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Letessier, Anne-Sophie. "Paysage(s) : l'écriture et l'image dans l'oeuvre romanesque de Jane Urquhart." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30064.
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Cette étude se propose d’analyser les relations entre le paysage, l’écriture et l’image dans les romans de Jane Urquhart afin de rendre compte des enjeux politiques et esthétiques des interrogations qui sous-tendent l’écriture paysagère dans son œuvre. En mettant en scène différentes manières de voir, de regarder et d’appréhender l’environnement, la romancière fait perdre son caractère d’évidence au paysage, défini comme une vue que le regard du spectateur embrasse. En effet, chez Urquhart, il n’y a pas du paysage, mais des paysages, le texte travaillant les cadres intertextuels et interpicturaux pour faire jouer les écarts entre les différentes formes que peut prendre le paysage. Il ne convoque pas l’image pour dire le paysage, mais pour mettre en lumière les limites de sa définition visuelle et esthétique. Ceci nous invite donc à repenser le lien entre visibilité et paysage. Refuser de dire le paysage par le biais de l’effet-tableau et de l’ekphrasis paysagère pour mieux le dissocier de sa définition picturale permet à Urquhart de réfléchir au rapport analogique entre le faire de l’image et l’épreuve paysagère. L’effacement du visible, par lequel le texte cherche à détacher le paysage et l’image de leur définition aspectuelle, est ainsi une problématique d’écriture. Si, dans tous les romans d’Urquhart, la langue s’affronte à un espace, ce qu’elle cherche à en dire et à mettre en œuvre varie. On peut rendre compte de cet infléchissement en faisant jouer l’ambivalence de l’expression « l’épreuve de l’écriture », expression dans laquelle l’écriture est à la fois matière et sujetThis dissertation proposes to analyze the relations between landscape, images and text in the novels by Jane Urquhart in order to shed light on the political and aesthetic interrogations underlying her landscape writing. As Urquhart dramatizes different ways of seeing, representing and experiencing landscape, the very term no longer appears self-evident, which may prompt the reader to prefer the plural form: landscapes. Indeed, the interplay between the intertextual and interpictorial frames the novelist draws upon and displaces becomes a field of investigation. She does not conjure up the pictorial image to better describe landscape, but rather to probe the limits of its visual and aesthetic definition as “a view or prospect of natural scenery.” By doing so, she reconsiders the relation between visibility and landscape. Refusing to write about the latter through “painting-effects” or ekphrasis, she reflects upon the analogy between the efficacy of images and landscape as an event in the course of which the beholder is affected by his/her surroundings. The erasure of the visible provides her with a device to dissociate both the pictorial images and landscape from aspectual apprehension. While in each of her novels language is confronted with the challenge of representing space, one may read them as a series of reconfigurations which can be accounted for by considering what the text does in relation to landscape
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Verhagen, Erik. "Représentation et transformation : l'oeuvre photographique de Jan Dibbets (1969-1989)." Paris 4, 2000. http://www.theses.fr/2000PA040056.
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Cette recherche a pour ambition d'analyser et d'interpréter l'œuvre photographique de l'artiste néerlandais Jan Dibbets, né à Weert (Pays-Bas) en 1941. La première partie de notre travail consiste à redéfinir les racines d'une œuvre pour le moins en décalage avec le contexte (art conceptuel et minimal) qui l'a vue naitre et évoluer, et à proposer de nouvelles voies interprétatives qui s'articulent principalement autour d'une reconsidération du medium photographique. Cette réévaluation nous permet d'affirmer que l'image photographique véhicule tout autant l'idée de « trans-formation » que celle d' « in-formation » et qu'elle s'ouvre ainsi à de possibles procédures de représentation, au sens le plus pictural du terme. Sont analysées, suite aux corrections de perspective, dont les dernières datent de 1969, les œuvres qui mettent l'accent sur la représentation et la transformation de la dimension temporelle (1969-1971), de la ligne d'horizon (1970-1974), des structures (19731976) et de l'architecture (1977-1989).
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Déry, Maude. "Requiem (roman) : suivi de Poïétique et vulnérabilité sous tension dans le roman du peintre contemporain (essai)." Doctoral thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/33907.
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Tableau d'honneur de la FÉSPRequiem déploie un univers intimiste où deux narrateurs, l’un modèle nu, l’autre peintre ecclésiastique, vivent en huis clos dans le couvent du village qui les ont vus naître. Christophe et Frédérique, alias Sœur Hortense, n’entretiennent aucun lien de parenté. Leur rencontre, issue de circonstances troublantes, bouleverse leurs univers en même temps qu’elle leur donne l’occasion de réfléchir sur leur passé. Chacun d’eux est aux prises avec ses propres démons, comme des plaies impossibles à cicatriser. Pourtant, c’est cette fragilité qui les réunira et permettra à la toile de Frédérique de prendre chair. L’œuvre s’élaborera patiemment, dans le silence de l’atelier, là où les masques pourront enfin tomber. L’art devient, par le fait même, le reflet de leur fragilité, en même temps qu’une façon d’évoluer vers une certaine sérénité. L’essai critique de la seconde partie porte sur le roman du peintre contemporain, un sujet qui permet de prolonger la réflexion autour de la relation entre le personnage du peintre et du modèle. Comme dans Requiem, les récits de Monique Proulx, de Jane Urquhart et d’Henry Bauchau s’éloignent d’une dynamique axée sur l’érotisme et la nudité parfaite de la muse en la plaçant plutôt au cœur d’une poïétique fictionnelle qui la mobilise tout entière. La séduction ne se joue plus sur le mode de la passion charnelle, mais tire plutôt son origine des manques et des failles du modèle, qui, ultimement, seront transformés, transfigurés par la création. Cette analyse, inspirée des réflexions philosophiques sur la vulnérabilité (Ricœur, Levinas), nous a permis de mieux comprendre en quoi cette dernière est le gage de l’universalité des œuvres inscrites au cœur des récits étudiés. Elle a également légitimé un discours moins pessimiste autour du mythe de l’artiste, l’échec n’étant plus considéré comme une fin en soi, mais bien comme le tremplin vers une création résolument authentique.
Requiem sets in motion an intimate world where two narrators, one a nude model, the other an ecclesiastical painter, live in seclusion in the village convent, near where both characters were born. Christophe and Frédérique (Sister Hortense), do not have a relationship; their encounter, the product of troubling circumstances, turns their world upside down even as it gives them the opportunity to reflect upon their past. Both struggle with their own demons, like wounds that refuse to heal. However, it is this fragility that unites them and allows Frédérique’s canvas to become flesh and blood. In the silence of the workshop, where masks can finally crumble, the painting patiently takes shape. Consequently, art becomes a reflection of the narrators’ fragility as well as a way to evolve towards a certain serenity. The critical essay portion concerns contemporary artist’s novel, which is a subject that allows for a prolonged reflection on the relationship between the character of the painter and the model. As in Requiem, the stories of Monique Proulx, Jane Urquhart, and Henry Bauchau distance themselves from a dynamic centered on eroticism and the nude perfection of the painter’s muse by placing this one at the heart of a fictional poïétique that completely mobilises her. Seduction no longer plays out through physical passions, but rather originates from the shortcomings and flaws of the model, which will be transformed and transfigured by the act of creation. This analysis, inspired by philosophical reflections on vulnerability (Ricœur, Levinas), will allow us to better understand how the latter is the proof of the universality of the artwork inscribed at the heart of the stories studied here. This analysis also legitimates a less pessimistic discourse around the myth of the artist, in which failure is no longer considered as an end in and of itself, but as a springboard towards a resolutely authentic creation.
