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1
Rayer, Denis. "Un parti en mouvement(s) ? Recompositions du travaillisme britannique sous Jeremy Corbyn (2015-2020)." Electronic Thesis or Diss., Paris, EHESS, 2025. http://www.theses.fr/2025EHES0014.
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Cette thèse étudie les recompositions du travaillisme britannique qui se sont produites entre 2015 et 2020, lorsque Jeremy Corbyn dirigeait le Parti travailliste. Durant cette période, de nombreux militants socialisés à l’engagement politique dans les mobilisations du début des années 2010 ont convergé vers le Parti travailliste et ses marges afin de soutenir Jeremy Corbyn. Ce travail s’interroge sur les effets produits sur le parti et son environnement par ce phénomène collectif de reconversion militante, formulant l’hypothèse de la formation d’un milieu partisan protestataire. Il vise également à comprendre les différentes façons dont ces militants se sont adaptés – ou non – à un nouveau cadre d’engagement très institutionnalisé. Pour explorer ces questions, cette thèse s’appuie sur un corpus de données principalement qualitatives composé de 46 entretiens semi-directifs, d’observations réalisées dans le cadre de séjours ethnographiques à Londres, Oxford et Manchester, et de documents récoltés sur le terrain d’enquête. En se penchant sur les processus et les entrepreneurs de la fabrique organisationnelle, ce travail analyse la genèse de structures hybrides au sein du système d’organisations travailliste. Il montre les formes d’engagement et de mobilisation atypiques que ces organisations ont fait émerger. Étudiant leur rapport au Parti travailliste, il montre également que les contraintes institutionnelles exercées par le parti sur l’ensemble de son environnement ont eu tendance à faire converger ces organisations vers sa propre culture, ou à les contraindre à la marginalité si elles résistaient à cette conversion. Analysant les trajectoires individuelles et collectives des militants protestataires reconvertis à l’engagement partisan, il montre que ces acteurs étaient également confrontés à ces contraintes institutionnelles, qui fonctionnaient comme un cadre socialisateur. Dès lors, les militants les moins disposés à interagir avec le parti ne sont parvenus qu’à l’influencer de façon très limitée, tandis que ceux qui parvenaient à s’y acculturer avaient tendance à y perdre leurs dispositions protestataires. Cette thèse soutient alors que les recompositions du travaillisme engagées par des militants de culture protestataire ont été pour l’essentiel marginales et contrariées. Elle souligne néanmoins que ce constat n’amoindrit pas le caractère original et remarquable des organisations, des pratiques et des trajectoires qu’elles ont impliquées<br>This thesis studies reconfigurations within and around the British Labour Party which occurred between 2015 and 2020, while Jeremy Corbyn was leading the Labour Party. During this period, many activists whose political socialisation took place in the movements of the early 2010s converged towards the Labour Party and its fringes to support Corbyn. This research examines the effects induced on Labour and its environment by this collective movement towards the party, hypothesizing the formation of an activist ‘partisan milieu’. It also aims to understand the different ways in which these activists adapted – or did not – to a new, highly institutionalised, framework of political participation. In the aim of this enquiry, the thesis relies on a set of primarily qualitative data consisting of 46 semi-structured interviews, observations conducted during ethnographic stays in London, Oxford, and Manchester, and documents collected in the field. By examining the processes and entrepreneurs of organisational production, this research analyses the genesis of hybrid structures within Labour’s system of organizations. It brings into relief the novel forms of activism and mobilisation that these organisations brought into being. Studying their relationship with the Labour Party, it also shows that the institutional constraints imposed by the party on its entire environment tended to make these organizations converge towards its own partisan culture, or to compel them into marginality if they resisted this conversion. Analysing the individual and collective trajectories of protest activists who have transitioned to partisan mobilisation, the research shows that these actors were also confronted with these institutional constraints, that operated as a socialising framework. Therefore, the activists least inclined to interact with the party only managed to influence it in a very limited way, while those who managed to acculturate themselves tended to lose their activist dispositions.This thesis argues that the reconfigurations of the Labour Party initiated by activists with a culture rooted in social movements have been largely marginal and thwarted. It nevertheless emphasizes that this observation does not diminish the original and remarkable nature of the organizations, practices, and trajectories which they involved
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Moss, Dori Felice. "Strangers in their Own Land: A Cultural History of Japanese American Internment Camps in Arkansas 1942-1945." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11262007-135045/.
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Thesis (M.A.)--Georgia State University, 2007.<br>Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Leonard Teel, committee members. Electronic text (100 p.) : digital, PDF file. Description based on contents viewed Feb. 6, 2008. Includes bibliographical references (p. 90-100).
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Richards, Thomas. "De l'art comme véhicule." Paris 8, 2001. http://www.theses.fr/2001PA081981.
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Jerzy Grotowski, metteur en scène et chercheur qui a transformé profondément la pratique du théâtre dans la seconde moitié du vingtième siècle, a dédié les dernières treize années de sa vie à la transmission de sa connaissance pratique. A cet effet, le "Workcenter of Jerzy Grotowski" a été fondé en 1986, à Pontedera, Italie. Le texte présent, De l'Art Comme Véhicule, confronte la partie de ma vie dans laquelle j'ai travaillé avec Grotowski de très près (1985 à 1999). Dans celui-ci se déploie une analyse écrite de la recherche que Grotowski a appelé la dernière phase du travail de sa vie, "L'Art comme véhicule". La recherche est basée sur le métier de l'acteur et sur le travail sur les anciens chants vibratoires. Même si fondé sur les techniques performatives, "l'Art comme véhicule" n'est pas seulement lié à la performance. Cela n'a pas comme objectif premier la personne qui regarde, mais la personne qui fait. . .
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Keenan, Sharon K. Sommerlad. "The history of the Railroad of New Jersey Maritime Terminal in Jersey City, New Jersey: commemorating its centennial 1889-1989." Thesis, Virginia Tech, 1990. http://hdl.handle.net/10919/42116.
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It was the purpose of this study to develop an accurate
and detailed documented history of the CNJ Maritime Terminal.
The study sought to answer specific questions concerning the
historical, construction, and architectural significance of
this structure to Jersey City, Hudson County and New Jersey.
<p>The history includes the purpose for which the structure
was built, why the site was chosen, how the terminus was built,
how the structure was utilized, who used the facility, why the
site underwent modernization, how the modernization was
instituted, who were the architects for this building, why the
structure was expanded, and what alterations have been made to
this structure since the CNJ Railroad Company filed for
bankruptcy in 1967.
