la population sous le signe du « noli me tangere ». La situation de l'artiste dans une telle démocratie interroge sur la possibilité d'une réactivation du politique par les chevilles ouvrières de la démocratie culturelle<br>At the turn of the 20th century, one may see two concomitant movements: the first one was the disappearance of politics and the second one was a process of cultural expansion. Culture began, step by step, to encapsulate all aspects of life. The culturisation of political life became the norm and sought to condition the structure of politics. Within these two movements, the crowd shifted from being a rioting crowd to a cultural crowd. Cultural democracy stood by quasi-removed/immune democracy and the situation of the artist in such a democracy raised the question of a possible reactivation of political democracy by the new artist proletariat
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Brophy, Mary-Beth. "Some lost bliss : tracing the dark night of the soul in Jack Kerouac's 'Visions of Gerard', 'The dharma bums', 'Desolation angels', and 'Big Sur' : and an excerpt from the novel 'Mayor of Hollywood'." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2132.
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The research and creative portions of this thesis develop from the various responses individuals experience in the wake of a loss. The research into the evolution of faith in author Jack Kerouac's 'Duluoz Legend' and the central storyline of the novel 'Mayor of Hollywood' spring from the same well: the crossroads between death and faith. The research piece concerns itself with Kerouac's exploration of the spiritual interior in the wake of the death of his protagonist's older brother, developing a personal faith that blends Buddhism and Catholicism unfettered by formal religious practice, mirroring instead an older path of Catholic mysticism. Mayor of Hollywood explores the opposite side of the religious coin: the protagonist, Lucy Cassidy, has little compelling interest in her own spiritual existence but must address the practicalities of her partner's formal practice of Catholicism, including dietary restrictions, regular worship, moral strictures, and the religious formalization of the guilt process. At the same time, Lucy and Mark must resolve several deaths that have occurred, substituting the secular path of crime detection for the more spiritual quest to reunite with God. Linked by the shared topic of death, the two halves of the thesis address faith as a whole, exploring the interior and exterior spiritual life.
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Arns, Célia Maria. "Jack Richardson's theory of historical evolution in The Prodigal." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22280.
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Resumo: Os dramaturgos gregos basearam as suas peças em fatos mitológicos e históricos que receberam uma interpretação trágica. Dentro deste contexto, Jack Richardson, que tem um profundo conhecimento da tragédia Grega, também tenta inserir alguns acontecimentos políticos e históricos que afetam a Civilização Moderna dentro da estrutura do mito de Orestes. Em sua peça, The Prodigal, que está sendo analisada nesta dissertação, ele enfoca a Guerra de Tróia e, como acontece em todas as guerras, os soldados que voltam, como os cidadãos de Argos, são atingidos pelas conseqüências psicológicas de após-guerra de exaustão e fadiga. Na peça citada acima, a dimensão política é fundamental e constitui uma espécie de leitmotiv que sustenta a ação. O autor demonstra um interesse especial pela função política do homem - a estrutura política determina os aspectos sociais e religiosos nesta peça. Em um texto literário, o aspecto político não transporta valor por si só, mas, pode significar um elemento essencial de sua estrutura. Richardson dramatiza a sua teoria de Evolução Histórica em The Prodigal pondo em evidência as razões e circunstâncias que causam a queda de uma Instituição, que não pode manter os seus valores fundamentais contra uma nova mentalidade que emerge. Ele analisa as divergências políticas, a sociologia da família e discute argumentos religiosos, literários e filosóficos, tendo como modelos os personagens da antiga mitologia. O principal objetivo desta dissertação é determinar a teoria de Evolução Histórica de Jack Richardson em The Prodigal. A minha intenção é comparar a peça moderna com a Oréstia de Ésquilo para determinar até que ponto os dois dramaturgos sustentam os mesmos pontos de vista e quais especificamente são as inovações introduzidas por Jack Richardson.
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O'Brien, Thomas Peter. "The concept of mythology in Jack Hodgins' fiction /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63389.
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Domingues, Maria Izabel Velazquez. "The role of the "flâneur" in Jack Kerouac's novel On the Road." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/14983.
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Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração.<br>This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.
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Rous, Jean-Marie. "Jack Kerouac : écrivain : mythes et culpabilités d' un écrivain américain." Paris 8, 1987. http://www.bibliotheque-numerique-paris8.fr/fre/ref/167930/180109111/.
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L' expérience de l' écriture chez Jack Kérouac est liée à celle de l' errance. Dans la tradition des écrivains américains. Dans la tradition des ecrivains americains, kerouac traverse l'amerique d'est en ouest physiquement pour retrouver l'esprit des pionniers. Son metier d'ecrivain americain le porte a reactualiser les mythes de l'epoque ou l'espace etait libre. La plupart de ses lecteurs n'ont lu que son best-seller "sur la route" et ne connaissent que cette dimension de son oeuvre. Cette these presente un aspect plus meconnu de son travail. En effet, kerouac nous raconte l'impossibilite d'etre pleinement americain dans l'amerique des annees cinquante qui inaugure l' epoque postmoderne. Mais ecrire la-dessus, ce n'est plus repeter le premier succes commercial et l'ecrivain erre a present dans une amerique fantomatique, hante par le remords de continuer a ecrire, c'est-a-dire, a raconter des mensonges. La dialectique du mouvement (le voyage, la verite) et de l'immobilite (l'ecriture, le mensonge) est donc la cle de cette parade sauvage que kerouac retranscrit tragiquement dans son oeuvre romanesque. Au niveau formel, cette oeuvre se concoit comme un systeme ou vert. L'experience de l'errance lui injecte periodiquement du sens. Elle n'arrive pas a se figer en un genre precis, elle poursuit ainsi la crise des recits inauguree par joyce qui caracterise la postmodernite<br>Jack Kerouac's experiment of vriting is connected with wandering. Within american writers'tradition, kerouac gets through u. S. A. From east to west, and so physically to recover pioneer's mind. As an american writer, he is induced to re-think and make actual every myth of the time when space was free. Most of his readers has only read his best-seller "on the road" and just know this dimension. This thesis offers on unknown prospect of his work. Kerouac gives evidence it is nowadays completely impossible to be a "real" american man. But writing about this topic does not mean repeating the first commercial success. At the present time, the writer wanders about in the ghostly usa, haunted with remorses as he goes on writing, which means telling lies. Dialectics of motion (journey, truth) and of immobility (writing, lie) is therefore the key of this "wild parade" kerouac is describing us in his novels. As regard the formal aspect, kerouac's work may be considered as an open system. The experiment of wandering gives it periodically sense. This work is unable to be hardened to a definite style, and then foretells postmodernity which is characterized by the crisis of statements
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Bizello, Aline Azeredo. "Caio Fernando Abreu e Jack Kerouac : diálogos que atravessam as Américas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7420.
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A finalidade deste estudo é analisar, do ponto de vista da Literatura Comparada, as relações existentes entre contos do escritor Caio Fernando Abreu e o romance On the Road, do norte-americano Jack Kerouac. Com o objetivo de apreender o diálogo entre os textos, a investigação desenvolve-se desde o exame do estilo de vida das personagens até as condições históricas nas quais foram produzidas as obras. Dessa forma, focaliza-se o local que ocupa a produção literária do escritor gaúcho, a partir das relações inter-literárias com a realidade cultural do seu tempo. Pretendeu-se verificar, através da Literatura Comparada, de que modo a obra de Caio absorve os influxos da obra de Kerouac. Assim, examina-se a apropriação cultural estrangeira através da recepção, em Caio, da literatura “beat”. O estudo aborda questões referentes ao sujeito, à liberdade, à introspecção, à fragmentação, à identidade, ao estranhamento, ao desejo, à autonomia, relacionando-as à construção da linguagem e à representação da visão de mundo dos autores. Para tanto, foram considerados alguns momentos históricos do final do século XX, como a Segunda Guerra Mundial, a Guerra Fria, o Macartismo e a ditadura militar brasileira. Nesse contexto, intensifica-se, de um lado, o desejo de livre arbítrio e, de outro, a imobilidade resultante da falta de esperança. A partir desses dados, analisa-se a atmosfera vivida e representada nas obras de Caio e Kerouac. Dessa forma, o trabalho desenvolve a hipótese de que Caio Fernando Abreu absorve aspectos da filosofia “beat”, assimila-os e os transforma para adaptá-los ao seu contexto histórico e cultural.