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Joosten, Jos. "Feit en tussenkomst geschiedenis en opvattingen van Tijd en Mens (1949-1955) /." Nijmegen : Vantilt, 1996. http://catalog.hathitrust.org/api/volumes/oclc/79874209.html.
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Mrázová, Martina. "Animátor loutkových filmů jeho existence a uplatnění ve 20. a 21. století." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202923.
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This master thesis deals with the problematic position of the Czech puppet animator. Based on interviews with two puppet animators, representing the current puppet animation and the last century Golden era, I am trying to figure out how the puppet animator worked in the last century and how he works today. For the current generation I draw from the experience of puppet animator Jan Štencl. For the past generation I draw from the experience of Mr. Jan Klos. I'm trying to clarify what puppet animator has had to know and if these kind of skills varies according to the period in which the animator works/worked. Furthermore, this theoretical work deals with the problems that animators are facing today and how to puppet animators respond to the expansion of 3D technology. In conclusion, I outline the various solutions to the current situation.
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Katz, David Brock. "Sidi Rezegh and Tobruk : two South African military disasters revisited 1941-1942." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96040.
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Thesis (MMil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: Sidi Rezegh and Tobruk are the largest disasters suffered by South Africa in its military history. Yet, despite their enormity, Sidi Rezegh and Tobruk are little understood and hardly remembered. South Africa declared war on Germany on the 6 September 1939, after a bitter internal debate, amounting to a conflict between Afrikaner nationalists and those who supported the British Empire. South Africa’s political ambivalence and disunity ran parallel to her unpreparedness for war in every important department from the lack of vital coastal defences to the miniscule size of her army and air force and complete lack of a navy. The first six months of 1941 saw the South Africans play a significant part in completely defeating the Italian colonial forces in East Africa. However, the campaign was poor preparation for what the South Africans were to encounter in the North African Desert months later. South African troops spent their time rebuilding fortifications in Egypt rather than in essential training to acclimatise this “bush war” army to harsh desert conditions. In a reluctant political decision, the unprepared South Africans were committed to Operation Crusader. The inexperienced South Africans met up with the battle hardened Afrika Korps at Sidi Rezegh on 23 November 1941 and were annihilated in the face of overwhelming odds. In revisiting this forgotten battle, it has been found, using primary and secondary sources, that the South Africans extracted an enormous price on the German armour in what may have been the true turning point of Operation Crusader. In May 1942, Rommel’s Afrika Korps sallied forth in a series of lightning moves that demonstrated the Axis grip on combined operations and managed to isolate the vital port of Tobruk commanded by an inexperienced South African, Major General H. B. Klopper. His surrender in one day is often compared to the previous siege endured under similar circumstances, where the Australians managed to hold Rommel at bay for 244 days until the siege was lifted. Klopper’s surrender of Tobruk resulted in a political crisis for Winston Churchill and for Jan Smuts, as the fiasco caused considerable tension within the Allied camp and within South Africa. On re-examination, interesting facts have emerged from the primary source material, as to the state of the Tobruk defences and of its unfortunate commander and how the United Kingdom, acting in concert with South Africa, sought to suppress the true facts. Immediate post-war memory has been shaped and distorted by sensitive political considerations that affected relations between South Africa and the United Kingdom. Thereafter, the memory of Sidi Rezegh and Tobruk was relegated first by a nationalistic Afrikaner government and then since by a democratically elected government, both of which have seen very little use in incorporating these two milestones into the national memory.
AFRIKAANSE OPSOMMING: Sidi Rezegh en Tobruk is die grootste nederlae wat Suid-Afrika in sy militêre geskiedenis ervaar het. Ten spyte van hul omvang, word daar min van Sidi Rezegh en Tobruk verstaan of onthou. Na ‘n hewige interne debat wat tot konflik tussen Afrikanernasionaliste en pro-Britse Suid-Afrikaners gelei het, het Suid-Afrika op 6 September 1939 oorlog teen Duitsland verklaar. Suid-Afrika se politieke verdeeldheid het saamgeval met die Unie se totale onvoorbereidheid vir oorlog, wat gestrek het van kritieke tekortkominge in kusverdediging, tot die ontoereikende grootte van die leër en lugmag en die totale afwesigheid van ‘n vloot. Gedurende die eerste ses maande van 1941 het Suid-Afrika ‘n beduidende rol gespeel om die Italiaanse koloniale magte in Oos-Afrika te verslaan. Dié veldtog was egter nie effektiewe voorbereiding vir die uitdagings waarteen die Suid-Afrikaners kort daarna in Noord-Afrika te staan sou kom nie. Die Suid-Afrikaanse troepe het daarby hul tyd daaraan bestee om vestings in Egipte te herbou in plaas daarvan om noodsaaklike opleiding te ondergaan om hul “bosoorlog”-leër vir ruwe woestynoorlogvoering voor te berei. ‘n Huiwerige, teensinnige politieke besluit het die onvoorbereide Suid-Afrikaners tot Operasie Crusader verbind. Die onervare Suid-Afrikaners het op 23 November 1941 by Sidi Rezegh teen die geharde Afrika Korps te staan gekom, waar oorweldigende magte hulle verpletter het. ‘n Heroorweging van hierdie vergete veldslag aan die hand van primêre en sekondêre bronne het aan die lig gebring dat die Suid-Afrikaners ‘n hoë tol van die Duitse pantser geëis het, wat besmoontlik die ware keerpunt in Operasie Crusader gebring het. In Mei 1942 het Rommel se Afrika Korps deur ‘n reeks blitsige bewegings wat die greep van die Spilmagte op gekombineerde operasies gedemonstreer het, daarin geslaag om die kritiese hawe van Tobruk, waar die onervare Suid Afrikaanse generaal-majoor H.B. Klopper in bevel was, te isoleer. Sy oorgawe binne ‘n enkele dag word dikwels vergelyk met die vorige beleg van Tobruk toe die Australianers Rommel onder vergelykbare omstandighede vir 244 dae teruggehou het totdat die beleg opgehef is. Klopper se oorgawe het ‘n politieke krisis vir Winston Churchill en Jan Smuts geskep, deurdat dit aansienlike spanning binne sowel die Gealieerde kamp as Suid-Afrika veroorsaak het. Die herevaluering van die gebeure het interessante feite uit die primêre bronne na vore gebring ten opsigte van die toestand van Tobruk se verdedigingstellings, die ongelukkige bevelvoerder, en hoe die Verenigde Koninkryk in samewerking met Suid-Afrika die ware feite wou toesmeer. Die onmiddellike naoorlogse geheuebeeld van die gebeure by Sidi Rezegh en Tobruk is geskep en verwring deur sensitiewe politieke oorwegings wat die verhouding tussen Suid-Afrika en die Verenigde Koninkryk beïnvloed het. Sedertdien het ‘n nasionalistiese Afrikaner-regering en daarna ook die demokraties-verkose, post-apartheid-regering die herinneringe aan Sidi Rezegh en Tobruk tot die vergetelheid verdoem; nie een van die twee het die nut daarvan gesien om dié twee mylpale in die nasionale geheue te verewig nie. Stellenbosch University http://scholar.sun.ac.za
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Hýča, Martin. "MONOLOG JAKO AUTENTICKÁ VÝPOVĚD V KONTEXTU MODERNÍHO DRAMATU." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263148.