This history was developed after researching both
primary and secondary sources. These sources included CNJ
Railroad Annual Reports, CNJ Railroad Company Charters,
Peabody & Sterns Original Architectural Drawings, personal
journals and correspondences, maps, technical publications,
photographs, illustrations, books, magazines, CNJ Engineering
Department files, historical society collections, private
collections, and direct observation.
<p>The history of the CNJ Maritime Terminal, as developed
within this study, comprises the historical documentation
needed to secure more state funding so that the restoration
for the historical site can be completed. The information can
be of great value when used to justify the monies needed to
complete this restoration.<br>Master of Science
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Aranguiz, R. Patricio, C. Heidi Bilbao, and F. Antonieta Parra. "J. D. Salinger: his life and works." Tesis, Universidad de Chile, 2003. http://repositorio.uchile.cl/handle/2250/133437.
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Larysz, Piotr. "Ksiądz Jerzy Pawlik - życie i działalność (1919-2009)." Doctoral thesis, Katowice: Uniwersytet Śląski, 2017. http://hdl.handle.net/20.500.12128/5834.
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Priest Jerzy Pawlik was a fascinating person. A lot of interests, knowledge, contacts,
journeys, experiences, activity - this all makes a character worth familiarising with, above all
in the context of its activity for the Church and society. He was a particularly intriguing
character for a historian because in the life of priest Pawlik there were many unexplained
dependencies - a perfect search area for historians.
The author of this dissertation emphasised three main stages in the life and activity of
priest Jerzy Pawlik based on which he constructed his deduction. At the first stage he
examined the origins of priest Pawlik, the conditions in which he grew up, learnt and
developed. Religiousness, curiosity of the world and eagerness to acquire knowledge after
completing a general school and a grammar school - interests acquired at home, he continued
in the priestly formation. The first years of the priestly ministry of priest Pawlik took place in
the times of regime, Nazi and communist, which usurped the right to control all the fields of
human lives, including faith.
The second stage of the life of priest Pawlik was his pastoral, catechism and social
activity in Katowice diocese, in the period of extermination activities on the part of German
occupant authorities, times very difficult for the Upper Silesian Church, and then the activity
of communists eliminating the Church from the public life. Priest Pawlik was then a charity
activist, tutor of the youth and organiser of pilgrimages. A particularly important area for him,
apart from a didactic activity in the Silesian Theological Seminary in Kraków and journalistic
activity, was influencing the youth, which he reached through scouting and tourism. He also
practised his own interests, gained more licences and extended his book collection. In that
time he was within the interest of the Security Services of the Polish People’s Republic
(PRL), initially as a person dangerous to the system, then as a candidate for a position of a
secret collaborator.
The third stage in the life of priest Pawlik was the time when with the consent of
primate Stefan Wyszyński he was a pastor of Poles in the Eastern Europe and an expert of the
Polish Episcopate concerning economic migration of Poles to German Democratic Republic,
Czechoslovakia, Hungary and Romania, while staying under constant invigilation by the
Security Service.
The life and activity of priest Jerzy Pawlik was researched by the dissertation’s author
by means of a biographic method, typical for historical studies. He mainly used the resources
collected in the Archdiocese Archives in Katowice - those were documents selected by the
author called “heritage after priest Jerzy Pawlik”, a personal portfolio of priest Pawlik,
correspondence with the Primate of Poland Stefan Wyszyński and reports directed to bishops
in Poland and various institutions. The other significant research source was a collection of
registering and observational files, including formal documents, cipher texts and notes;
working portfolios of the Ministry of Internal Affairs, a personal portfolio TW “Polakowski”
passport files and miscellaneous materials referring to priests from the terrain of former
Katowice voivodeship, collected in the Institute of National Remembrance in Katowice. The
author used in his work also documents from the Institute of National Rememberance in
Warsaw, as well as from the Archives of the Catholic Lublin University (KUL). For research
purposes the author tried to get to the documents gathered by the Government Plenipotentiary
Office for the Documents of Secret Services of the former German Democratic Republic in
Berlin. The author also used the materials from the Family Archives, obtained from the
discovered personal documents, and also interviews conducted with the family of priest
Pawlik as well as the correspondence exchanged with the bishops and clergymen from
Katowice archdiocese, which allowed for detailed presentation of many events from his life.
Thus, the erudite biography of priest Pawlik was created, based on the sources. The analysis
of various documents, in some cases examined for the first time, allowed for explaining
unfamiliar or insufficiently interpreted facts from the life of the priest. The author also
exchanged correspondence with the Archives of the Conference of the Episcopate of Poland,
the Museum of Polish Scouting in Warsaw and conducted a search query in the Archives of
the Parish named after Saint Wojciech in Radzionków. In preparing this dissertation the author
also used the studies and articles about priest Jerzy Pawlik, as well as his own chronicle notes
concerning priesthood in the eastern bloc countries. Selected documents from the Archdiocese
Archives in Katowice and the Family Archives of priest Jerzy Pawlik are presented in the
annex to the dissertation.
The intention of the dissertation’s author was to depict the character of priest Jerzy
Pawlik in wide interpersonal relations, in the context of an epoch in which he lived. Based on
those relations the dissertation’s author examined the relationships of priest Pawlik with the
Security Service in PRL, in particular his frequent foreign journeys and passport formalities
and he tried to find out whether priest Pawlik decided on collaboration. The author attempted
to explain the activities and motivations of priest Pawlik: Was the direct cooperation with the
Episcopate of Poland related to migration priesthood undertaken by him as a “bishop of
RWPG countries”? Was the historical knowledge held by priest Pawlik in priesthood contacts
genuinely objective or was it a colourful narration? How did scouting and pilgrimage affect
the character of priest Pawlik?
Owing to a reliable search query the author was able to reconstruct the most important
events from the life and activity of priest Pawlik both in the Upper Silesian Church and in
Poland. The materials researched demonstrated high involvement of priest Pawlik in his
priesthood: scouting, pilgrimage, the youth group, and later in the organisation and
functioning of migration priesthood. The interests and passions of priest Pawlik affected
greatly the development of his priesthood activity, which enabled his development in various
circumstances. The priesthood experiences with the youth familiarised him with the problems
of people who decided to emigrate. Describing priest Pawlik as a “bishop of RWPG
countries” was only a convention, as a respect to his priesthood activity and merits for the
issues of the youth and migrants.
On the basis of the analysis of the documents collected in the Institute of National
Remembrance and church and family documents, the author claims that priest Pawlik did not
collaborate with the Security Services. His contacts with the Security Services was only
occasional, connected mostly with a passport procedure. He refused to collaborate and in the
interviews his answers were careful and evasive. The research material did not confirm
collaboration but it helped in depicting measures which the Security Services used to exert
pressure, impede activities and attempt to gain a collaborator.