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Carrasco, Labbé Rubén. "The transience of experimentation in Jack Kerouac's on the road." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109928.
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The general object of study of this work is the rise and effects of competing visions in the construction of the subjective personal American landscape in 20th century North American travel literature. The research and analysis done will follow the idea that there are different visions of America present at the same time in a given text-character. These visions, when affecting and transforming the travelling experience and, when contrasted to other’s visions and compared between them, may allow for the appropriation of the landscape through the creation of a personal, intimate and polyphonic image of the same. In order to grasp this final vision characters must undergo a process with three stages that resemble an empiric scientific experiment. Is on the exploration of this experimental dimension from where we start this study.
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Pacini, Peggy. ""The Duluoz legend" : Jack Kerouac ou la mémoire franco-américaine." Paris 4, 2007. http://www.theses.fr/2006PA040091.
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Projet gigantesque, composé des romans dits de la route et des romans de Lowell, The Duluoz Legend est le reflet de la double identité de Jack Kerouac. Fils d’immigrants canadien français en Nouvelle-Angleterre, l’auteur a hérité d’un patrimoine culturel francophone dont toute une partie de son œuvre porte la trace (folklore, religion populaire, langue). Cette légende que Kerouac a voulu laisser à la postérité est le reflet d’une crise de l’identité et de la culture aux carrefours de deux mémoires. Ce dialogue interculturel met en avant une problématique autour de l’identité consentie et l’identité héritée et propose l’archéologie d’une mémoire individuelle et collective que l’auteur cherche à affirmer. En choisissant de donner à son œuvre la forme de récits légendaires, Kerouac dévoile les mythes fondateurs d’une culture populaire en déclin. Bien plus que l’histoire d’une vie, c’est la mémoire d’un peuple transplanté qu’il raconte<br>Born of French Canadian immigrants, Kerouac has inherited a complex heritage that his novels mirror. The Duluoz Legend, his literary odyssey, is a journey into memory and identity to find his own identity but also a national identity. His Legend fluctuates from one heritage (his French Canadian ancestry) to the other (his American identity) often in conflicting ways. Rarely considered, his Franco-American background (composed of folkloric references, linguistic issues, religious beliefs) is very much present in his work especially in his Lowell novels and is an attempt to speak not only of a golden age (his French Canadian childhood in Lowell, Massachusetts) but also of an individual and collective memory: the memory of a transplanted people. It is an immigrant vision of America that his Legend offers: Ti Jean Duluoz’s immigrant song
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Agostini, Bertrand. "La notion de souffrance dans l'oeuvre romanesque de Jack Kerouac : genese et evolution." Nantes, 1991. http://www.theses.fr/1991NANT3010.
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La notion de souffrance est un des themes fondamentaux de l'oeuvre romanesque de jack kerouac. De visions of gerard a vanity of duluoz, en passant par on the road, elle apparait comme la condition meme de l'ecriture. Apres avoir montre comment le climat social d'apres-guerre d'une part, puis l'education dans le milieu franco-americain d'autre part, ont favorise chez l'auteur une recherche systematique sur la pensee de la souffrance, cette etude se propose de cerner la genese et l'evolution de cette notion articulee autour de trois champs principaux: christianisme, existentialisme, et bouddhisme. La "legende de duluoz" est le resultat d'une errance morale axee sur le tryptyque "eros-mort-spiritualite", qui donne a penser que l'oeuvre est d'abord d'essence ontologique. Elle est une investigation sur le sens et la nature del'etre distingue de l'etant. Cette investigation ontologique va de pair avec une intense et insatiable quete spirituelle eternellement recommencee. Par consequent, l'oeuvre de kerouac ne peut s'envisager dans l'unique perspective de la litterature americaine. Elle se place resolument au point de rencontre de plusieurs sources d'inspiration et de ce fait, tend vers l'universalite<br>The notion of suffering is one of the fundamental themes in the novels of jack kerouac. From visions of gerard to vanity of duluoz, via on the road, it appears as the condition of the writing. After showing how the post-xar social climate on the one hand, and education in the franco-american environment on the other hand, furthured systematic research on suffering, this study intends to define the genesis and evolution of this notion structured round three main fields: christianity, existentialism, buddhism. The "legend of duluoz" is the result of a moral wandering centered round the "eros-death-spirituality" triptych. The essence of the work is then primarily ontological. It is an investigation on the meaning and nature of the being as distinguished from the person. This ontological investigation goes hand in hand with an intense and insatiable spiritual quest eternally repeated. Consequently, kerouac's novels cannot be viewed within the single perspective of american literature. They must be looked at as the meeting point of several sources of inspiration and therefore tend toward universality
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Bherer, Audrey Jade. "Imaginaires de la pauvreté : les cas d'Hector de Saint-Denys Garneau et de Jack Kerouac." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/29546.
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Cette étude s’attache à la figure de Jack Kerouac, liée de manière inédite à celle d’Hector de Saint-Denys Garneau par le truchement du thème de la pauvreté. Prenant ainsi le relais de la discussion sur la pauvreté amorcée par Gilles Marcotte, Jean Larose, Yvon Rivard et Yvan Lamonde, cette étude s’articule en deux étapes. Elle cherche d’abord, dans un premier chapitre, à identifier des échos entre les imaginaires de Garneau et de Kerouac. Elle montre aussi comment la pauvreté peut être à la fois vocation, aspiration et même posture chez chacun d’eux. Le deuxième chapitre, quant à lui, analyse l’héritage de la pauvreté de Kerouac, à l’aide de trois de ses romans : Visions of Gerard, On the Road et Satori in Paris. Enfin, ce mémoire met également en relief l’idée qu’il y a plusieurs liens à faire entre la littérature québécoise et Jack Kerouac, mais que ces liens dépassent une simple communauté de langue et tiennent plutôt à une réflexion autour de l’identité canadienne-française et d’un héritage culturel problématique commun<br>This study engages with Jack Kerouac’s figure, and links it to Hector de Saint-Denys Garneau’s in through the theme of poverty. Invoking theorizations of the term by Gilles Marcotte, Jean Larose, Yvon Rivard and Yvan Lamonde in relation to Québec writers, this thesis will comprise two parts. In the first chapter, this study highlights some dialogic interlinkings between Garneau’s and Kerouac’s imaginaries. The point is to explain how poverty can simultaneously be a vocation, an aspiration, and a posture (as in Jérôme Meizoz’s study) for each writer. The second chapter analyzes what Jack Kerouac’s poverty heritage entails through a discussion of three of his novels: Visions of Gerard, On the Road and Satori in Paris. Lastly, this study also highlights that they are many links to be made between Québec literature and Jack Kerouac, but that these links go beyond a linguistic community; rather, they have to do with a negotiation of both French-Canadian identity and a problematic shared cultural heritage.
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Perz, Magdalena. "Das Frauenbild im symbolistischen Werk von Jacek Malczewski (1854 - 1929) die Entwicklung der Kunst des Jungen Polen." Berlin Logos-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2695631&prov=M&dok_var=1&dok_ext=htm.
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Chassaing, Irène. "Figure de l'écrivain et écriture personnelle : Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac." Paris 3, 2008. http://www.theses.fr/2008PA030080.