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The thesis deals with the notion of monologue and monologicity as a peculiar means of expression of the modern drama. The concept of monologue is defined within the frame of its relation towards dialogue, in the context of theoretical thinking about drama and theater, and in terms of the application of these concepts in everyday life.It is based on the theoretical works by Jan Mukařovský and Jiří Veltruský. The concept of monologue as a lack of dialogicity is being challenged with understanding monologue as a haven of authenticity, a space for authentic testimony. Through the general reflection, thoughts are put in connection with modern drama and illustrated on examples from particular drama works. The thesis leads into a reasoning about the dialogue between the stage and the auditorium as a way-out from the monological situation on the stage.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.
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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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Akfidan, Filis. "Synen på barndom och uppfostran i skönlitterära barnböcker : - Specifikt, Janne, min vän(1985), Alla vi barn i Bullerbyn(1947) och Mera om oss barn i Bullerbyn(1949)." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-50899.
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Luff, Tracy L. "Gender stereotypes in elementary reading textbooks: Dick and Jane revisited." Thesis, Virginia Tech, 1989. http://hdl.handle.net/10919/43097.
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The objective of this study was to determine whether gender stereotypes are present in elementary reading, textbooks published during the 1980s, and how the extent of stereotyping compares with textbooks published during the last two decades. Both manifest and latent content analyses were performed on a random sample of stories drawn from 4th and 5th grade reading textbooks. Chi-square analyses were performed to determine whether significant changes have occurred with regard to gender stereotypes over the last three decades, controlling for publishing company and sex of author. Five different publishing companies, randomly selected from a list of thirteen publishers approved for use by the Virginia Board of Education in 1988, were represented in the sample. The manifest content, was analyzed by comparing the number of male and female characters, number of female and male main characters, types of occupations held by male and female characters, number of females and males in illustrations, and the race of characters. The latent content was analyzed by comparing the sex of characters most likely to exhibit each of seven different gender,stereotyped traits.. The latent content was further analyzed by looking for gender stereotyped themes and quotes, and non-traditional themes and quotes in stories.
Master of Science
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Bormans, Peter. ""Ik hoop dat ik stoor" : de poëzie van Jan G. Elburg (1919-1992) /." Gent : Koninklijke academie voor Nederlandse taal- en letterkunde, 2004. http://catalogue.bnf.fr/ark:/12148/cb41015602c.
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Nilsson, Johan. "Johan Nilsson Examenskonsert & Stilanalys: Jan Ekedahl - svensk folkmusik på gitarr." Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1943.
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Dowd, Amanda Marie. "Communication, Consumption and Manipulation: The Body as Language in the Films of Jan Švankmajer." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1941.
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In this thesis I will analyze and discuss the work of renowned director Jan Švankmajer. Specifically, I will examine how director Jan Švankmajer’s representation of the body creates a metaphorical language. In addition, I will address what meaning can be gathered from, or made apparent through the commentary of the body’s language and discuss the significance of the socio-political implications. Prior to my discussion of Švankmajer’s work I will give a concise socio-political history of the Czech Republic from 1968-1994; this discussion will provide a framework for the subsequent analyses. In order to provide support for my argument, I will discuss the relationship between Švankmajer’s work and Michael Foucault’s theory of the “body politic”, Patrick Fuery’s theory of the “cinematized body” and Mikhail Bakhtin’s theory of the image of the grotesque body. After discussing the implication of these theories I will discuss three of Švankmajer’s films in order to specifically address the ability of the grotesque body to subvert discourses of power and how the socio-cultural environment has an impact on Švankmajer’s choice of body representation. The films I discuss include Dimensions of Dialogue (1982), Food (1992) and Faust (1994)
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Amarilli, Philippe. "La dissociation selon Janet : vers un inconscient "à la française"." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR1M181.
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Dolejší, Anna. "Umění koloraturního sopránu." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-156018.
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The theme of " Art of coloratura soprano" I chose because it is closely related to program of my graduation concert, which included arias from the field altogether. In the first part of my work I try to clarify the meaning and usefulness of technical resources associared with coloratura technigue for lyric sopranos. Another part deals with the history and distribution of the roles within this fields.
In the part I present elected representatives Edita Gruberova, Jana Jonášová and Maria Tauberova, which are very significant contributions on the field in the coloratura soprano, and clarify individual positive contribution of these singers to my person. I map the developmental stage of these three singers, I deal with theoretical studies of their repertoire at any given stage, and I evaluate it. I try to use audio recordings to master some technical means of expression of an individual performers, to embrace it and then to implement to my own interpretation of the arias ( Carolina - The Two Widows, Bedrich Smetana, Gilda - Rigoletto, Giuseppe Verdi, Lucia di Lammermoor, Gaetano Donizetti).
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Stone, Marla D. "The Jan Mayen Current from 1989 and 1990 summer data." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1996. http://handle.dtic.mil/100.2/ADA320823.
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Thesis (M.S. in Physical Oceanography) Naval Postgraduate School, September 1996.Thesis advisor(s): Robert G. Paquette, Robert H. Bourke. "September 1996." Includes bibliographical references (p. 115-118). Also available online.
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Robitaillié, Audrey. "" Away with the fairies" : le motif de l'enlévement par les fées et du changelin : de la mythologie à la diaspora irlandaises." Caen, 2015. http://www.theses.fr/2015CAEN1032.
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Ce projet s'attache à analyser les réutilisations du motif de l'enlèvement par les fées et du changelin dans la littérature contemporaine, qu'elle soit irlandaise ou de la diaspora irlandaise. Étudier ces motifs tels qu'ils apparaissent dans les sources folkloriques irlandaises permet d'en dégager les caractéristiques traditionnelles pour ensuite les comparer avec l'usage qu'il en est fait par les auteurs contemporains. Il semble que le motif du changelin soit utilisé comme une métaphore toute irlandaise de l'émigration et de l'exil, soit-il géographique, psychologique ou linguistique. Cette thèse explore donc des problématiques d'identité et de mémoire à travers ce thème du changelin, qui, bien qu'il ne soit pas d'origine irlandaise puisque absent des sources mythologiques, est paradoxalement devenu un véritable symbole littéraire irlandaisThis project aims at analysing the reuses of the motif of fairy abduction and of the changeling in contemporary literature, either Irish or from the Irish diaspora. Studying these motifs as they appear in the folk accounts allows a better understanding of their traditional characteristics, to then be able to compare them with the way the contemporary writers reinterpret them. It seems that the changeling motif has been taken up as an Irish metaphor for emigration and exile, whether it be geographical, psychological or linguistic. This thesis thus explores issues of identity and memory through the theme of the changeling which, although it is not of Irish origin since it is absent from the early mythological sources, has paradoxically become an Irish literary symbol
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ROSA, Cassia Santos da. "Ilusão e paraíso: história e arqueologia na Amazônia (1948-1965)." Universidade Federal do Pará, 2008. http://repositorio.ufpa.br/jspui/handle/2011/4195.
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CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A escrita da moderna arqueologia da Amazônia está relacionada ao trabalho dos norte-americanos Betty Meggers (1921-) e Clifford Evans (1920-1981). A relevância histórica das pesquisas efetuadas pelo casal e especialmente por Meggers é o foco desta dissertação. O objetivo é apresentar uma história social e intelectual da arqueologia amazônica tomando como foco central a atividade de Betty Meggers na Amazônia brasileira com a finalidade de compreender o processo de produção, circulação, recepção e debates em torno das hipóteses sobre a ocupação da Amazônia, e suas influências contemporâneas no campo da arqueologia amazônica. E, desse modo, analisar a inserção histórica que o casal alcançou no campo científico sobre a Amazônia.