The author of the dissertation believes that priest Pawlik will become inspiration not
only for acquiring knowledge on the region, but also for searching for one’s own active place
in the Church. In the life and activity of priest Pawlik there are still unexplored areas, in
particular his activity in Bulgaria, Czechoslovakia and USSR, which are worth studying. It
would also be worth comparing the priesthood activity of priest Jerzy Pawlik with the activity
of Bishop Szczepan Wesoły, bishop of Polish migration, and also extend the documents
researched with foreign materials.
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Shiffrar, Genevieve Ruth 1966. ""Its future beyond prophecythe City of New Jersey, worthy sister of New York": John Cotton Dana's vision for the Newark Museum, 1909-1929." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278461.
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A member of America's established cultural elite, John Cotton Dana (1856-1929) aimed to wrest cultural and economic authority from the nouveau riche through his role as the first director of the Newark Museum. In his favorite exhibition, "New Jersey Textiles," he encouraged local immigrant laborers to improve the design of goods that he simultaneously prompted middle-class women to purchase. He imagined that, as a result, Newark's manufacturing sector would blossom without nouveau-riche involvement; the region would soon rival its new-money neighbor, New York City. Under Dana's supervision, Jarvis Hunt (1859-1941) designed the 1926 Newark Museum building, employing the conventions of contemporary office architecture (predating a similar strategy at the Museum of Modern Art) to articulate this vision. The Metropolitan Museum of Art designed a series of exhibitions indebted to Dana's ideas. Ironically, the Metropolitan has received credit for innovations that Dana had designed to challenge New York's preeminence.
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Bell, Andrew Francis. "Radical Religious Rebels: The Rise and Fall of Jerry Falwell and the Moral Majority." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1948.
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In this thesis, I intend to illustrate the impact that Jerry Falwell had upon the rise of religious fundamentalism within the United States during the latter part of the 20th century. By elucidating the various factors that led Jerry Falwell from a little-known minister from Lynchburg, Virginia to becoming the figurehead of the movement known as the Religious Right, I wish to show how one of more controversial figures in both the religious and political spheres of contemporary American history became one of the more influential and infamous men of recent times. By focusing on the predecessors of Jerry Falwell along with the events that helped shape his career, I hope to provide a contribution to the scholarship of the nation's religious upbringing, especially in the modern era, as well as trace the career of one of the more infamous and noteworthy figures of both American political and religious history.
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Silva, Ivan Dias da. "Jerry Falwell e a maioria moral: um estudo sobre a relação entre religião e política no espaço público americano entre 1979 e 1989." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3633.
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Previous issue date: 2016-09-02<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O objetivo geral desta tese é avaliar a organização de lobby político denominada Maioria Moral, fundada e liderada pelo pastor evangélico fundamentalista Jerry Falwell. Esta organização, que foi a mais destacada da Nova Direita Religiosa americana, atuou no cenário político daquele país entre os anos de 1979 e 1989 na tentativa de implementar uma agenda teológico-política, articulada em torno de seus valores religiosos e morais, no contexto da esfera pública dos EUA. A ação da Maioria Moral teve desdobramentos que modificaram substantivamente a dinâmica político-partidária dos Estados Unidos. Na busca por viabilizar e implementar sua agenda de perspectivas religiosas, os ativistas políticos da Maioria Moral, conservadores ou fundamentalistas, eram do parecer que a sociedade americana se encontrava sob a ameaça de “grandes males”, e atuaram para mobilizar os religiosos que compartilhavam de seus pontos de vista a um envolvimento ativo e intenso na esfera pública e político-partidária, descontruindo a orientação religiosa anterior de separação entre religião e política. Esta atuação implicou no surgimento de um novo tipo de clivagem sociopolítica, em que a religião reemerge nos EUA como uma linha divisória com uma dimensão político-partidária, consubstanciando e consolidando clivagens culturais muito expressivas e duradouras, que resultam numa guerra de culturas entre diferentes sistemas de entendimento moral e religioso. Apesar de dissolvida no final da década de 80, a Maioria Moral contribuiu significativamente para a polarização ainda em curso das diferenças culturais no interior da vida e da cultura pública americanas, que veio a assumir uma dimensão político-partidária nacionalmente organizada.<br>This PhD dissertation’s general goal is to evaluate the politics lobby organization called Moral Majority, established and leaded by the fundamentalist evangelical pastor Jerry Falwell. This organization, that it was the more prominent of the New Religious Right, acted in the U.S.A. political landscape between 1979 and 1989, in an attempt to implement a theological-political agenda, based on its religious and moral values, in the context of the American public arena. The Moral Majority’s action had outcomes that modified significantly the party-political dynamics of the United States. In seeking to make possible and implement their religious perspective agenda, the politics activists of the Moral Majority, conservative or fundamentalists, considered that the American society was under the threat of “great evils”, and acted to mobilize the religious people that shared their perspectives to an active and intense involvement in the public and party-political sphere, deconstructing the previous religious orientation of separation between religion and politics. This action implied in the emergence of a new kind of sociopolitical cleavage, in which the religion reemerges in U.S., embodying and consolidating very significant and long-lasting cultural cleavages, that result in culture wars between different moral and religious understanding systems. Although being dissolved in the end of de 1980s, the Moral Majority contributed significantly to the still in progress polarization of the cultural differences in the inner American public life and culture, that assumed a nationally organized party-political dimension.
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Rusinek, Wojciech. "Debiuty prozatorskie po roku 1989 i problem tekstualizmu." Doctoral thesis, Katowice : Uniwersytet Śląski, 2010. http://hdl.handle.net/20.500.12128/5197.
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W wydanej w 1971 roku książce Zamiast powieści Tomasz Burek notował: „Najostrzejszym symptomem kryzysu literatury jest w chwili obecnej rzucający się wszędzie w oczy brak kierunkowych tendencji, odnowicielsko zorientowanych nurtów, prądów płynących pod znakami śmiało określonych przekonań artystycznych. Co zrobić, weszliśmy w drugą połowę lat sześćdziesiątych bez wyrazistej wizji dotyczącej jutra literatury”.