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L’objectif de cette recherche est de comprendre les origines, le processus et les différentes implications de la crise traversée par différents personnages d’écrivains, tels qu’ils sont représentés dans les oeuvres d’écriture personnelle de Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre et Jack Kerouac. Plus spécifiquement, notre but est d’examiner la mise en cause par l’écrivain de son statut social et de ses fonctions auctoriales, ainsi que son rejet de la littérature, niée tant dans sa valeur (esthétique, politique, commerciale) que dans son efficacité (sa capacité à agir sur le monde). Nous affirmons que cette mise en cause et ce rejet témoignent, dans leur association, d’une tentative de rénovation du positionnement de l’écrivain par rapport à son oeuvre, à la société, à la communauté littéraire, ainsi qu’à lui-même et à sa définition d’être humain. Afin de parvenir à ces conclusions, nous avons structuré notre recherche autour de trois figures mythiques associées à l’artiste : Prométhée, Narcisse, et Dédale. Nous envisageons ainsi : avec Prométhée, l’entrée en littérature d’un écrivain se concevant à la fois comme exclu et tout-puissant ; avec Narcisse, les problèmes que génère ce mode d’investissement de la littérature ; avec Dédale, la tentative de repositionnement de l’écrivain au sein de l’humanité ordinaire. Notre dernière partie examine l’écho rencontré par cette tentative de repositionnement dans différentes oeuvres de la postérité où sont représentés les auteurs de notre corpus<br>In this project, I develop a comparative reading of a series of "personal narratives" produced by Jack London, Louis-Ferdinand Céline, Jean-Paul Sartre and Jack Kerouac. My purpose is to analyze how these writers all question their own social status and function as authors, while denying literature’s value and efficiency in aesthetic, politic, and commercial terms. Scrutinizing different figures of these writers which their works offer, I argue that all these literary works are converged in an attempt at defining their positions as writers within their works, societies, and at characterizing their way to exist as human beings. This thesis thematically refers to three great mythical figures often associated with the figure of the artist: Prometheus, Narcissus, and Daedalus. Through Prometheus, I examine the status of writers that think themselves endowed with an almighty speech; through Narcissus, I examine the problems that such a way of investing literature with power generates; through Daedalus, I examine the attempts made by the writers to access a new status within ordinary humanity. In my conclusions, I examine how these writers’ attempt at reforming their authorial status while denying the efficiency of literature, and for this purpose I consider a variety of later literary and visual works in which London, Céline, Sartre and Kerouac are represented
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Dutel, Jérôme. "Linguistique-fiction & fictions linguistiques : un essai de définition à partir de La Grande Beuverie (1938) de René Daumal, 1984 (1949) de George Orwell, Les Langages de Pao (1957) de Jack Vance." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/in/theses/2007_in_dutel_j.pdf.
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Cette thèse réunit et confronte les oeuvres de René Daumal, George Orwell et Jack Vance (et plus spécialement leurs romans respectifs : La Grande Beuverie -1938-,1984 -1949- et Les Langages de Pao -1957-) du point de vue de leur appartenance au genre de la linguistique-fiction. L'étude des langages imaginaires et des théories linguistiques mises en oeuvre dans ces récits fantastiques permet ainsi d'étudier les possibilités mais aussi les limites de ce genre littéraire très spécifique tout en mettant en lumière, à travers la quête moderne d'un langage idéal, les démarches littéraires propres à ces trois auteurs<br>This doctorate addresses and confronts the works of René Daumal, George Orwell and Jack Vance (more specifically their respective novels: A Night of Serious Drinking -1938-, 1984 -1949- and The Languages of Pao -1957-) from the perspective of their belonging to the linguistic fiction literary genre. The systematic study of imaginary languages and linguistic theories at play in these fictions allows for an insight into the potentialities as well as the limits of this specific genre while also highlighting, through the central issue of the quest for a perfect language, each the writers' specific literary approach
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Mercier, Simon. "Les générations du voyage dans A. O. Barnabooth : son journal intime de Valery Larbaud, dans Sur la route de Jack Kerouac et dans L'usage du monde de Nicolas Bouvier." Paris 10, 2004. http://www.theses.fr/2004PA100031.
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Au regard de l'histoire littéraire, la comparaison menée dans cette étude trouve son assise dans l'examen des contextes : circonstances précises qui constituent autant de modernités différentes favorisant, chacune, l'appel de l'ailleurs et l'éclosion du roman. L'ouverture de la route amène l'écrivain à se forger une expérience axée sur le mouvement, entre sensibilité artistique et déplacement géographique. Du vécu au livre, le récit déploie ensuite un itinéraire particulier, selon ses propres modalités, en fonction des potentialités et des lois de la fiction. Ayant fait le choix du départ, le voyageur et personnage évolue dans le temps, d'un lieu à un autre, investissant des espaces de natures diverses. Mais en amont du voyage qui se déroule dans l'ouvrage, intervient tout un processus de création artistique dont découle la production d'une image littéraire singulière. Plus largement, à cet "usage du monde" correspond l'expression d'un sentiment et d'une pratique métaphysique. Au final, le voyage suppose la réalisation d'un parcours qui ouvre l'individu à l'immensité universelle mais qui, simultanément, le confronte également aux limites de sa condition<br>For literary history, the comparison carried out in this study finds its base in the examination of the contexts : precise circumstances which constitute as many different modernities supporting, each one, the call of elsewhere and blossoming of the novel. The opening of the road leads the writer to forge an experienced centered on the movement, between artistic sensitivity and geographical shift. From this personal experience to the book, the account deploys then a particular route, according to its own methods, according to the potentialities and laws of the fiction. Having made the choice of the departure, the traveller and character moves in time, from a place to another, investing spaces of various nature. But upstream of the voyage which rises the production of a singular literary image. More largely, to this "use of the world" also corresponds the expression of a feeling and a practice metaphysics. Finally, the voyage supposes the realization of a course which opens the individual th the universal vastness but which, simultaneously, also confronts him with the limits of his condition
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Deshoulières, Anne. ""Les jardins de l'errance" : étude topologique de l'errance chez Jack Kerouac, J. M. G. Le Clézio, Kenneth White, Ernesto Sabato." Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20007.
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La rencontre de Kerouac, Sabato, White, Le Clézio éclaire les diverses facettes de l'errance contemporaine dont l'analyse topologique révèle les rapports étroits entre l'espace, le corps et l'écriture. En outre, l'errance permet de rapprocher les domaines géographiques, littéraires, humains, tout en interrogeant activement la position du sujet dans le monde moderne. A cet égard, ce dernier est assimilé à un jardin morcelé et gâché, tant la conquête intensive de l'espace a fini par altérer les liens entre l'être et le monde. Pour rétablir les communications, il faut appréhender l'espace autrement, à la manière d'un explorateur. Car c'est en quittant une situation d'enracinement et en préservant une certaine mobilité que le sujet parvient à la vérité de l'être et du lieu. Cette pratique de l'espace permet de faire l'épreuve des limites en traversant des lieux aliénants et inhospitaliers, et de transmuer ensuite les territoires entrevus en un vaste jardin où l'écriture prolonge l'errance
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
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Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prix<br>The first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask
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Santos, Maria Clara Dunck. "A contracultura do segundo pós-guerra : um estudo comparativo entre a poesia marginal de Jack Kerouac e Nicolas Behr." reponame:Repositório Institucional da UnB, 2012. http://repositorio.unb.br/handle/10482/11957.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012<br>Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-01-23T15:21:29Z
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2012_MariaClaraDunckSantos.pdf: 1250114 bytes, checksum: c70afeb1a3da1650be18661c835f0eb8 (MD5)<br>O advento da Segunda Guerra Mundial trouxe consigo grandes mudanças no cenário artístico global. Para a compreensão da literatura produzida nesse período, é necessário tratar da Contracultura, um movimento contestador que faz oposição à cultura dominante. Esta, de caráter conservador e elitista, serve à indústria cultural, como um importante veículo de propagação e manutenção do establishment. Apesar de apoiada
por uma minoria, a Contracultura é fundamental para a compreensão da literatura contemporânea, visto que, ao se popularizar, contribuiu para a formação da dominante cultural do século XXI: a pós-modernidade. Este estudo compara duas literaturas contraculturais: uma norte-americana da década de 1950, conhecida como geração beat, e outra brasileira da década de 1970, chamada de geração mimeógrafo. Afirma-se que a
brasileira é epígona da norte-americana. E para contrapor tal assertiva, esta pesquisa vale-se da Teoria dos Polissistemas, aliada à análise semiótica da poética de Jack Kerouac, no caso da geração beat, e da poética de Nicolas Behr, da geração mimeógrafo. ______________________________________________________________________________ ABSTRACT<br>The advent of Second World War brought relevant changes in the global art scene. For
understanding the literature produced during this period, it is necessary to study the Counterculture, a movement that opposes to the dominant culture, which serves the Culture Industry as an important vehicle for the propagation and maintenance of the conservative and elitist establishment. Although the Counterculture is supported by a
minority, it is fundamental to the understanding of contemporary literature because its posterior popularity contributed to the formation of the dominant culture of the twenty-first century: the postmodernity. This study compares two countercultural literatures: an American in the 1950s, known as the Beat Generation, and another, Brazilian, in the 1970s, called geração mimeógrafo. It is said that the Brazilian counterculture literature
is an epigone to the U.S. To prove this assertion, this research uses the Theory Polysystem allied to a semiotic analysis of the poetry of Jack Kerouac, in the case of the Beat Generation, and the poetry of Nicolas Behr, of the geração mimeógrafo.