The modern written of the Amazonian archaeology is related to the researches of north-american Betty Meggers (1921-) and Clifford Evans (1920-1981). The historical relevance of the research effected by the couple and especially for Meggers is the focus of this dissertation. The objective is to present a social and intellectual history of Amazonian archaeology being taken as central focus the a focus the activity of Betty Meggers in the Amazon rain forest with the purpose to understand the process of production, circulation, reception and discussion around the hypotheses about the occupation of the Amazon, and theirs influences contemporaries in the field of Amazonian archaeology. And, in this way, to analyze the historical insertion that the couple reached in the scientific field about the Amazon.
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Nicol, Tracy-Lee. "Aspects of memory in the sculptural work of Jane Alexander 1982-2009." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002213.
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Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.
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Schwab, Catharine Mary. "The melodie française moderne : an expression of music, poetry and prosody in fin-de-siècle France, and its performance in the recitals of Jane Bathori (1877-1970) and Claire Croiza (1982-1946) /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598791.
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Moberg, Carolina. "Karlskrona stadsbibliotek 1906-1959 : En bit av ett biblioteks historia." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18786.
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This master’s thesis will try to describe the beginning and development towards a modern public library of the town library in Karlskrona between 1906 and 1959. The specific years refers to the year the library was established and the year it moved to the new library building in the centre of Karlskrona. The aim of the thesis has been to do this historical description and to look at the course from the perspective of the national policies and development for the Swedish modern public library. The thesis is based mainly on reports of the proceedings of the public library and other biographical documents and literature, which has been found in two local archives. Criticism of the sources, chronological description and a hermeneutic approach has been used as a method to analyse the different documents. The thesis starts out from which interests created the library, in what way the library was affected by the national library reorganisation in 1930 and what characterised the long process of reaching access to enough space for a fully acceptable activity, which has been the main issue throughout the history and therefore this thesis. A general observation of the development of the town library of Karlskrona is that it starts and follows very well with the national policies and development of the activity of the modern public library. This is not surprising as, for one reason, all public libraries were more or less financially dependent on subsidies and organizational support.Uppsatsnivå: D
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Bandeira, de Melo Carolina. "Légitimation, application et formation : les missions scientifiques françaises au Brésil dans le domaine de la psychologie (1908-1947)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0139.
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Cette recherche porte sur les missions de Français dans le domaine de la psychologie au Brésil entre 1908 et 1947. L'étude a permis l'établissement d'une chronologie séparant ces missions en trois moments. On assiste d'abord à la légitimation de la discipline en tant que discours scientifique issu de recherches expérimentales et capable de réintégrer les faits jugés avérés dans le domaine de l'intelligible, grâce aux cours de Georges Dumas (qui s'y rend la première fois en 1908), et de Pierre Janet (qui y séjourna en 1922 et en 1933). Puis on identifie l'application de la psychologie au projet de développement du Brésil, tout spécialement avec l'application de tests d'intelligence dans l'organisation de l'éducation de masse et dans l'industrie - technique apportées par Henri Piéron (en 1923, 1926 et 1947), Théodore Simon (en 1929) et Henri Wallon (en 1935). Enfin, la formation en psychologie se met en place dans les nouvelles universités du pays avec les missions de Jean Maugié qui va enseigner à l'Université de Sâo Paulo de 1935 à 1944, et d'André Ombredane qui restera à l'Université du Brésil (à Rio de Janeiro), de 1939 à 1945. Il est aussi montré dans la thèse que les relations scientifiques ont été le résultat d'une volonté réciproque et qu'elles ont largement dépassé la sphère académique. Le Brésil acquiert un support pour son entreprise de modernisation ainsi qu'un allié qui va lui ouvrir les portes de l'Europe et l'aider à améliorer son image à l'étranger, alors que la France, en retour, envoie chez son partenaire ses chercheurs les plus prestigieux, afin d'étendre son influence scientifique, culturelle, économique et diplomatiqueThis research focuses on the French missions in Brazil in the field of psychology from 1908 to 1947. The study allowed the establishment of a timeline that separates these missions into three distinct periods. First, the study tackles the legitimacy of the discipline as a scientific discourse originated from experimental researches capable of incorporating facts deemed proven in the realm of the intelligible, using the lessons gleaned from the lectures of Georges Dumas (who went there the first time in 1908) and Pierre Janet (who went there in 1922 and in 1933). Then it identifies the application of psychology in Brazil's development project, most especially in the administration of intelligence tests in the structure of public educational System and in the industry, techniques elucidated in the lectures of Henri Piéron (in 1923, 1926 and 1947), Theodore Simon (1929) and Henri Wallon (in 1935). Finally, this research discusses how psychology training firmly took its roots in higher education in the new universities of the country with the mission of Jean Maugüé who taught at the University of São Paulo from 1935 to 1944, and André Ombredane who stayed at the University of Brazil (in Rio de Janeiro) from 1939 to 1945. This thesis also shows that scientific relationships are the result of a murual will and that they have far exceeded the academic sphere. Brazil has acquired support for its modernization and a partner to open Europe's doors and to help the country improve its image abroad, whereas France, in turn, sends to its partner its associate its most prestigious researchers, in order to expand its scientific, cultural, economie and diplomatie influences
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Österberg, Elisabeth. "Adapting the Men in Jane Eyre : A Comparative Analysis of Two Movie Adaptations (from 1943 and 2011) of the novel Jane Eyre by Charlotte Brontë, with a Focus on the Male Characters." Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-151487.
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This is a comparative analysis of two film adaptations (from 1943 and 2011) of Charlotte Brontë’s Jane Eyre, with a focus on the male characters. My aim is to study how patriarchal control is adapted for the screen, compared to the original novel. The focus is on the characters John Reed, Mr. Brocklehurst, Mr. Rochester and St. John Rivers. The analysis is about how the filmmakers depict the essence of the characters, why they chose to do so and what determinants influenced the two films; furthermore, how this affects Jane’s character and her pursuit for independence. The thesis of this essay is that there is a difference in the interpretation of the male characters in the two films compared to the novel Jane Eyre and this affects Jane’s pursuit for independence. My conclusion is that although the films differ in narration and filming technique, the strongest impact on the discourse is the changed script due to politics and production code.
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Vries, Jan de [Verfasser]. "Aristokratismus als Kulturkritik : Kulturelle Adelssemantiken zwischen 1890 und 1945 / Jan de Vries." Göttingen : Böhlau Verlag Köln, 2020. http://www.v-r.de/.
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Stevens, John. "A Flower with Many Petals: Contemporary Implications of C.G. Jung and Jane Roberts." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/728.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfB.S.
Bachelors
Arts and Sciences
Liberal Studies
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Beyer, Elisabeth. "Esquisse d'une histoire de la mémoire implicite centrée sur Pierre Janet." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR1M057.
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Stoll, Jan [Verfasser]. "Behinderte Anerkennung? : Interessenorganisationen von Menschen mit Behinderungen in Westdeutschland seit 1945 / Jan Stoll." Frankfurt am Main : Campus Verlag, 2017. http://www.campus.de/home/.
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Whybray, Adam Gerald. "Animate dissent : the political objects of Czech stop-motion and animated film (1946-2012)." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17936.