Dokonując nowatorskiego, jak na owe czasy, opisu formacji pisarskiej, którą dziś określilibyśmy jako modernizm, formacji przez Burka zwanej nowoczesnością, krytyk pozostawał jednakowoż (i programowo chciał pozostać) w granicach ideowych opisywanego przez siebie zjawiska. Nie bez powodu w Zamiast powieści, pomimo diagnoz kryzysu nowoczesności (Burek pisze m.in. o nadmiarze i upowszechnieniu „literackości” czy o pojawieniu się „człowieka fizjologicznego” w prozie jako symptomach przesilenia), pobrzmiewa wiara w możliwości innowacyjne literatury, a sam krytyk pojmuje działalność artystyczną jako tworzenie wymierzonych w przyszłość projektów. Burek-modernista rekonstruował proces zmian literackich jako naprzemiennie pojawiające się okresy wzrostu samoświadomości literackiej i – „barbarzyńskiego” buntu przeciw tej ostatniej, przy czym akcentował wyraźnie, że w odwrocie od formalnego wyrafinowania nie dochodzi do pełnego regresu. Zamiast spodziewanej cykliczności, mamy więc ostatecznie w zakresie zmian paradygmatów estetycznych do czynienia z rozwojem linearnym, zamiast z powtórzeniem –ponowieniem.
Zjawisku, któremu poświęcona została niniejsza rozprawa, mógłby patronować przywołany wyżej cytat. Czym jest bowiem pojawiający się w tytule „tekstualizm”, jeśli nie jest projektem, tym mniej programem konstelacji pisarzy debiutujących po roku 1989, jeśli włączono w poniższych rozważaniach pod ten szyld cały szereg rozbieżnych – wydawałoby się – tendencji, jeśli wreszcie rozmyta i z definicji niejasna formacja kulturowa, która go przyjęła w spadku – a więc postmodernizm – tak często, choć nie zawsze, szafuje niewiarą w innowację („odnowicielstwo”)? Co więcej, nurt ten jest właśnie często „ponowieniem” tego, co w literaturze pojawiło się wcześniej, tyle że w oparciu o inne założenia poznawcze. Gdyby przyjąć optykę Tomasza Burka, przedmiotem naszych analiz i interpretacji byłby kolejny w dziejach literackiej nowoczesności kryzys (a współczesne teksty krytyka rzeczywiście ujmują doświadczenia artystyczne polskiej prozy ostatniego dwudziestolecia w kategoriach kryzysu – kulturowego i duchowego.
Przedstawione analizy łączy jedno podstawowe przeczucie, że zmiany estetyczne w prozie ostatniego okresu nie dają się już ująć w perspektywie linearnej (jeden model zostaje zastąpiony drugim, np. modernizm postmodernizmem), doszło bowiem do zatarcia paradygmatycznego myślenia o szerszych zjawiskach literackich. Innymi słowy – szkice przedstawione w tej dysertacji łączy intuicja, że symptomem charakteryzującym życie literackie ostatnich lat jest przede wszystkim powstanie przestrzeni literatury, która jest o tyle pluralistyczna, niehierarchiczna i otwarta na rozmaite inspiracje teoretyczne (feminizm, dekonstrukcja, konserwatywny integryzm, klasycyzm, „zwrot polityczny” itp.), o ile w konsekwencji zawiesza problem formacyjności prozy i nawet własnych dokonań – ujmowanych zwykle pod szyldem postmodernizmu – nie pozwala zamknąć w wyraźnych kalkach krytycznych (takich jak następstwo epok, pokoleń, opozycje estetyczne, przeciwstawne nurty itp.). Wskazuje Ryszard Nycz, że taka transformacja jest ). Tymczasem diagnoza „kryzysu”, którego obecność sugeruje się w kolejnych szkicach składających się na tę pracę, nie oznacza faktu pojawienia się pewnych tendencji (postmodernizm jako choroba), określonych zbiorczo pojęciem tekstualizmu, lecz – przeciwnie – niepełnego zaistnienia w polskiej prozie artystycznej lat 1989-2009 tychże trendów (co objawiło się m.in. w niezdecydowaniu metodologicznym i ideowym krytyki względem postmodernizmu oraz w wewnętrznych pęknięciach tekstów prozatorskich). Przedstawione analizy łączy jedno podstawowe przeczucie, że zmiany estetyczne w prozie ostatniego okresu nie dają się już ująć w perspektywie linearnej (jeden model zostaje zastąpiony drugim, np. modernizm postmodernizmem), doszło bowiem do zatarcia paradygmatycznego myślenia o szerszych zjawiskach literackich. Innymi słowy – szkice przedstawione w tej dysertacji łączy intuicja, że symptomem charakteryzującym życie literackie ostatnich lat jest przede wszystkim powstanie przestrzeni literatury, która jest o tyle pluralistyczna, niehierarchiczna i otwarta na rozmaite inspiracje teoretyczne (feminizm, dekonstrukcja, konserwatywny integryzm, klasycyzm, „zwrot polityczny” itp.), o ile w konsekwencji zawiesza problem formacyjności prozy i nawet własnych dokonań – ujmowanych zwykle pod szyldem postmodernizmu – nie pozwala zamknąć w wyraźnych kalkach krytycznych (takich jak następstwo epok, pokoleń, opozycje estetyczne, przeciwstawne nurty itp.).
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Kowalczyk, Andrzej Stanisław. "Kryzys świadomości europejskiej w eseistyce polskiej lat 1945-1977 (Vincenz-Stempowski-Miłosz)." Warszawa : [s.n.], 1990. http://books.google.com/books?id=SJ1hAAAAMAAJ.
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Dessureault, Jacinthe. "Outre-amer ; et, Etude du dialogue dans Nouvelles de J.D. Salinger." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26685.
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Outre-amer is a collection of short stories set in a contemporary Quebec society and depicting events in the genealogy of a family doomed with mythological predispositions.<br>Intertextuality is an important aspect of Outre-amer, since the stories are independent from one another, while linked together by various themes, clues and details which carry enigmas beneath the surface of the stories from one end of the collection to the other. Thus, it is suggested to read the stories in a chronological order.<br>Etude du dialogue dans Nouvelles de J. D. Salinger studies the conversational aspect of the prose of the American author J. D. Salinger. It reflects on the importance and the role of dialogues within a short story, as well as their scriptural representation and mimetic function. The article investigates the French translation of two short stories which are part of Nine Stories. It analyzes the particularities of the translated dialogues compared to those of the original version, and questions the critical validity of a text in translation. The study raises and discusses issues related to the process of translation towards French and denounces the French translator's ethnocentrical approach towards the American text: in this case, the French language and culture assimilate Salinger's stories, thus altering the poetics of the text in translation.