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Flauraud, Vincent. "LA JAC dans le Massif Central méridional : (Aveyron, Cantal) : des années 1930 aux années 1960." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10078.
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La Jeunesse agricole catholique (JAC) et sa branche féminine la JACF, ont pu apparaître aux yeux d'observateurs des campagnes françaises comme "le courant le plus influent par les acteurs du développement rural" (Paul Houée), acteur essentiel d'une "promotion collective des ruraux", et de la modernisation technique de l'agriculture, à l'époque des "Trente glorieuses". Le présent travail étudie l'action de ces mouvements au coeur et aux marges d'un de leurs bastions, le Massif central méridional, abordé à partir de deux départements-tests : l'Aveyron, terre catholique par excellence, et le Cantal, où une empreinte religieuse en demi-teinte va de pair avec une vieille tradition radicale. L'implantation de la JAC et de la JACF, de leur naissance en 1929 et 1933, jusqu'au second conflit mondial, demeure modeste dans cette région. C'est la guerre qui enclenche vraiment l'adhésion, notamment par réaction de l'Eglise face à l'émergence de mouvements de jeunesse "neutres" concurrents. Le rôle d'un renouvellement doctrinal aux fondemens humanistes est, dans un premier temps, plus timide qu'on ne l'a dit. De la Libération au milieu des années 1950, l'influence de la JAC et de la JACF est maximale, auprès de fils et filles de paysans moyens, caractéristiques de ces régions. JAC et JACF, grâce à leur posture de mouvements d'"éducation totale par l'action", mettant en avant la notion d'"épanouissement" de la personne, jouent un rôle majeur pour les guider face aux enjeux du "progrès" agricole et des mutations sociales en cours. Dans ces "pays chrétiens", le référent catholique demeure alors un ressort essentiel de l'aura jaciste. Pourtant, de la fin des années 1950 jusqu'à leur transformation en Mouvement rural de la jeunesse chrétienne (MRJC) en 1961-63, JAC et JACF peinent à conserver leur légitimité face à un Centre national de jeunes agriculteurs (CNJA) dont elles ont permis l'essor, et face à la diversification sociologique des campagnes.
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Laforge-Tallard, Magali M. A. "Les difficultés presentées par la traduction d'une oeuvre de la Côte ouest pour le lecteur européen." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30059.
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La literature de la Côte ouest demeure peu traduite en français. Son caractère unique et les difficultés posées par sa traduction expliquent en partie cet etat de fait regrettable. L'objectif de cette thèse est d'analyser les particularités de cette littérature régionale afin de la rendre plus accessible au traducteur et, par la-meme, au lecteur français.
Pour illustrer chacun des problèmes soulevés, des exemples concrets sont utilisés. lis sont tirés de deux nouvelles de Jack Hodgins, "Every Day of His Life" et "By the River", toutes deux publiées dans Spit Delaney's Island (Toronto: Macmillan, 1976). Ces oeuvres, profondément régionalistes, fournissent une excellente source de thèmes propres à la littérature de la Côte ouest et de problèmes particuliers pour le traducteur. Chaque question traitée est accompagnée de l'étude d'un cas de traduction offrant diverses solutions possibles et expliquant leur pertinence dans le cadre d'une oeuvre de la Côte ouest.
Cette analyse pratique est suivie d'un dialogue avec Jack Hodgins, visant à préciser et, dans certains cas, rectifier l'approche du traducteur et son interprétation de l'oeuvre à traduire. Des exemples de modifications qu'il est possible d'apporter àune traduction, grâce au dialogue avec l'auteur, sont proposés et discutés. Pour conclure, il sera débattu des avantages et des inconvénients d'une telle collaboration.
Cette thèse met en évidence la richesse de la littérature de la Côte ouest et offre un certain nombre d'outils indispensables a sa traduction. Les caractéristiques de cette littérature régionale, une fois reconnues et comprises par le traducteur, ne forment plus un obstacle à sa lisibilité pour le lecteur françis. Elles lui ouvrent au contraire tout un univers jusqu'alors insoupçonné.<br>Arts, Faculty of<br>French, Hispanic, and Italian Studies, Department of<br>Graduate
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Pesant, Monique. "Développement de l'intrigue dans l'Évangile de Marc : Rhoads et Michie (1982) et Kingsbury (1989) revisités." Master's thesis, Université Laval, 2002. http://hdl.handle.net/20.500.11794/66133.
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À la suite de Rhoads et Michie (1982), et de Kingsbury (1989), l’évangile de Marc est étudié comme récit. Le développement de l’intrigue est analysé en fonction des divers types de conflits qui surviennent entre Jésus et les forces d’opposition à l’avènement du Règne de Dieu. Le Mémoire comporte trois parties. Première partie: préalables à l'étude — problématique (p. 6-20); précision des termes (p. 21-48). Deuxième partie: aspects méthodologiques — théorie du récit (p. 50-90); procédure d'analyse des données et de présentation des résultats (p. 91-99). Troisième partie: développement de l'intrigue — vue d’ensemble de l’évangile (p. 101-135); conflits entre Jésus et les forces d'opposition à l'avènement du Règne de Dieu (p. 136-365). Le Mémoire comporte 105 tableaux présentés en appendices.
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Shi, Xiaoxiao. "Romans de la quête multiple : "La montagne de l'âme" (Gao Xingjian) et "Sur la route" (Jack Kerouac)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20010.
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Cette thèse consiste en une étude comparée de La Montagne de l’âme de Gao Xingjian et Sur la route de Jack Kerouac ayant « la quête » comme problématique centrale. Bien qu’à première vue les deux œuvres apparaissent fort différentes, selon l’esprit de la littérature comparée, elles méritent une confrontation minutieuse et nous estimons qu’elles possèdent quantité de points communs : Premièrement, il s’agit de deux romans foisonnants qui englobent bon nombre de genres romanesques et semblant relever simultanément de plusieurs catégories : roman autobiographique, roman-géographe, roman de pèlerinage, roman picaresque, roman de mœurs, roman de méditation, et enfin roman « froid » et « sans-isme ». Par leurs différents aspects, ces deux œuvres peuvent satisfaire aux attentes de divers lecteurs. Deuxièmement, au plan stylistique, La Montagne de l’âme et Sur la route sont deux romans insolites. L’innovation de La Montagne de l’âme se manifeste par la pratique d’un mode de narration inédit, la particularité linguistique, la singularité dans la structure, l’hétérogénéité du matériau romanesque, bref par une grande originalité formelle. Quant à Sur la route, sa nouveauté se manifeste d’abord par sa création fondamentale, à savoir la prose spontanée. Elle s’exprime aussi par la particularité de la construction romanesque, l’originalité de l’écriture et la singularité du contenu. Troisième parenté fondamentale : La Montagne de l’âme et Sur la route se présentent comme deux quêtes de l’espace. Montagne, chemin et maison sont trois motifs récurrents communs à ces deux romans qui sont également deux odes aux grands espaces. Les protagonistes relatent les itinéraires parcourus en Amérique et en Chine et l’on peut voir dans ces livres deux odes aux cultures nées dans les grands espaces. À l’intérieur de ces deux œuvres, les paysages romanesques se recommandent par leur caractère pictural et polysensoriel. L’espace typographique du texte est également aménagé avec art : les deux romans sont à la fois découpés et cousus. Enfin, considérés sous l’angle de la spiritualité, La Montagne de l’âme et Sur la route peuvent être dits romans de l’âme : de nombreuses questions spirituelles y sont intégrées, posées et approfondies. L’un et l’autre traitent la quête du sens de la vie, plus précisément, la quête de l’ego (identité, soi), la quête d’un mode de vie (fondé sur le présent, la liberté) et la quête métaphysique (destin, mort, croyance). Ces quatre similitudes correspondent à quatre quêtes que les deux oeuvres déploient à leur façon : la recherche d’un genre romanesque, d’une stylistique originale, d’un espace romanesque et enfin d’un sens de la vie<br>The thesis is about the comparative analysis which concern about the main concept of quest where from soul mountain of Gao Xingjian and On the Road of Jack Kerouac. Although these two books seem quite unlike, by the spiritual of comparative literature, they totally worth to be comparative studied carefully, and we think they have quite much in common.First, these two novels are both rich in connotation, they cover many of the novel categories, such as autobiographical novel, geographical novel, pilgrimage novel, picaresque novel, novel of manners, novel of meditation, the “cold” novel and non socialist novel. In different aspects, these two works can meet the needs of different readers.Secondly, in the stylistics, the soul mountain and on the road are two unusual novels. The innovation of the soul mountain is the practice of singularity of narration, the singularity of language characteristic, the singularity of structure, the heterogeneity of the material, the singularity of the form. As for on the road, the creativity of the novel based on many aspects, namely the spontaneous prose, also the singularity of characteristic of the construction, the way of writing, and the uniqueness of content.The third, the soul mountain and on the road two novels both relate as they quest the idea of space. Mountain, road and house are three common recurrent motifs which show up in these two novels, which are also odes of wide open spaces. The protagonists narrate the travel through America and China. We can discover from the two books both contain odes which point to the cultures cultivated from the spaces. In these two works, the narrations about landscapes are both pictorial and also polysensoriel. Spaces typographic of the two novels are also rearranged with art: both cut and sewn. Finally, from the perspective of the spiritual, the soul mountain and on the road can be regarded as novels of the soul: many spiritual questions are quested and thoroughly researched. The two novels both deal with the quest for the sense of life, and more specifically, the pursuit of the ego, (identity, soi), the quest for the way of life (present, liberty), the quest for the metaphysical (destiny, death, religion).These four similarities are corresponding to the four quests of these two novels: the quest of novel categories, stylistics, space, sense of life
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Loundagin, G. John. "Signing the blues : toward a theoretical model based on the intertextuality of psycholinguistic metonymy and jazz phraseology for reading the texts of Jack Kerouac and Langston Hughes." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/897530.