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Czech animated allegories of the period of 1946 to 2012 encode their political ideas in objects and things, rather than through conventional narrative techniques such as voice-over or dialogue. The existence of these objects in cinematic time and space is integral to this process of political encoding, which is achieved through the selection of objects, cinematography and editing. In some of these films, time and space themselves are politically encoded. Materialist critical approaches to the film texts can help illuminate these latent political meanings. 'Thing theory', which puts a critical emphasis upon reading objects and things, exposes the politically resistant role of simple, domestic objects in the films of Jiří Trnka and Hermína Týrlová. Trnka's cinema in particular defends traditional, pastoral modes of being in which the individual is rooted within their environment. 'Actor-network-theory', a means of interrogating the relationship between actors in networks, resonates with the political ideas present in the cinema of Surrealist artist Jan Švankmajer. Švankmajer's central political project is an interrogation of anthropocentrism and attempts by humans to exert systems of control and order upon non-human actors. Rather than celebrating functional, domestic objects like Trnka or Týrlová, Švankmajer's cinema is radically anti-utilitarian. Objects are depicted as things that resist categorisation. 'Rhythmanalysis' – a mode of poetic-scientific investigation developed by philosopher Henri Lefebvre – can be used to unpick the rhythms in the animations of Jirí Barta. Barta's films critique rational clock time and the design of urban spaces through the use of editing patterns and repetition. Finally, all three materialist approaches in combination help illustrate the political content of animated films (and live-action films with significant passages of animation) produced in the wake of the Velvet Revolution. Such films often question the relationship between the individual Czech citizen and the Czech capital city of Prague. The animated films of the aforementioned directors and historical periods, tend to give precedence to the material world of objects over the semiotic world of humans, though these two realms are often shown to be inter-dependent. To this end, the political messages of the films are conveyed not through language, but through images and things.
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Costa, Georgia Carolina Capistrano da. "As cidades da Companhia Bata (1918-1940) e de Jan Antonin Bata (1940-1965): relações entre a experiência internacional e a brasileira." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-24012013-154637/.
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Idealizado como uma \"cidade industrial ideal\", o antigo núcleo industrial de Batatuba, situado no município de Piracaia (SP, Brasil), é praticamente invisível na historiografia das realizações urbanísticas no Brasil, embora em seu projeto sobressaiam seu caráter social e sua filiação ao pensamento moderno. Batatuba integrara um programa internacional de cidades destinado a concretizar, arquitetônica e urbanisticamente, a expansão mundial da Companhia calçadista Bata, que se iniciara e florescera no entreguerras. Ainda que emissárias dos princípios da racionalidade e eficiência de Taylor e Ford, as ações dos dirigentes da Companhia - inicialmente as de seu fundador, Tomas Bata (1876-1932, chamado de Henry Ford da Europa Central) e depois as de Jan Antonin Bata (1898-1965) - contribuíram para inaugurar novas referências nos campos do planejamento urbano e territorial, da organização industrial e das relações de trabalho naquelas décadas. O núcleo industrial de Batatuba fora iniciado por Jan Antonin Bata por volta de 1940, sendo possível notar a permanência, tanto no desenho de sua planta urbana, quanto nos remanescentes atuais, do \"vocabulário\" urbanístico replicado nas \"cidades-em-série\" da Companhia. Assim, não seria gratuita a flagrante semelhança do plano de Batatuba com outros planos para uma cidade industrial ideal, como Batovany-Partizanske (atual Eslováquia). Durante a expansão internacional da empresa nos anos 1930 este vocabulário desenvolvera-se gradualmente em Zlín (atual República Tcheca), então a cidade-sede da Companhia Bata, e por meio de seu escritório de arquitetos, sendo a base desta linguagem a racionalidade no uso de materiais e técnicas construtivos e a padronização e reprodutibilidade. Esta orientação se expressou nos planos urbanos, onde os bairros residenciais revelavam a preferência pelo modelo da cidade-jardim e o lema de Tomas Bata \"Trabalhar coletivamente e viver individualmente\". Aspecto fundamental desta evolução foi a aproximação da empresa com os arquitetos dos CIAM (Congressos Internacionais de Arquitetura Moderna) e alguns de seus expoentes, como Le Corbusier, atraídos pelo ideário social, arquitetônico e urbanístico da Companhia e pelas possibilidades projetuais proporcionadas pelo porte global desta. Elemento de ruptura desta evolução, a Segunda Guerra Mundial representou uma inflexão no modus operandi da Companhia. Por volta de 1940, Jan Antonin Bata iniciou nova etapa nos negócios, adquirindo no Brasil, onde passou a residir definitivamente, as empresas Companhia de Viação São Paulo - Mato Grosso e Companhia Comercial Alto-Paraná. Nesta fase as ações de Jan Bata adquiriram nova tonalidade. Com suas empresas, participa do desbravamento do oeste paulista e do sul do então Mato Grosso, planejando e fundando cidades e núcleos de caráter agroindustrial: Vila CIMA (Companhia Industrial, Mercantil e Agrícola), Mariápolis, Bataguassu, Batayporã, Kennedyba - intentando, afinal, contribuir para incorporar os \"espaços vazios\" de Vargas à economia brasileira. No que se refere às realizações arquitetônicas e urbanísticas, a fase brasileira de Jan Bata, por sua quase total ausência na historiografia, ainda carece de melhor conhecimento e análise. Este trabalho pretende distinguir esta fase - situada entre os anos de 1940 e 1965 - e relacioná-la com as cidades da Companhia Bata criadas durante os anos do entreguerras (1918-1940). Busca analisar, preliminarmente e à luz do Movimento Moderno e das questões locais, em que medida aquela constância programática exercida pela Companhia, no planejamento da vida coletiva, do trabalho e da produção industrial, de expressão urbanística e de cunho econômico, foi seguida no ambiente brasileiro sendo preservada ou reinventada.Idealized as an \"ideal industrial city\", the old industrial core of Batatuba, located in Piracaia (SP, Brazil) is virtually invisible in historiography of urban achievements in Brazil - although its project manifests a social character and an ascendancy of modernist thinking. Batatuba had integrated an international cities\' program aimed to materialize in architectonic and urban ways the global expansion of Bata footwears company, which began and flourished during the 1920-1930 decades. Although reiterating Taylor\'s and Ford\'s rationality and efficiency principles, the actions of Bata Company\'s directors (the first, Tomas Bata, 1876-1932, so-called \"Henry Ford of Central Europe\", and afterwards, Jan Antonin Bata, 1898-1965) added to inaugurate new references on urban and territorial planning, industrial organization and labor relations in those decades. The industrial core of Batatuba had been launched by Jan Antonin Bata by 1940, and its possible to notice the persistence of urban vocabulary replicated in the companys serial-cities, even in its urban plan and in its remaining buildings. In this sense, it wouldn\'t be a coincidence the clear similarity between Batatuba\'s plan and others Bata\'s \"ideal industrial city\", such as Batovant-Partizanske (Slovakia). During the company\'s international expansion during the 1930s that vocabulary had been gradually developed by Bata\'s architects in Zlín (Czech Republic nowadays, then the host city of the Company). Rationality in material\'s use and construction techniques, standardization and reproducibility turned into the basis of that language. Those orientations were expressed in urban plans, where residential neighborhoods revealed the preference for a garden-city model and for Tomas Batas motto: \"Working collectively and living individually.\" An important feature of that development was the company\'s approach to CIAM\'s (International Congresses of Modern Architecture) and some of its exponents - such as Le Corbusier, attracted by Bata\'s social, urban and architectonic ideas and by the possibilities offered by company\'s global extents. Second World War represented a collapse on that evolution and a shift in Bata\'s modus operandi. By 1940, Jan Antonin Bata started a new stage in his business, buying in Brazil - where he would live definitively the Road Company Sao Paulo-Mato Grosso and the Alto Paraná Commercial Company. At this stage, Bata\'s actions acquired new hues. With his companies, he participates in the profiteering of the West of São Paulo and Southern of the old Mato Grosso States, planning and founding cities and urban cores marked by an agro-industrial character: Vila CIMA (Industrial, Commercial and Agricultural Company Town), Mariápolis, Bataguassu, Batayporã, Kennedyba searching for, at least, contribute to incorporate the Brazilian empty spaces to national economy during Vargas years. In relation to urban and architectural achievements, the Brazilian phase of Jan Bata - by its almost complete absence in historiography - still needs better understanding and analysis. This paper aims to distinguish this stage - located between the years 1940 and 1965 - and relate it to Bata\'s cities created during the interwar years (1918-1940). Besides, this paper searches for analyze - preliminarily and under local issues and Modern Movements focus in which terms that programmatic constancy featured by Bata\'s (on planning collective life, work, industrial production in urban and economic ways) would been maintained or reinvented in Brazil.