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Berti, da Silva Douglas Regis 1980. "Representando o desconhecido = o timbre orquestral na trilha musical de Jerry Goldsmith = Playing the unknown : orchestral tone in Jerry Goldsmith's musical score." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285271.
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Orientador: José Eduardo Ribeiro de Paiva<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-25T21:21:28Z (GMT). No. of bitstreams: 3
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Previous issue date: 2014<br>Resumo: Este trabalho teve por objetivo demonstrar hábitos definidos de efeitos de orquestração em trilhas sonoras, no âmbito do cinema industrial hollywoodiano, por meio de recursos de instrumentação e organização do timbre orquestral consagrados por Jerry Goldsmith. Sob um panorama cronológico, delineamos através de partituras o desenvolvimento de técnicas e procedimentos formais de orquestração, paralelamente à evolução de grupos instrumentais na história da música ocidental. A expansão dos limites da música sinfônica e as inovações orquestrais desenvolvidas pelos grandes compositores, tornaram-se a referência para dirigirmos as atenções aos primeiros compositores de música original para o cinema clássico, e assim nos deparamos com os primeiros filmes que retratam o sobrenatural e os mistérios desconhecidos da humanidade, especialmente por Bernard Herrmann. As artimanhas necessárias para criar uma nova sonoridade orquestral que representasse monstros e alienígenas na música de cinema ¿ além das aflições humanas, é claro ¿ se tornam, em última instância, a nossa derradeira missão: o legado de Jerry Goldsmith e os efeitos da sonoridade orquestral no cinema<br>Abstract: This study aimed to show defined custom orchestration effects found in Hollywood film industry soundtracks, via resources of instrumentation and orchestral tone established by Jerry Goldsmith. Under a chronological prospect, we outlined the development of techniques and formal method of orchestration through scores, at the same time with the evolution of instrumental sets in European music history. The spreading of symphonic music¿s boundaries and the technical innovation developed by the great composers became reference to us to focus to the first original music composers in the classical Hollywoodian cinema, and here we run into the first movies that depict the supernatural and the unknown mysteries of mankind, specially by Bernard Herrmann. The required tricks to creat a new orchestral sound which intended to play monsters and aliens in the music track ¿ human suffering as well ¿ turn up, as a last resort, our last mission: Jerry Goldsmith¿s legacy and the effects of the orchestral sounds on film<br>Mestrado<br>Fundamentos Teoricos<br>Mestre em Música
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Olinto, Lidia 1982. "A precisão psicofísica = um estudo comparativo entre os espetáculos Akropolis, O Príncipe Constante e Apocalypsis cum Figurisde Jerzy Grotowski sob a ótica do binômio reprodutibilidade-espontaneidade = a comparative study of three of Jersky Grotowski's plays - Akopolis, The Constant Prince and Apocalypsis cum Figuris - from the point of view of the binomial reproducibility-spontaneity." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284600.
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Orientadores: Matteo Bonfitto Júnior, Tatiana da Motta Lima Ramos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T08:11:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: Na concepção mais usual da noção de "precisão cênica", o enfoque dado à dimensão formal · mostra-se mais evidente que outros aspectos de ordem não formal, como, por exemplo, as configurações de ordem psíquica do desempenho cênico. Todavia, essa acepção formalista, essencialmente próxima ao conceito tradicional de "coreografia" ou "marcação cênica", não poderia ser aplicada de maneira genérica. As propostas de alguns encenadores exigem do artista em cena (ator/bailarino/performer) uma precisão de caráter psicofísico, ou seja, um tipo de mobilização mais integral e consciente dos recursos atorais, sendo eles físicos e não físicos. Pode-se afirmar ser esse o caso de grande parte das experimentações cê nicas de Jerzy Grotowski, dentre as quais estão os espetáculos Akropolis, O Príncipe Constante e Apocalypsis cum Figuris - o trio de peças mais famoso no repertório do Teatro Laboratório. Esses espetáculos apresentam algumas especificidades em torno da precisão cênica em nível psicofísico e, partindo dessa premissa, a presente pesquisa se propõe a descrevê-las e discuti-las teoricamente<br>Abstract: The regular use of the notion of "scenic precision" tends to give emphasis to its esthetical dimension, whereas the non formal aspects involved in the concept, as the psychic configuration of the scenic performance, are not taken into consideration. However, the first mentioned formalistic conception of scenic precision, which is close to the notion of choreography, should not be assumed and generally applied to all circumstances. One can consider that some staging propositions require from the artist - an actor, a ballet dancer or a performer - a psychophysical precision, an integral and conscious mobilization of his physical and non physical acting resources. This is the case of most of Jerzy Grotowski's productions as, for example, the famous plays Akropolis, The Constant Prince and Apocalyssis cum Fuguris. Based on this premise, this dissertation describes and discusses the peculiarities of these three plays with respect to the notion of scenic precision<br>Mestrado<br>Artes da Cena<br>Mestra em Artes da Cena
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Ng, Yee Ki. "Eliminating clichés : the evolution of Jerzy Grotowski's self-revealing encounters (1957-1970)." HKBU Institutional Repository, 2011. http://repository.hkbu.edu.hk/etd_ra/1249.
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Ben, Arfa Inès. "L'ambivalence de la représentation chez J. D. Salinger." Paris 3, 2006. http://www.theses.fr/2006PA030111.
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Cette étude explore les formes de la représentation de la réalité dans les œuvres de J. D. Salinger. Le texte emprunte les caractéristiques de la composition dramaturgique et cinématographique, tout en restant littéraire. Ces expressions artistiques prennent aussi l'écrivain pour sujet. La deuxième partie étudie les aspirations à la pérennité de l'œuvre qui devient picturale et défie le temps par son aspect cyclique. La troisième partie aborde les thèmes de l'opposition, de la contradiction et de la dualité, dans le fond et dans la forme. La quatrième partie est consacrée aux configurations de l'imposture et du mensonge. La dernière partie porte sur le signe persistant dans le texte : la trace écrite (lettres, journaux intimes, citations et inscription) ou perceptible (objets, empreintes, présences)<br>This thesis investigates the forms of representation in the fiction of J. D. Salinger. The text takes the shape of drama plays and movie scripts without losing its fictional characteristics. These artistic expressions also have J. D. Salinger as a topic. The second part studies the yearnings for everlastingness through recurrent art and fiction. The third part introduces themes such as binary oppositions and contradictory statements. The fourth part deals with deceit and fraudulence. And the final part is on the persisting sign in the text: the written mark (letters, diaries, quotations and inscriptions) and the perceptible trace (objects, fingerprints, presence)
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Colombo, Eduardo Augusto 1986. "Organicidade e processo criativo : trajetórias e encontros." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285289.