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That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify.<br>Department of English
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Pretorius, Christo. "Ds. Jac van Belkum (1851-1933) Nestor van die Nederduitsch Hervormde Kerk van Afrika : 'n teologies-historiese studie /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-10262005-141122/.
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Vézina, Raphaëlle. "Cuvée 44 ; : suivi de L'héritage de la réception d’On the Road et de la posture d'écrivain de Kerouac selon les époques." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69524.
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Ce mémoire en recherche-création se décline en deux parties; un roman et un essai. Le roman et l'essai se répondent, en traitant tous les deux de la période des années 50, qui représente le contexte du roman On the Road qui sera analysé dans l'essai, mais aussi le moteur créatif qui a inspiré le roman Cuvée 44. Le roman, Cuvée 44, s'inspire de la filiation des romans de route et de quête personnelle dont On the Road est un des précurseurs. Il relate la vie mouvementée de Francine Boudreau, une jeune femme de quinze ans qui quitte son Québec natal en 1959 pour un monde de possibilités qui s'offrent à elle aux États-Unis, durant les années 50 et 60. Le lecteur est transporté un peu partout au pays, alors que la jeune femme tente de se poser quelque part. L'essai, quant à lui, traite de la réception de l'œuvre phare de Kerouac, On the Road, afin d'observer comment elle a évolué selon les décennies. En faisant ressortir les diverses critiques du roman de l'écrivain de la Beat Generation, on peut ainsi ressortir les différentes postures qui lui sont accordées au travers des époques, pour en voir les constantes et les disparités.
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Pretorius, Christo. "Ds. Jac van Belkum (1851-1933) : Nestor van die Nederduitsch Hervormde Kerk van Afrika : 'n teologies-historiese studie (Afrikaans)." Thesis, University of Pretoria, 2002. http://hdl.handle.net/2263/29051.
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Boas, Lincoln Braga Villas. "O desejo e sua encenação em memórias póstumas de Brás Cubas, Esaú e Jacó e memorial de Aires, de Machado de Assis." Universidade Federal de Alagoas, 2007. http://repositorio.ufal.br/handle/riufal/552.
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Cette étude a comme but l analyse des romans Memórias póstumas de Brás Cubas (1880-1),
Esaú e Jacó (1904) et Memorial de Aires (1908) de l oeuvre de Machado de Assis, par le
moyen des caractéristiques disposées dans son aspect narratif. On demontre que l aspect
narratif de ces romans surpasse les conventions stylistiques en vigueur à l époque de son
écriture et engendre des opérations discursives qui considèrent cet aspect comme l apparence
d un discours dont l ordre s établit par la voie des effets du sens. Ce sont ces effets du sens,
compris par les opérations discursives qui établissent, au cours de la narration, un indicatif de
la mise en scène du désir des personnages, déterminant de leurs choix et leurs destinées et
entrevu dans leurs paroles et leurs actions. De cette façon, on signale sur le texte un ordre
désirante parallele à l ordre de la narration. On prend la psychanalyse comme support
théorique, en faisant sa convergence sur la théorie et la critique littéraires. On relève plutôt,
dans l analyse y proposée, la construction et la forme du texte littéraire machadien selon ses
peculiarités.<br>Este estudo visa analisar os romances Memórias póstumas de Brás Cubas (1880-1), Esaú e
Jacó (1904) e Memorial de Aires (1908) da obra de Machado de Assis, através das
características que se dispõem em seu aspecto narrativo. Demonstra-se que o aspecto
narrativo desses romances ultrapassa as convenções estilísticas vigentes à época de sua escrita
e engendra operações discursivas que enquadram esse aspecto como aparência de um discurso
cuja ordem se estabelece pela via dos efeitos de sentido. São esses efeitos de sentido,
compreendidos pelas operações discursivas, que instituem, no curso da narração, uma
indicativa da encenação do desejo das personagens, determinante de suas escolhas e destinos
e entrevisto em suas palavras e ações. Pontua-se, desse modo, no texto, uma ordem desejante
paralela à ordem da narração. Toma-se como respaldo teórico a psicanálise, fazendo-se sua
convergência à teoria e crítica literárias. Releva-se, principalmente, na análise proposta, a
construção e a forma do texto literário machadiano em suas peculiaridades.
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Bigio, Chrem Jack, and Víctor Ramírez. "Proyecto del Libro de Registros Públicos presentado a la Comisión encargada del Estudio y Revisión del Código Civil de 1936 por los Drs. Jack Bigio Ch. y Víctor Ramírez V." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/116143.
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Romer, Wayne. "David Amram (b. 1930): Analysis of Selected Works for Wind Band: King Lear Variations, Andante and Variations on a Theme for Macbeth, Ode to Lord Buckley." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267720358.
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Sojcher, Frédéric. "Le cinéma belge et l'Europe : institutions et identités culturelles." Paris 1, 1996. http://www.theses.fr/1996PA010532.
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Histoire économique et esthétique du cinéma belge, dans une perspective européenne. L'hypothèse de départ est la suivante : les structures de production déterminent en grande partie le contenu et la forme des films. A partir de l'exemple d'une "petite cinématographie", se posent les questions de la pertinence des subventions publiques et des co-productions, qui risquent de détourner le "sens identitaire" des films. La thèse se réfère aux débats du Gatt sur "l'exception culturelle". Elle rencontre la problématique de la diversité européenne, au sein du "grand marché", et interroge la "nécessaire" union économique, dans un domaine qui mêle si étroitement "l'art et l'industrie", pour reprendre la célèbre formule de Malraux<br>Economic and aesthetic history of the Belgian cinema, from an European viewpoint. The original hypothesis is the following one : the structures of production determine, for the most part, the contents and the form of the films. From the example of a short cinematography, arise the questions of the pertinence of public grants and of the coproductions which may divert the meaning of identity. This study refers to the debates of the Gatt about the "cultural exception". It meets the problematic of the european diversity, within the "big market", and questions the "necessary" economical union in a field which so closely mingles "art and identity", to quote one of Malraux's most-known expressions
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Brasebin, Jenny. "Road novel, road movie : approche intermédiale du récit de la route." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030088.
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Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des oeuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’oeuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures<br>Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac,followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literarycriticism, and recently extended by scholars to cinematographic objects. We show how road novels and roadmovies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narrativescalls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures
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Oneto, Sánchez Adriana Pamela. "La estética y la narrativa de lo macabro y lo siniestro como propuesta dentro de la filmografía animada infantil desde El extraño mundo de Jack (1993), El cadáver de la novia (2005) y Frankenweenie (2012) de Tim Burton." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/656509.