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Arfara, Aikaterini. "Pour une convergence des arts plastiques et scéniques des années soixante à aujourd'hui : Jeff Wall, Cindy Sherman, Tony Oursler, Elizabeth LeCompte, Roméo Castelluci, Jan Fabre." Paris 1, 2006. http://www.theses.fr/2006PA010571.
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À la fusion des arts dans les années soixante a succédé, durant les années soixante-dix, une volonté artistique de transgresser les interdits des schémas institutionnels au sein des disciplines. La remise en cause du processus créatif est provoquée par un déplacement de point de vue permettant d'insérer, dans des genres spécifiques, des notions inhérentes à. D'autres champs de création. Notre étude portant sur les arts plastiques et les arts de la scène, nous proposons d'éclaircir les composantes de cette voie alternative à partir de l'œuvre des six artistes qui la révèlent aujourd'hui explicitement: Jeff Wall, Cindy Sherman, Tony Oursler, Elizabeth LeCompte, Romeo Castellucci et Jan Fabre, Notre point de départ se situe dans les années soixante, en particulier dans l'art minimal qui a radicalement rejeté la doctrine formaliste pour un art autoréférentiel. Le tracé parallèle de l' œuvre des visionnaires du début du vingtième siècle rejoint notre intention de dépasser le discours restreint du postmodernisme afin de renouer avec les grandes questions de la modernité, Ayant conscience de la complexité des rapports et des risques inhérents à toute entreprise située dans des zones frontières, nous suggérons de faire de la convergence des genres, l'espace intermédiaire pour un nouvel horizon critique, digne de générer une redéfinition de la place de l'art dans la société.
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Gyra, Varvara. "Esthétique et principes compositionnels dans l'œuvre de Jani Christou (1926-1970)." Paris 8, 2008. http://www.theses.fr/2008PA082935.
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La présente thèse porte sur l'esthétique et les principes compositionnels de l'œuvre du compositeur d'origine hellénique Jani Christou (Le Caire, 1926 - Athènes, 1970). Issu de la musique contemporaine des années 1950, Christou crée son propre langage musical d'après les résultats de ses propres recherches. Dans la première partie, nous étudions tout d'abord l'œuvre du compositeur des deux premières périodes de production (1948-1958 et 1960-1964) et puis nous accordons une importance particulière aux compositions de la troisième et dernière période (1965-1970), qui constituent l'apogée de la production de Christou et qui englobent sa pensée musicale dans sa version la plus élaborée. Plus précisément, nous analysons "Phoenix Music" (1948), "Symphonie nº 1" (1950), "Patterns and Permutations" (1960), "Mysterion" (1966), "Enantiodromia" (1968), "Epicycle I" (1968), "The Strychnine Lady" (1967) et "Anaparastasis III : The Pianist" (1968). Dans la seconde partie, nous nous intéressons aux conceptions philosophiques qui marquent l’œuvre musicale, telles que le principe de la "proto-performance" et de la "praxis-métapraxis", tout en prenant en considération l'influence exercée sur le compositeur par ses lectures. Nous examinons aussi le manifeste de Christou, intitulé Un Credo sur la musique, le rôle du processus circulaire dans la composition, et la notion de confrontation à travers l'expérience musicale. L'accent est mis également sur la dimension psychologique de l'œuvre musicale de Christou, étant donné que le compositeur - fortement imprégné de l’enseignement de Carl Gustav Jung - emploie des éléments psychologiques personnels dans sa production musicaleThis thesis studies the aesthetics and compositional principles in the work of the Greek composer Jani Christou (Cairo, 1926 - Athens, 1970). Christou, who emerged from the environment of contemporary music of the 1950s, introduced his own musical language, based on his personal research. In the first part we study the composer’s work produced during the two first periods (1948-1958 and 1960-1964), and we focus on his compositions of the third and last period (1965-1970). They constitute the apogee of his musical thought in its most developed form. In particular, we study "Phoenix Music" (1948), "Symphony No. 1" (1950), "Patterns and Permutations" (1960), "Mysterion" (1966), "Enantiodromia" (1968), "Epicycle I" (1968), "The Strychnine Lady" (1967), and "Anaparastasis III : The Pianist" (1968). In the second part we address the philosophical concepts that characterize Christou's musical work, such as the principles of "proto-performance" and "praxis-metapraxis", taking into consideration the composer's anthropological readings. We also study his manifesto, entitled A Credo for music; the role of the circular process in composition; and the notion of confrontation through musical experience. We pay particular attention to the psychological dimension of Christou's musical work, since the composer, influenced by the work of Carl Gustav Jung, uses personal psychological elements in his music
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Mayer, Michael. "Antisemitismus in NS-Deutschland und Vichy-Frankreich : die Ministerialbürokratie und die „Judenpolitik“." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0136.
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Le début de la thèse recherche la politique antijuive de l’administration au début du national-socialisme allemand et du régime de Vichy et examine l’existence d’un antisémitisme autonome français. L’application des lois raciales françaises et allemandes est ensuite comparée. Pour rechercher pourquoi ces mesures ont été promulguées la présentation des lois raciales au public par les gouvernements français et allemand est étudiée. Une comparaison de la réaction des églises catholiques et protestantes aux mesures antijuives démontre comment cette politique avait été vue par la population. La deuxième partie de la thèse s’intéresse à la réaction de l’administration face à la politique d’expulsion et l’élimination des juifs, en prenant comme exemple l’introduction de l’étoile jaune et la déportation des juifs. Enfin, la discussion sur la modification des lois raciales et l’octroi des dérogations accordées à certains juifs en France et en Allemagne est recherchéeThe first part of the thesis surveys the administration’s anti-Jewish policy in the beginning of national-socialist Germany and Vichy-France and scrutinizes if there had been an autonomous French anti-Semitism. Then the administrational application of the anti-Jewish measures is compared. For better understanding why the racial laws have been promulgated their public presentation by the German and French gouvernement is examined. These results are underlined by the comparison of the point of view the catholic and protestant church took in both countries. The second part of the thesis is dedicated to the behaviour of the administration while the elimination of the Jews took place and investigates therefore the introduction of the Yellow Star und the deportation of the Jews. Finally the discussion about the modification of the racial laws and the accordance of exemptions from these laws is compared. The results are underlined by the comparison of the churches attitude towards this policy
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Meyer, Jan-Henrik [Verfasser]. "The European Public Sphere : Media and Transnational Communication in European Integration 1969–1991 / Jan-Henrik Meyer." Stuttgart : Franz Steiner Verlag, 2012. http://d-nb.info/1073646556/34.
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Giubilato, Giovanni Jan [Verfasser]. "Freiheit und Reduktion. Die Idee einer meontischen Phänomenologie bei Eugen Fink (1927-1946). / Giovanni Jan Giubilato." Wuppertal : Universitätsbibliothek Wuppertal, 2016. http://d-nb.info/1093601183/34.