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Previous issue date: 2014<br>Resumo: Essa investigação procura ser espaço de reflexão sobre os processos de descoberta do ator, através de um diálogo entre vivências, encontros e desencontros da singular trajetória do ator-pesquisador e práticas e teorias ligadas ao trabalho de diferentes pessoas e grupos com os quais o artista teve contato durante os últimos anos. O foco da busca direciona-se para a experiência da organicidade e do processo criativo do ator, com ênfase nas influências das investigações de Jerzy Grotowski relacionadas ao trabalho sobre si através da arte<br>Abstract: This research seeks to be a space for reflection on the discovery processes of the actor, through a dialogue between experiences, encounters and misencounters of the singular trajectory of the actor-researcher and practices and theories related to the work of different people and groups with whom the artist had contact during the past few years. The focus of the search is on the experience of organicity and the creative process of the actor, with emphasis on the influences of Jerzy Grotowski's investigations related to the work on oneself through art<br>Mestrado<br>Artes da Cena<br>Mestre em Artes da Cena
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Matoušková, Johana. "Nahý herec aneb Čas na dobrodružství." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202861.
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This diploma work entitled The Naked Actor or Adventure Time is not an academic, scientific thesis to all intents and purposes. It is more personal search and enquiry of the motifs of nakedness, exposedness and adventure which further proceeds to more distant, yet relevant ideas as are authenticity, ease, play, states of consciousness, improvisation, sexuality, abashment, corporality etc. Certain parts of the study utilize some ideas of Jerzy Grotowski and the author also uses individual experiences and examples from her own professional career. On that account the form of the work itself is structured to make the best record of the very process of enquiry and thinking.
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Rodriguez, Luis Alberto. "Effect of dietary protein degradability and fat on rumen, blood and milk components of Jersey and Holstein cows." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-01312009-063012/.
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Ballantine, Holly Taylor. "Nutritional and endocrine aspects of the lactation cycle of Holstein and Jersey cows: nutrient balances, response to supplemental dietary fat, rib composition and rib histology." Diss., Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/54765.
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Eight mature Holstein and Jersey cows beginning their third or later lactation were used throughout this study to evaluate various aspects of the lactation cycle. The lactation (control) diet consisted of 28.8% corn silage, 22.4% alfalfa haylage, and 48.8% concentrate dry matter. Breeds responded differently to the stress of calving. Jerseys had higher plasma somatotropin on day after calving, but Holsteins had higher glucose on day of and day after calving. Plasma parathyroid hormone did not differ between breeds, but Jerseys had higher 1,25-dihydroxyvitamin D₃ than Holsteins on both days after calving. Plasma total calcium and ionized calcium concentrations were lower for Jerseys on both days. Holsteins and Jerseys had similar concentrations of hormones and calcium at 4 and 8 wk. Ionized calcium as a percent of total calcium was elevated at calving, as compared to other times in the lactation cycle, in both breeds.
From 9 to 21 wk, 4 of 8 Holsteins and 4 of 8 Jerseys were fed a diet supplemented with tallow. Holsteins fed tallow had lower somatotropin than Holsteins fed control diet at 14 and 18 wk. Plasma glucose, parathyroid hormone, and 1,25-dihydroxyvitamin D₃ were similar between tallow- and control-fed cows in both breeds. Plasma total calcium and ionized calcium were higher at 20 wk for Holsteins and Jerseys fed tallow. Dry matter intake was not influenced by diet in either breed. However, Holsteins, but not Jerseys, fed tallow produced more milk and higher body weights than Holsteins fed the control diet.
Balance trials results indicated dietary tallow addition increased energy intake, energy digestibility, and metabolizable energy, but it decreased partial efficiency of metabolizable energy utilization for lactation. Although digestibility of calcium and magnesium was unchanged, tallow-fed cows were in greater positive calcium and magnesium balance than control-fed cows.
Stage of lactation had little effect on specific gravity, shear stress, percent mineral, and histological measurements of biopsied rib samples. However, Jersey rib had higher specific gravity than Holstein rib. All cows had similar bone histological features throughout lactation.<br>Ph. D.
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Boudonnet, Vinciane. "La marginalité chez J. D. Salinger : de l’exclusion à la quête mystique." Toulouse 2, 2005. http://www.theses.fr/2005TOU20104.
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Ce travail de recherche se donne pour objectif d’analyser la marginalité dans les œuvres de J. D. Salinger. Après une définition philosophique et générique du concept de marginalité, nous avons exploré cette notion tant dans la vie de l’auteur que dans le contexte culturel et socio-historique de ses récits. Nous concentrant ensuite sur les textes de ses nouvelles et de son unique roman, nous avons tenté d’y retrouver les causes de la marginalité qui y est inscrite et de déterminer leurs diverses conséquences. Dans la deuxième partie, il nous est apparu indispensable de nous tourner vers les aspects positifs du concept à l’étude. Dans la troisième partie, nous avons tenté de dévoiler, par une analyse de la dimension paradigmatique des œuvres, les solutions aux souffrances du marginal qui se dessinent en filigrane dans l’épaisseur même de textes en apparence ancrés dans la banalité quotidienne : ainsi s’est révélé à nous une spiritualité où les influences du Christianisme et du Bouddhisme Zen se font jour<br>The present dissertation focusses on the analysis of the notion of marginality within J. D. Salinger’s fiction. After a philosophical and generic approach of the concept of marginality, we have examined it in the light of the author’s life as well as in connection with the cultural and socio-historical context of his fiction. Focussing on his short-stories and his unique novel, we have attempted to unveil the causes of the marginality observable in his works and to determine its various consequences, before (in the second part) tackling the positive aspects of the notion under study. In the third part, we have attempted to deal with the various solutions suggested to lessen the marginal character’s sufferings: in the process, the influences of Christianism and Zen Buddhism have become patent
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Ranck, Edna Runnels. "The Politics of childhood : The historical development of early childhood education licensing laws and regulations in New Jersey, 1946-1972 /." Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10600231.
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Thesis (Ed. D.)--Teachers College, Columbia University, 1986.<br>Typescript; issued also on microfilm. Sponsor: Leslie R. Williams. Dissertation Committee: A. Harry Passow. Bibliography: leaves 273-311.
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WILLIAMS, ERIN L. "ARCHAEOLOGICAL EXPLORATIONS IN ELIS. A DIACHRONIC STUDY OF THE ALPHEIOS RIVER VALLEY WITH A CATALOGUE OF MATERIAL FROM JEROME SPERLING'S 1939 SURVEY." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1081365754.