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El presente trabajo analiza la existencia de propuestas filmográficas con características siniestras y macabras, dentro de la estética y la narrativa, en el género cinematográfico de la animación, siendo Tim Burton su mayor exponente. Este género guarda una estrecha relación y está vinculado a un público considerado susceptible a contenido de dicha naturaleza, el público infantil. Sin embargo, muchos de los elementos macabros y siniestros aportan al desarrollo de la historia mostrando situaciones y personajes interesantes, reales y atractivos. Es así como se busca analizar dichos elementos para poder entender de dónde provienen y su aporte a la historia desde la estética y la narrativa; a través de la investigación descriptiva.
Llegando a apreciar cómo esta propuesta, ejemplificada por Tim Burton, es una alternativa al universo de la animación, la cual mezcla elementos que no han sido explorados a profundidad en este género cinematográfico, pero que aportan nuevas perspectivas a los espectadores.<br>This investigation analyze the existence of filmographic proposals with sinister and macabre characteristics, related to the aesthetics and narrative, which can be found in the animation genre. Also, this investigation will be taking Tim Burton as it’s major expositor. This genre is associated with public that can be affected by this kind of content, minors. But a lot of these elements considered as macabre and sinister contribute to the development of the story showing all kinds of interesting, realistic and attractive situations and characters. For that reason, this research takes those elements to understand their origin and how they contribute to the story from the aesthetic and the narrative, using the descriptive research as a tool.
Taking the director Tim Burton as a major expositor for these kind of animated films, he also shows it like an alternative in these universe, which took unexplored elements in these filmographic genre and add new perspectives to the viewers.<br>Tesis
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CARTER, STEVEN MICHAEL. "EPISTEMOLOGICAL MODELS SHARED BY AMERICAN PROJECTIVIST POETRY AND QUANTUM PHYSICS." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187927.
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The American Projectivist verse of Jack Spicer, Charles Olson, and Robert Duncan contains within its poetics many epistemological assumptions shared by quantum physics. These assumptions exist in three broad categories: perception, process, and wholeness. In physics, the epistemology of perception has been profoundly altered by the Heisenberg Uncertainty Relation, which creates a symbiotic relationship between the observer and the observed. At least one photon of light is necessary to observe an electron; one photon is sufficient to alter the electron's momentum or position; therefore, a physicist affects an electron's "fate" in the act of observing it. Similarly, in Projectivist poetics, the perceptions of the reader are often enlisted to help "compose" the poem which is offered to him in "pieces," or, as in Robert Duncan's poetry especially, in self-reflexive segments. By "self-reflexive," we further mean that the Projectivist poem often "mirrors itself" as an electron "mirrors itself" as wave or as particle, while it is paradoxically both. A Projectivist poem may pause halfway through and "unravel" itself, i.e., study its own etymology. The reader thus must participate in "putting the poem back together," as the physicist participates in the phenomena he observes. The second epistemological model in physics and poetry stresses becoming, rather than being. Matter at the subatomic level has been defined as energy-in-flux. Similarly, the Projectivist poems of Charles Olson especially often exist as "fields" with no syntactical beginnings or endings. Moreover, the "I" of the Maximus Poems is often seen in a perpetual process of becoming the world of spacetime in the poems, creating a system similar to the being-and-becoming model of particle-and-field in quantum mechanics. Third, wholeness is a premise governing poetry and physics separately and together. Jack Spicer's thematics blend matter and consciousness, as "love and death matter/Matter as wave and particle." Similarly, Robert Duncan's poetics describes a "dancing organization between personal and cosmic identity." In physics, wholeness is seen primarily in an "implicate order" which attempts to overturn the old paradigms of fragmentation and connect matter and consciousness, including language, as interrelated systems of information.
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MARTINS, FILHO Neuton Vieira. "A melancolia como provocação à resistência em Tristessa e Nove noites." Universidade Federal do Pará, 2014. http://repositorio.ufpa.br/jspui/handle/2011/5876.
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Previous issue date: 2014<br>Temos como principal objetivo nesse estudo analisar, enquanto narrativas de resistência, os romances Tristessa do escritor norte americano Jack Kerouac e Nove Noites do brasileiro Bernardo Carvalho. Partimos da hipótese que ambos constituem narrativas de resistência inerente à escrita (BOSI, 2012), quando a resistência não é tema da obra, mas manifesta-se na construção das personagens e no desenrolar da trama. Neste caso, o elemento utilizado como meio de manifestar a resistência é a melancolia. Pretendeu-se verificar por meio de um estudo de caso, como ambos os romances trabalham representações do sujeito em sua relação com a morte com base em processos melancólicos e como a melancolia se encontra ligada a uma atitude de resistência predominante na escrita. Assim, examina-se a melancolia enquanto patologia (FREUD, 2005) e elemento estético, assim como o processo da narrativa de resistência ao mesclar ética e estética. Para tanto foram considerados os contextos sociais nos quais as narrativas foram escritas, e como estes indicam que cada romance faz uma crítica social a uma força opressora contemporânea a sua publicação. Durante nosso estudo, por meio de análise comparativa, constatamos que temas com a perda, a morte, a ruína, o afastamento melancólico, a marginalização social e a transitoriedade do real são comuns aos dois romances.<br>The main object in this study is analyze as narrative of resistance, the novels Tristessa by Jack Kerouac and Nove Noites by Bernardo Carvalho. It hypothesized that both form narratives of resistance innate to writing (BOSI, 2012), when the resistance is not the theme of work, but manifested in the construction of the characters and the unfolding of the plot. In this case, the element used as a way to express resistance is melancholy. It intended to verify through a case study, how both novels work representations of the subject in its relation to death based on melancholic process and how melancholy is connected to an attitude of resistance prevalent in writing. Thus, it examines the melancholy as pathology (FREUD, 2005) and aesthetic element, as well as the process of narrative resistance merges ethics and aesthetics. For this, it considered the social contexts in which narratives were written and how they indicate that each novel does a social criticism to an oppressive force at the time of their publication. During this study, through comparative analysis, it certified that themes as the loss, the death, the melancholy remoteness, the social marginalization and the real transience are common to both novels.
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Sendra, Sophie. "Réflexions philosophiques sur les réalités non-ordinaires d'une littérature de la perception : Huxley, Kerouac, Castaneda." Nice, 2007. http://www.theses.fr/2007NICE2003.
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Ce travail de recherche s’interroge sur la fonction et la signification des états de réalité non-ordinaires que l’on appelle également états de modification de la conscience. Au travers des théories philosophiques de la conscience et de la perception, nous verrons de quelle façon celles-ci ont évolué de Descartes aux sciences cognitives. Loin de nous focaliser sur une analyse liée essentiellement à la philosophie, nous inclurons dans notre recherche l’étude d’une littérature de la perception, celle-là même qui se manifesta outre-atlantique à partir de la seconde moitié du XXème siècle. En nous intéressant exclusivement aux passages les plus significatifs de certains ouvrages d’écrivains tels que Aldous Huxley, Jack Kerouac et Carlos Castaneda, nous tenterons de cerner les limites perceptives de notre conscience. Nous nous interrogerons sur la possibilité d’une philosophie ouverte et sur une éventuelle relativité de la perception au travers de ces états de réalité non-ordinaires<br>This research work tries to question on the function and the signification of states of nonordinary reality also called states of modification of conscience. Through philosophic theories of conscience and perception, we’ll see how they evolued from Descartes to cognitives sciences. Far from focus ourselves on an analysis tied to philosophy, we’ll include in our research a study of a litterature of perception, the american ones wich begin in the second half of the 20th century. Exclusively focusing on significatives excerpts of some books by writers like Aldous Huxley, Jack Kerouac and Carlos Castaneda, we’ll try to define the perceptives limits of our conscience. We’ll question ourselves on a possibility of a wider philosophy and on a possible relativity of perception through these states of nonordinary reality
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Morgan, Harry. "Formes et mythopoeia dans les littératures dessinées." Paris 7, 2008. http://www.theses.fr/2008PA070103.