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Almeida, Rafael Galvão de. "A ascensão dos métodos econométricos e sua influência na economia: o debate Keynes-Tinbergen e seu efeito na ciência econômica." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2157.
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This work had as its objective, by the means of a historic reconstruction of the history of econometrics, with emphasis on its business cycle models, to introduce the concept of performativity to the analysis of economic doctrines. The performativity argues that the line between theory and practice is thinner than it is thought, i. e., that in certain circumstances, the economic theory do not only describe the world, but it can influence it, it can make the agents change their behavior to conform to its predictions. For this, using the Keynes-Tinbergen debate as a background, we sought for evidence that showed the performative effects of the adoption of econometric methods onto the canon of the economic theory, once that studies showed performative effects with models used in the financial market. We conclude that, by the evaluation of the debate, its conclusion made possible emerge an econometric theory that, consequentially, could have performative effects in the economy.
Este trabalho teve como objetivo, por meio de uma reconstrução da história da econometria, envolvendo modelos do ciclo econômico, introduzir o conceito de performatividade à análise das doutrinas econômicas. A performatividade argumenta que a linha entre teoria e prática é muito mais tênue do que se imagina, isto é, de que em certas circunstâncias, a teoria econômica não apenas descreve o mundo, mas pode influenciá-lo, pode fazer com que os agentes modifiquem seu comportamento para se adequar às previsões da teoria. Para tal, utilizou-se como pano de fundo o debate Keynes-Tinbergen, buscou-se encontrar evidências que houve efeitos de performatividade na adoção de métodos econométricos ao cânone da teoria econômica, uma vez que estudos indicaram que certos níveis de performatividade ocorreram com modelos utilizados no mercado financeiro. Concluiu-se, pela avaliação do debate, que o desfecho possibilitou uma teoria da econometria que viria a se tornar dominante e, consequentemente, uma candidata a ter efeitos performativos na economia.
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Kiyama, Yasuto. "Bergson et la psychologie du dix-neuvième siècle : la métaphysique de mouvements contre Kant." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20060/document.
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Matière et mémoire de Bergson est largement inspirée des idées psychologiques du 19e siècle. Nous restituons le contexte psychologique afin de montrer que la psychologie contemporaine pousse Bergson à s’engage dans la lutte contre Kant et à développer sa propre pensée ; discerner et prolonger extrêmement les mouvements. Le premier chapitre porte sur la notion de « plans de conscience ». Nous montrerons dans quelle mesure Bergson reprend les discours des psychologues associationnistes et des psychologues pathologiques (notamment Pierre Janet) sur le déroulement des idées. Ce détour nous permettra de cerner les enjeux proprement bergsoniens de la notion de plans de conscience : il s’agira de discerner les mouvements sui generis de la mémoire.Les deux chapitres suivants essaient de pénétrer dans le domaine de la psychologie physiologique ; le développement de la notion d’action réflexe cérébrale modifie le problème du rapport entre le mouvement et le moi qui en est la cause, de sorte qu’il met en question la notion de la causalité (Carpenter Laycock et Ribot) ; Fouillée transforme le problème psychologique en celui de la condition de donnée. Tout cela met en lumière la polémique essentielle entre Bergson et Kant ; Bergson a tiré des conceptions psychologiques une implication philosophique qui destitue le fondement de la Déduction kantienne : il remplace la limitation kantienne de la réalité phénoménale par le prolongement démesuré d’un mouvement dans un fait, et ce jusqu’à une perception universelle en droit. Ce dernier point sera le cardinal de notre interprétation. Le dernier chapitre porte sur le sens de l’être dans la critique bergsonienne de l’idée de non-être de l’Évolution créatrice, qui éclaircira le rapport entre la détermination et l’existence et qui profile une conception bergsonienne de la réalité comme mouvementsMatter and memory of Bergson is considerably inspired by psychological ideas of 19th century. We reproduce the psychological context to clarify how the psychology of the same period urges Bergson to entered into a struggle against Kant and to develop his own thought: discerning and prolong movements.The first chapter is concerned with a notion of “plans of consciousness”. We point out to what extent Bergson takes up views of assimilationists and the pathological psychology (especially that of Pierre Janet) about development of ideas. This detour allows us to define distinctively Bergsonian point of the notion of “plans of consciousness” : it consists in discerning different movements of memory.The next two chapters set about inquiring into a domain of physiological psychology. The development of a notion of reflex action modified the problem of relation between a movement and the I which is its cause and how the notion of causality constitutes the central difficulty (Carpenter, Laycock and Ribot). Fouillée transforms the problem of psychology into that of the condition of given. This detour clarifies a polemic between Kant and Bergson ; indeed, Bergson draws from psychological conceptions a philosophical implication which dismisses a necessity of the Kantian Deduction : he replaces Kantian limitation of phenomenal reality by prolongment of un movement in fact, and that to universal perception of right (en droit). This last point is the canonical of our interpretation.Finally, the last chapter inquires the question of the meaning of being in the critic of the idea of not-being in Creative evolution, that clarifies a relation between the determination and the existence, so that it outlines a Bergsonian conception of reality as movements
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Jarošová, Marie. "Herectví animované tvorby." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202458.
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The master's thesis Acting in Animation reflects the author's experience, gained by combining studies of animation and of authorial acting. Her goal is to explore and propose what should be included in the theory of acting in animation. She then seeks general guidelines which animators and authors of animated films can apply in their work.
Can we call an animator "actor"? What general principles can we observe in the dramatic expression of animated characters? Who is an authorial animator?
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Vytlacil, Jan [Verfasser]. "Die Willensbetätigung, das andere Rechtsgeschäft. : Eine Untersuchung zur Rechtsnatur der §§ 144, 151, 959, 1943, 2255 BGB. / Jan Vytlacil." Berlin : Duncker & Humblot, 2009. http://d-nb.info/1238361919/34.
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Bateman, Richard Gethin. "Improvising resistance : jazz, poetry, and the Black Arts Movement, 1960-1969." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/287563.
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This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.
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Bourdois, Cyril. "1434-2000, le double portrait Arnolfini de van Eyck : introspection plastique d'une oeuvre peinte et interrogations sur ses contemporéanités." Paris 1, 2001. http://www.theses.fr/2001PA010580.
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La problématique est dans la liaison entre théorie et pratique, selon ce plan : -" Ce que l'on peut dire " (vie du tableau depuis 1434, composition, modes de réception esthétique du temps de sa création. . . ) Quelques questions liées à l'interprétation des détails, génèrent deux hypothèses (Giovanni Amolfini et sa femme ou Jan van Eyck et son épouse en protagonistes de la scène). En dehors de cela, des épigones marginaux proposent une lecture plus ouverte. -" Ce que l'on peut ne pas dire " (composantes de l'oeuvre (perçue au XXème siècle) : objets peints mais aussi ce qui se cache derrière, deviennent sujets de propositions plastiques personnelles). L'actualisation des éléments nécessite de solliciter de nouvelles disciplines : psychanalyse, sociologie,. -" Ce que Iong peut dire " (réception de l'oeuvre, théorique et plastique, à travers ses contemporanéités). Le temps qui nous sépare de sa création est long. Dans cette durée, le fossé sémantique se creuse. Cette partie tente de concilier les références des deux premières. Les pratiques contemporaines liées au " patrimonial " sont évoquées. L'outil informatique est suscité comme vecteur d'interrogations sur le statut de l'image. Les propositions qui utilisent le tableau comme référence ne sont pas plus satisfaisantes que les textes évoqués. Cette recherche répond à un objectif multiple : -Actualiser et interroger les productions (textuelles ou non) traitant du tableau ; -Participer à ces investigations en proposant une lecture personnelle ; -Situer ces recherches dans le champ des références contemporaines ; -Viser l'ouverture polysémique ; -Proposer une lecture de cette oeuvre ne s'arrêtant pas à la définition de ce qu'elle représente. La préhension d'une oeuvre à travers diverses époques, en particulier la nôtre, est l'interrogation principale, ce qui implique des réflexions plus élargies, notamment quant à la relation entre l'art contemporain et l'art patrimonial.