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Williams, Erin L. "Archaelogical explorations in Elis a diachronic study of the Alpheios River valley with a catalogue of material from Jerome Sperling's 1939 survey /." Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1081365754.
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Durand, Patricia. "Des affordances que suscitent les personnes à l'objectivation de leurs caractéristiques personnologiques : le jugement social sous informations minimales : thèse." Nice, 2004. http://www.theses.fr/2004NICE2032.
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Cette étude explore le processus de perception d'une affordance (consigne "orientation") et tente de mettre en évidence le passage de cette perception à sa mise en connaissance sous la forme d'une propriété de la cible (consigne "objectivation"). Nous référant à la théorie de Gibson (1979) et de Beauvois et Dubois (2002) nous faisons l'hypothèse que l'objectivation véhicule à la fois les opportunités d'action qu'elle masque tout en les conservant et les propriétés de l'objet. Pour le montrer nous avons demandé à 360 sujets de sélectionner parmi 24 cibles une personne sous 2 modes de sélection : (1) orientation ou (2) objectivation. L'hétérogénéité relative qui apparaît entre la structure statistique des affordances et celle des objectivations supporte notre hypothèse.
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MASCIA, GIACINTO. "La nascita e lo sviluppo dell'Azienda Generale Italiana Petroli (AGIP) negli anni fra le due guerre (1926-1940)." Doctoral thesis, Università degli Studi di Cagliari, 2014. http://hdl.handle.net/11584/266525.
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On the eve of the First World War, the geopolitical role of the crude oil begun to reveal all of its importance, affecting the politics of the States. After the war, Great Britain and the United States had a strong diplomatic struggle for the control of the Middle East’s oil, until they signed the «Red Line Agreement» in 1928. The agreement allowed Iraqi’s oil exploitation by the cartel guided by the Iraq Petroleum Company. Oil industry was completely under the control of the two most powerful corporation, Standard Oil of New Jersey and Royal Dutch-Shell. For Italy the building and the development of the oil industry was a great task, chiefly for the lack of oil in her borders and because she had no sources under control. In 1926, the state controlled firm AGIP started with the upstream in Romania and Albania while the Italian oil industry started with the cracking systems. In despite of the unfavourable conditions, AGIP grew quickly and during the Thirties, was able to lead the researches of the Bod Company in Iraq. AGIP and its partner found oil in a rich land near Mosul, confirming the high level of skills reached by the Italian firm. In the meantime, the crude oil had increased its importance becoming the vital commodity of the industrial age and for economic power. Italy realized the great role of the crude oil and showed a great dynamism towards its oil industry with the building of modern hydrogenation plants. The lack of sources compelled Italy to the hydrogenation technology. With the mighty plants of ANIC, Italy solved all of her problems of refining, showing startling industrial capabilities while the main obstacle for her political power was the lack of crude oil sources.
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Carrer, Janaina 1984. "Verticalidade e Awareness : qualidades de consciência no trabalho do ator/performer." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285280.
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Orientador: Cassiano Sydow Quilici<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-25T10:47:33Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Esta pesquisa investiga a construção de uma qualidade de consciência enquanto atenção e presença no trabalho do ator/performer. Para tanto, num primeiro capítulo, tratamos sobre a noção de consciência no âmbito teatral, bem como os apontamentos necessários a respeito da dicotomia corpo/mente, e, em seguida, encontramos no pensamento de Francisco Varela, Yasuo Yuasa e Philip B. Zarrilli caminhos para se (re)pensar uma outra qualidade possível à consciência. Tendo como eixo norteador a análise do trabalho de Jerzy Grotowski ao final de sua vida (no período denominado Arte como Veículo), o segundo capítulo foca sobre as noções de Verticalidade, Awareness, Performer e o binômio I-I apresentados pelo diretor polonês. Além de uma análise sobre este momento da pesquisa de Grotowski, se apresenta ainda um diálogo com Varela, Yuasa e Zarrilli, a fim de privilegiar a ideia do trabalho do artista sobre si mesmo (sobre a noção de cultivo), relacionando arte e vida, entendendo neste processo a construção de uma qualidade de consciência sutil e refinada. Num terceiro momento direcionamos o foco da pesquisa para processos criativos da autora, relacionando discurso teórico e experiência vivida, a fim de encontrar os próprios caminhos na construção desta qualidade diferenciada de consciência<br>Abstract: This research investigates the construction of a quality of consciousness as attention and presence in the actor/performer¿s work. For this, in the first chapter, we deal on the notion of awareness in the theatrical context, as well the necessary notes about the dicothomy mind/body, and then, find the thought of Francisco Varela, Yasuo Yuasa and Philip B. Zarrilli, ways to (re)consider an another possible quality for the consciousness. Guided by the analysis the work of Jerzy Grotowski in the end of his life (the period know as Art as Vehicle), the second chapter focuses on the notions of Verticality, Awareness, Performer and the binomial I-I presented by the polish director. Besides an analysis on this momento of Grotowski¿s research, we present a dialogue with Varela, Yuasa and Zarrilli, in order to favor the Idea of the artist¿s work on himself (on the notion of "self-cultivation"), linking art and life, understanding in this process the construction of an subtle and refined quality of consciousness. In a third moment, we direct the focus of the research for creative processes of the author, relating theoretical discourse and lived experience in order to find their own ways in the construction of this particular quality of consciousness<br>Mestrado<br>Artes da Cena<br>Mestre em Artes da Cena
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Pelagalli, Paola. "Le processus cathartique dans le parcours de l'acteur chez Jerzy Grotowski." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030015.