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Cette thèse poursuit une recherche précédente menée hors du cadre universitaire (Harry Morgan, Principes des littératures dessinées, Editions de Tan 2,2003). Elle est une contribution à une théorie de la bande dessinée (une stripologie) moderne, résolument empiriste, qui situe les procédés formels qu'elle identifie dans le contexte général de la narration visuelle et relativement à des support qui sont le livre, l'estampe, le journal quotidien, le périodique, etc. L'étude est centrée sur l'interaction entre les contraintes physiques, sémiotiques et éditoriales pesant sur le médium et le contenu. Pénétrant outre les apparences du monde d la fiction, elle aborde les grandes lois de l'organisation de ce monde. On propose d'appeler fonction mythopoétique des littératures dessinées cette définition d'un univers par les caractéristiques formelles et les mécanismes spécifiques du médium. Le corpus comprend la planche dominicale Zig et Puce d'Alain Saint-Ogan, le newspaper stripLittle Orphan Annie de Harold Gray, le comic book The Fantastic Four de Jack Kirby et la totalité des récits en bande dessinée de Jean-Claude Forest<br>Our thesis elaborates upon a previous scholarly work (Harry Morgan, Principes des littératures dessinées, Editions de l'an 2, 2003). Our aim is to contribute to an empirical theory of comics (a stripology), which places the rhetorical devices found in comic book or comic strip stories in the wider context of visual narrative but also in the narrower context of the relevant editorial form, such as a book, a print, a daily newspaper, a periodical publication (such as a weekly), etc. The analysis is centered on the interaction between the physical, semiotical, and editorial constraints of the comic narrative and the contents of the stories. This leads not onty to an examination of the peculiarities of the fictional worlds of comics, but to a wider understanding of the laws that govern such worlds. It is suggested that such a definition of an imaginary world by the formal characteristics and the narrative mechanisms of the comic form is a function of a mythopoetic potentiality of comics. The Sunday page of Zig et Puce by Alain Saint-Ogan, the newspaper strip Little Orphan Annie by Harold Gray, thé comic book The Fantastic Four by Jack Kirby and the entire œuvre of Jean-Claude Forest are examined in detail
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Brito, João Luiz Teixeira de. "Poética beat no cinema: “Howl” e On the road." www.teses.ufc.br, 2015. http://www.repositorio.ufc.br/handle/riufc/12650.
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BRITO, João Luiz Teixeira de. Poética beat no cinema: “Howl” e On the road. 2015. 228f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-08T11:16:58Z
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Previous issue date: 2015<br>This paper constitutes a comparative study between the pinnacle works of the American beat generation of the twentieth century (“Howl”, by Allen Ginsberg, and On the road, by Jack Kerouac) e their filmic adaptations produced in the first decade of the twentieth first century. Our goal is to bring forth a dialogue established by these four objective elements, based on the analysis of the congress of their individual poetics, and, in light of this, to contribute to a process that appears to be contemporarily inescapable, the relations between cinema and literature. To this end, the following dissertation will consist of the study of regularities of behavior in the adaptation process presented in the corpus before us as a means of deducing and describing possible systemic norms that underlie and regulate the transpositions between the beat literary system and the contemporary cinematographic system. On the other hand, but not separately, as we understand adaptation as rounded semiotic systems, we must consider the contexts in which they are inserted and what relations they actualize within their arrival system, not only that but investigate possible analogies to the departure system, We hope to demonstrate that these different strands of the problem are intertwined and connected if we create a common filed of tension in which the art-works are able to sustain dialogue – this we endeavored to do with the stablishment of an organizing principle, the common theme of madness. Our goal is, ultimately, to try to equate the importance of the product of adaptation and its counterpart in our analysis, transforming the field of Translation Studies into something closer to Compared Studies – of Literature or Cinema, as if our objects of research were ontologically comparable entities. We base our endeavor to achieve this task in the works of Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), amongst others.<br>Este trabalho constitui um estudo comparativo entre as produções literárias pinaculares da geração beat americana de meados do século XX (“Howl” de Allen Ginsberg e On the Road de Jack Kerouac) e as suas reescrituras fílmicas produzidas na primeira década do século XXI. Procuramos aqui trazer a diálogo as quatro obras e, fundamentando-nos em uma análise do congresso de suas poéticas, contribuir para o estudo de um processo que nos parece contemporaneamente inescapável, a relação entre cinema e literatura. Para tanto, a presente dissertação consistirá do estudo das regularidades de comportamento do processo tradutor apresentadas no corpus que nos é possível analisar de modo a deduzir e descrever as possíveis normas sistêmicas que subjazem e regulam as transposições entre o sistema literário beat e o sistema cinematográfico contemporâneo. Por outro lado, mas não separadamente, na medida em que enxergamos as adaptações como sistemas semióticos acabados, devemos considerar os contextos em que elas se inserem e que relações elas desenvolvem dentro do sistema de chegada, além de investigarmos possíveis analogias com os contextos e sistemas de partida. Esperamos demonstrar que estes lados do problema se interligam se criarmos um campo tenso comum em que as obras possam dialogar, o que buscamos fazer através do estabelecimento de um princípio organizador, o tema comum da loucura. Nossa proposta é, finalmente, tentar igualar a importância do produto da tradução e do elemento de partida em nossa análise, transformando o campo dos estudos da tradução em algo mais próximo dos Estudos Comparados – de Cinema ou Literatura, como se nossos objetos fossem seres ontologicamente equiparáveis. Pautamo-nos, para realizar esta tarefa, nos trabalhos de Walter Benjamin (2012), Mikhail Bakhtin (2010), Itamar Even-Zohar (1990), Jacques Derrida (1995), Maurice Blanchot (1987), Michel Foucault (1989), Gideon Toury (1995), Patrick Catrysse (1992), entre outros.
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Jacob, François. "La beat generation : à la croisée des chemins de l'art et de la littérature (1944-1975)." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10149.
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Cette étude explore les relations entre la "Beat Generation" et l'art. Elle se penche principalement sur les oeuvres plastiques de William S. Burroughs (1914-1997), Jack Kerouac (1922-1969) et Allen Ginsberg (1926-1997). La période choisie pour cette recherche débute en 1944 et se poursuit jusqu'en 1975, c'est-à-dire de la formation du groupe à la fin de l'idée de contre-culture. L'analyse ne se limite pas à la constatation d'un va-et-vient entre le mot et l'image, mais démontre que les écrivains de la "Beat Generation" sont en prise direct avec l'art de l'époque et vont explorer toutes les techniques plastiques pour exprimer en dehors de leur œuvre littéraire. En abordant l'aventure artistique, les trois "Beats" sont confrontés à la notion d'"ekphrasis": ils prolongent un long héritage à travers des disciplines artistiques différentes: la peinture, le croquis ou la technique du collage<br>This study exlpores the relationship between art and the "Beat Generation". It mainly focuses on the plastic works of William S. Burroughs (1914-1997), Jack Kerouac (1922-1969)and en Ginsberg (1926-1997). The field of research covers the period from 1944 to 1975, i.e. from the formation of the Group to the end of the idea of counterculture. The analysis does not limit itself to the description of the back and forth movements between literature and the arts. The "Beat Generation" writers were in fact directly connected to the art of their time and explored all kinds of plastic techniques to express themselves independently from their lierary works. In addressing the adventures of the artistic experience, the three "Beats" were confronted with the notion of "ekphrasis" and obviously prolonged an old legacy through different artistic disciplines like painting, drawing or collage
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Picot, Jean-Pierre. "Contribution à une étude de l'imaginaire chez quelques écrivains des XIXe et XXe siècles." Clermont-Ferrand 2, 1988. http://www.theses.fr/1988CLF20012.