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Lichte, Jan Ulrich [Verfasser]. "Die Forschung auf der Insel Riems von 1933 bis 1945 unter besonderer Berücksichtigung der NS-Zwangsarbeiter / Lichte Jan Ulrich." Greifswald : Universitätsbibliothek Greifswald, 2011. http://d-nb.info/1015886167/34.
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Piechatzek, Jana [Verfasser]. "Die Auswirkungen des Gesetzes zur Verhütung erbkranken Nachwuchses an der Universitäts-Frauenklinik Kiel in der Zeit von 1932 bis 1940 / Jana Piechatzek." Kiel : Universitätsbibliothek Kiel, 2009. http://d-nb.info/1019866705/34.
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Tamogami, Kenjiro. "Le corporel et l'incorporel dans les premières oeuvres d'Henri Michaux (1922-1935)." Paris 8, 2005. http://www.theses.fr/2005PA082548.
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Capelatto, Igor Alexandre. "Sonhos em seqüência = análise semiótica do cinema surrealista de Salvador Dali, Jan Svankmajer e Julie Taymor." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284448.
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Orientador: Ernesto Giovanni BoccaraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T18:47:44Z (GMT). No. of bitstreams: 1 Capelatto_IgorAlexandre_M.pdf: 13117483 bytes, checksum: 27c5760a98c2ce9d73dcea14709b2146 (MD5) Previous issue date: 2011
Resumo: Esta pesquisa tem como objetivo dissertar sobre o Surrealismo e sua influência na sétima arte, ao que chamamos de Cinema Surrealista. Levantando questões como as influências deste cinema surrealista no panorama da sétima arte, tanto em questões conceituais, estéticas, como no processo tecnológico aplicado ao processo fílmico. Para tal análise utilizamos conceitos semióticos como base para o estudo dos três filmes propostos como ilustração e do processo criativo do filme Wonderland - resultado prático desta dissertação. Os filmes propostos são Spellbound (HITCHCOCK, 1945 - a "sequência do sonho" criada por Salvador Dalí), Alice (SVANKMAJER, 1988) e Titus (TAYMOR, 1999), escolhidos após uma triagem, para elucidarem a presença dos elementos surrealistas ao longo da história do Cinema e sua persistência na criação cinematográfica contemporânea
Abstract: This study has his focus on the study of Surrealism and its influence on the seventh art, which we named Surrealist Cinema. Raising influences such as this surrealist cinema in the panorama of the seventh art in conceptual, aesthetic questions, as in the technological process applied to the film. For this analysis we used semiotic Concepts as the basis for the study of the three films offered as an illustration and of the creative process of the film Wonderland - practical result of this dissertation. The movies proposed are Spellbound (HITCHCOCK, 1945 - the "dream sequence" created by Salvador Dalí), Alice (SVANKMAJER, 1988) and Titus (TAYMOR, 1999), chosen after a screening, to elucidate the presence of surrealistic elements throughout the history of cinema and its persistence in contemporary filmmaking
Mestrado
Multimeios
Mestre em Multimeios
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Choi, Yun Jung. "The use of the Polish folk music elements and the fantasy elements in the Polish fantasy on original themes in G-sharp minor for piano and orchestra, opus 19 by Ignacy Jan Paderewski." Thesis, Lecture recital, recorded Mar. 6, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3690.
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Calitz, Gerhard Johann. "Deneys Reitz (1882 – 1944) : krygsman, avonturier en politikus (Afrikaans)." Thesis, Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-05312009-205128.
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Nesvačilová, Petra. "Autorovo Já v dokumentárním filmu Na pomezí hrané tvorby a dokumentu: autor uchopuje sám sebe jako hlavní postavu ve filmu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251457.
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The aim of my thesis is to show based on a compilation of selected documentary films and my own creation that originated documentary department, which does not yet have a specific name . And it is a kind of documentary film in which the central protagonist of director. Based on analyzes of individual directors approach and my own experience in the end trying to create instructions or procedures , which could be used to better understand how this new documentary department directorial grab and how to treat it . In my work I will try to find rules which governed tetno direction .
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Robak, Kazimierz. "Cultural response to totalitarianism in select movies produced in Czechoslovakia, Hungary and Poland between 1956 and 1989." [Tampa, Fla.] : University of South Florida, 2009. http://digital.lib.usf.edu/?e14.2857.
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Wiedermann, Felix. "Regina Fritz/Grzegorz Rossolínski-Liebe/Jana Starek (Hg.): Alma Mater Antisemitica. Akademisches Milieu, Juden und Antisemitismus an den Universitäten Europas zwischen 1918 und 1939." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2018. https://slub.qucosa.de/id/qucosa%3A34643.
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Coatanoan, Christine. "Proprietes hydrologiques et biogeochimiques des masses d'eau dans la region est de l'ocean indien : analyses saisonniere et multiparametrique des campagnes jade 1989 et 1992." Aix-Marseille 2, 1997. http://www.theses.fr/1997AIX22125.
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Vis a vis de la circulation oceanique a l'echelle planetaire, la frontiere est de l'ocean indien represente l'unique echangeur inter-oceanique dans le domaine tropical. Par des mesures directes ou a l'aide de modeles de circulation generale oceanique, on sait que les transferts de masse et de chaleur dans cette region sont importants pour l'estimation des bilans oceaniques mondiaux et pour le couplage ocean-atmosphere dans la dynamique du climat. Une meilleure comprehension des echanges de masses d'eau dans la region est de l'ocean indien apparait donc primordiale pour les problematiques climatiques a moyen terme et pour estimer, au niveau mondial, des bilans de chaleur et geochimiques coherents. C'est dans ce contexte que le programme jade (java australia dynamic experiment) inscrit dans le programme international woce (world ocean circulation experiment) a ete developpe lors de deux campagnes oceanographiques au cours de deux saisons opposees (aout 1989 et fevrier-mars 1992). L'etude des differents parametres hydrologiques et geochimiques mesures au cours des deux campagnes a permis de mettre en evidence un front saillant situe a 13\30s entre bali et l'australie et separant les eaux indonesiennes des eaux sud indiennes. Issue du melange des eaux de la mer rouge et de la mer d'arabie, l'eau intermediaire du nord-ouest de l'ocean s'ecoule le long des cotes de sumatra et de java avant de s'infiltrer au nord du front hydrologique dans les premiers detroits indonesiens. L'utilisation d'une analyse multiparametrique ompa (optimum multiparameter analysis) a permis de determiner la contribution quantitative de chacune des eaux-sources prealablement definies. Appliquee aux deux saisons, l'analyse multiparametrique montre une variabilite principalement sur les eaux originaires de l'ocean indien. La circulation des eaux sud indiennes le long de la cote nord-ouest australienne semble etre favorisee durant la mousson du nw. Inversement, c'est au cours de la mousson du se que l'ecoulement de l'eau nord indienne originaire de la mer rouge apparait plus importante pres de la cote de bali et au sein du detroit de sunda. L'introduction, dans l'analyse multiparametrique, des sels nutritifs associes a une inconnue a permis de faire un premier decouplage entre les processus physiques et les processus biogeochimiques.