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Autour des voyages extraordinaires de jules verne, cette contribution envisage un corpus dont la coherence se veut d'ordre psycho-thematique : le voyage comme exploration de la mort, et l'ecriture comme voyage fantasmatique. Des lors, le voyage n'est plus seulement le reve d'epuiser les ressources de la mappemonde, mais aussi un reve d'utopies : utopies de l'ailleurs, de l'amour, du futur, d'un accord nature-societe-utopies qui se voient contraintes, devant les ingerences du siecle, a l'exorcisme paradoxal que constituent les diverses contre-utopies : mal moral explore par le recit policier ou le recit fantastique, souvent associes ; mal politique envisage tant en fonction des blocages imposes au desir, que des trop reelles oppressions d'une histoire titubant a l'aveuglette- tandis que la science-fiction tente d'y voir clair dans la stochastique du futur. D'ou la dilection de notre travail pour les differentes formes de la litterature des limites, celle qui, sachant que le monde n'est que notre representation, se soucie peu des normes d'un pseudo-realisme reducteur. Merveilleux, fantastique, science-fiction, utopie et contre-utopie, poesie et exploration du mal sont donc autant de manieres de dire, non pas l'absurdite, mais le sens infini du monde. Que la transcendance debute par l'ecrit, tel fut peut-etre, du premier au dernier de ces textes, notre fil conducteur<br>This thesis is a corpus centred round jules verne's voyages extraordinaires and its coherence is meant to be psychothematic : travelling is seen as an exploration of death, and writing as an imaginary journey. Thus, travelling is not merely a dream of exhausting what a map of the world may offer, but also a dream of utopias : the utopias of the extraneous, of love, of the future, of a harmony between nature and society - such utopias are forced into the para- doxical exorcism which the various counter-utopias have formed: a moral evil explored by detective of fantastic narratives, a political evil seen as a repre- hension of desires and as the oppression inflicted by history- meanwhile science-fiction tries to see through a hazardous future. Hence our preference for the various aspects of the literature of limits, which, aware that the world is only our weltanschaaumg, is quite heedless of the rules of a reducing pseudo-realism. Therefore, the wonderful, the fantastic, science-fiction, utopias and counter-utopias, poetry and the exploration of death are as many ways of expressing not the preposterousness but the infinite significance of the world. Let transcendency begin with writing, such was, perhaps, our clew, from the first to the last of these texts
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Beveridge, Thomas Gordon. "Jack Kerouac and the liberal tradition." 2003. http://hdl.handle.net/1993/19801.
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Roberts, Gail Catherine. "Post-modern Menippea : the satirical works of Jack Hodgins." 1985. http://hdl.handle.net/1993/24164.
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"Visions of enlightenment: aspects of Buddhism in Jack Kerouac, Allen Ginsberg and Gary Snyder." 2011. http://library.cuhk.edu.hk/record=b5894698.
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Chan, Tsz Shan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 100-102).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter 1. --- Jack Kerouac and the Concept of Emptiness --- p.20<br>Chapter 2. --- Gary Snyder and Autonomous Nature --- p.43<br>Chapter 3. --- Ginsberg and the Sunyata Consciousness --- p.70<br>Conclusion --- p.95<br>Bibliography --- p.100
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Neufeld, Marjorie Anderson. "Gifts from a shaman : Jack Hodgins' major prose fiction as modern romance." 1986. http://hdl.handle.net/1993/15454.
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XU, WENLI. "Modelling Jack Pine (Pinus banksiana Lamb) and Black Spruce [Picea mariana (Mill.) BSP] growth and yield in Manitoba." 2012. http://hdl.handle.net/1993/8880.
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This study develops forestry growth and yield models for two economically important tree species in Manitoba, black spruce [Picea mariana (Mill.) BSP] and jack pine [Pinus banksiana Lamb]. The growth and yield models developed include regression-based individual tree height growth and site index, tree diameter (basal area) growth, tree bole taper, and individual tree mortality models. These regression-based models were developed empirically, using stem analysis, growth and mortality data from 80 permanent sample plots located within the commercially important boreal forests of Manitoba. Model development involved the exploration, comparison and testing of numerous potential regression models and predictor variables. Statistical issues commonly encountered in forest growth and yield modeling, particularly data autocorrelation and variable multicollinearity, were addressed using nonlinear least squares (NLS), generalized nonlinear least squares (GNLS), and nonlinear mixed-effects model regression (NLMM) approaches.
Height growth and site index of black spruce and jack pine was modelled using a three-parameter generalized logistic function. NLMM regression was used since the data were spatially autocorrelated. The inclusion of prior measures from individual trees produced more accurate predictions. In the tree diameter (basal area) growth models, tree size variables were significant predictors for black spruce and managed jack pine stands. Site index (a measure of site productivity) was positively correlated, and basal area of trees larger than the target tree (a relative measure of competition) negatively correlated, with diameter increment. Thiessen polygon area, a spatial measure of competition, was a significant predictor for natural jack pine and upland black spruce stands. Tree bole taper was modeled by NLMM approach using a five-parameter equation based on dimensional analysis, with breast height diameter, total height and relative height as predictor variables. The inclusion of a single prior measure from each tree improved model prediction. Black spruce and jack pine mortality was modeled using logistic regression. The black spruce models predicted high survivorship for larger, fast-growing trees in less crowded stands. In the jack pine model, highest survivorship was predicted for larger, less locally crowded trees.
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Zwiazek, Janusz J. "Some effects of sodium fluoride on the metabolism and structure of Jack pine (Pinus banksiana Lamb.) seedlings." 1987. http://hdl.handle.net/1993/9527.
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Essery, Erin. "The Role of Alnus viridis ssp. crispa (Ait.) Pursh (green alder) in Boreal Jack Pine Forests in Southeastern Manitoba." 2010. http://hdl.handle.net/1993/3950.
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I compared understorey communities under Alnus viridis ssp. crispa (Ait.) Pursh (green alder) and Corylus cornuta Marsh. (beaked hazel) in two boreal jack pine forests. There was no difference in inorganic soil nitrogen, but alder plots had lower species richness at Star Lake and higher evenness in the Sandilands. I incubated chopsticks and litterbags containing natural litter assemblages underneath A. crispa and C. cornuta in the field, and litterbags containing artificial litter mixes in a dark growth chamber. There was no significant difference between treatments for litterbags or chopsticks in the field, nor between mixes with or without alder in the growth chamber.
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Botková, Petra. "Jak se žilo před a po roce 1989 z pohledu lidí bez domova." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-410763.
Full textAbstract:
The purpose of this work is to introduce the reader to people whose lives have only been of marginal interest to modern historiographers. It portrays the formation of personal stories of people who live on the edges of society. The narrators are people who were older than 18 years in 1989 and who have personally experienced homelessness after the Velvet Revolution. Homelessness is explored as a public phenomenon appearing alongside the transformation of the Czech Republic. However the work also touches on the history of homelessness in the area before 1989. The research is based primarily on the oral history method with currently homeless people. Key words homelessness, oral history, 1989
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Xu, Wenli. "Developing ecoregion-based height-diameter models and reference-age invariant polymorphic height and site index curves for black spruce and jack pine in Manitoba." 2004. http://hdl.handle.net/1993/7867.
Full textAbstract:
Eight different height-diameter models, five height prediction models with stand variables as predictors and six height and site index models were selected, examined, compared and developed for black spruce (Picea mariana [Mill.] B.S.P.) and jack pine (Pinus banksiana Lamb.) in Manitoba. Eight different height-diameter models were fitted using nonlinear modeling techniques and compared in each of the five ecoregions in Manitoba: Churchill River Upland (Ecoregion 88); Hayes River Upland (Ecoregion 89); Lac Seul Upland (Ecoregion 90); Lake of the Woods (Ecoregion 91); Mid-Boreal Lowland (Ecoregion 148). Results suggested that the Weibull-type and Chapman-Richards models were the most suitable models. Differences of the height-diameter relationship among and between ecoregions were tested. Testing results suggested that height-diameter models significantly differred between ecoregions, indicating ecoregion-based or 'local' height-diameter models are needed for prediction purposes. The ecoregion-based height-diameter models developed in this study may provide more accurate information for developing forest growth and yield models. Five height prediction models were examined with the addition of stand density variables into the base height-diameter model. Adding stand variable resulted in increased prediction accuracy. Six height and site index models were examined and compared for black spruce and jack pine based on the provincial stem analysis data and the most suitable models were selected for Manitoba and the provincial height and site index prediction tables were produced.
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Blahníková, Hana. "Jak často a proč byli Češi diskriminováni? Srovnání situace před a po roce 1989." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-271524.
Full textAbstract:
This thesis focuses on research of social discrimination in the Czech Republic before and after the year of 1989. It is viewed through experiences of Czech people with specific causes of discrimination through which the occurrence of discrimination is mapped. Thesis begins with definition of social discrimination and report of relevant theories. That is followed with specification of researched problem and investigative questions, used files and variables. Further more it interprets executed focus group research. The first empirical part of the research, a secondary analysis of social discrimination, aims to identify changes that had happened through 1990s and to explore specific causes of discrimination and its relations. Time context is emphasized within the research. The analysis is completed by comparison of western and post communist countries in the years of 1991 and 1995. Powered by TCPDF (www.tcpdf.org)