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La présente étude porte sur l’activité théâtrale de Jerzy Grotowski (1933-1999), metteur en scène et pédagogue polonais, notamment connu pour l’influence que son training de l’acteur a eu sur le théâtre occidental. À travers une étude du parcours proposé par Grotowski à l’acteur, nous proposons de réfléchir aux critères qui définissent le cathartique dans le théâtre contemporain. Le training grotowskien étant basé sur la suppression des blocages psychophysiques de l’individu, notre étude de la catharsis de l’acteur chez Grotowski suit trois axes de réflexion principaux : premièrement, celui concernant la quête identitaire à travers la pratique théâtrale ; deuxièmement, la mise en jeu des matériaux de l’intime pendant l’entraînement de l’acteur ; et enfin, celui d’une pratique théâtrale comme exercice spirituel, favorisant l’épuration d’éléments identitaires résultant de conditionnements sociaux, et qui entravent la quête d’une subjectivité cachée et authentique. Nous défendons qu’au cours de son parcours d’entraînement chez Grotowski, l’acteur réalise un processus cathartique au cours duquel il purge sa subjectivité des conditionnements comportementaux dérivant de son contexte socio-culturel d’appartenance. Nous reconnaissons trois moments constitutifs de ce processus. Dans un premier moment cathartique, le training agit comme un exercice hygiénique pour prédisposer le corps et l’intériorité de l’acteur à l’acte créatif. Nous traitons le deuxième moment de la catharsis de l’acteur à l’aune des théorisations jungiennes de l’inconscient collectif, qui constituent une référence pour Grotowski lui-même. Dans cette perspective, la préparation de la mise en scène permet à l’acteur comme au spectateur de se confronter avec les archétypes, les mythes de sa culture et, à travers une purification de ces contenus psychiques collectifs, de s’approcher de sa propre singularité subjective. Continuant à explorer les possibilités cathartiques de la représentation, nous soutiendrons que pendant la représentation, l’acteur atteint le sommet de son processus cathartique, en dévoilant publiquement son intimité sur scène. Dans cet offrande faite au spectateur, nous identifions le dernier moment de la catharsis de l’acteur chez Grotowski<br>The present study focuses on the theatrical activity of Jerzy Grotowski (1933-1999), a Polish director and educator, known in particular for the influence his actor’s training has had on Western theatre. Through a study of the path proposed by Grotowski to the actor, we intend to reflect on the criteria that define the cathartic in contemporary theatre. Since Grotowski’s training is based on the removal of psychophysical blockages in the individual, our study of the actor’s catharsis in Grotowski's work will follow three main lines of investigation: firstly, the quest for identity through theatrical practice; secondly, the use of intimate materials during the actor’s training; and finally, the enacting the theatrical practice as a spiritual exercise, the purpose of which is to reflect on the identity elements learnt through social conditioning, which stand in the way of developing an authentic subjectivity We will argue that in the course of Grotowski's training, the actor experiences a cathartic process in which he purges his subjectivity of the behavioural conditioning deriving from his socio-cultural background. We will recognise three constituent moments of this process. A first cathartic moment operating within the training, which acts as a hygienic exercise to predispose the body and the interiority of the actor to the creative act. The second moment of the actor’s catharsis will be treated in the light of the Jungian theories about the collective unconscious, explicitly drawn upon by Grotowski. The preparation of the staging would allow both the actor and the spectator to confront the archetypes, i.e. the myths of his culture, and, through a purification of these collective psychic contents, to get closer to his own subjective singularity. Continuing to explore the cathartic possibilities of performance, we will argue that during the performance the actor reaches the peak of his cathartic process by publicly revealing his intimacy on stage. We argue that, for Grotowski, the final moment of the actor’s cathartic process lies in this act of offering oneself to the spectator
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Zamora, Vrsalovic Paulina. "The flaneûr in the rye: a reformulation of the flaneûr in Salinger's catcher in the rye." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/110038.
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The character of Holden Caulfield can be sincerely identified as an ornament.
An ornament, such as a flower vase in an impeccable table, or a beautiful desk in the
middle of a study room delicately decorated.
But for this purposes, Holden Caulfield is a ornament of a society that is not aware of its
existence or his importance. An ornament within his family, that looks more like an
award cabinet than a loving Christmas postcard.
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Jakobiec, Paulina. "Le documentaire Polonais de 1955 à 1969." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010582.
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Dans mon mémoire de thèse, j'ai présenté l'histoire du cinéma documentaire polonais vu dans le contexte de l'histoire de la Pologne. La période sur laquelle j'ai travaillé, était celle des années 1955-1969. Mon doctorat est construit en trois parties, et une préface. Cette dernière présente la période de reconstruction de la cinématographie polonaise qui a presque été totalement détruite pendant la guerre. Elle décrit également l'influence de l'Etat sur toutes les branches industrielles. J'ai présenté les premiers films tournés après la guerre, et les premiers courants qui sont nés à cette période. J'ai parlé du réalisme socialiste et de ses conséquences. La première partie de mon travail est consacré à la Série Noire. Dans le premier chapitre, je décris la société polonaise des années 1950. Je présente les événements sociaux et politiques dont les manifestations d'Octobre 1956 ont été une conséquence directe. Je parle également de la situation cinématographique de cette époque. Le deuxième chapitre est consacré presque entièrement aux années universitaires des futurs créateurs de la Série Noire. Je décris et analyse les films de ce courant dans le troisième chapitre, j’ai consacré la seconde partie de mon travail à présenter des films documentaires et les courants artistiques nés en même temps que la Série Noire ou tout juste après elle. La période décrite couvre les années 1956-1960. Dans cette partie, je présente aussi « une brève histoire» de la diffusion du court-métrage en Pologne dans les années 1944-1969. Dans la troisième et dernière partie de mon travail, je parle des films, des courants artistiques et des phénomènes les plus importants dans le film documentaire polonais des années 1960 et j'indique les caractéristiques de la situation politique de cette période. J’attire l'attention sur les événements ayant eu une influence directe sur le développement du documentaire polonais: la création du Festival du Court-métrage à Cracovie en 1961, le développement de la télévision, les changements d'organisation dans le milieu cinématographique et la crise officiellement déclarée dans la presse du cinéma dans le milieu des années 1960. J’introduis également, dans les derniers sous-chapitres, la nouvelle génération de cinéastes de film documentaire. Dans les Annexes, on trouve les interviews que j'ai réalisées avec les gens liés à la cinématographie polonaise de la période traitée dans ma thèse. On y trouve également un texte consacré aux relations polo no- soviétique à travers la réalisation du documentaire 273 jours en dessous de zéro<br>My thesis presents the history of Polish documentary cinema seen in the context of Polish history. The period which I worked on was the years 1955-1969. My dissertation is structured in three parts and a preface. The latter shows reconstruction-period cinematography almost completely destroyed during the war. It also describes the influence of the state on every industry. I introduce the first films made after the war and the first movements born in this period. Furthermore, I spoke of socialist realism and its consequences. The first part of my work is dedicated to the Black Series. ln the first chapter, I describe 1950s Polish society; I present the social and political events which consequently give rise to October 1956. Moreover, I talk about the state of cinema of the era. The second chapter is almost entirely devoted to the student Iife of the future Black Series creators. I describe and analyze the films from this movement in the third chapter. I dedicated the second part of my thesis to introducing the documentaries and artistic movements which are either contemporaneous with the Black Series or established just after it; the period described covers the years 1956-1960. ln this section, I also present a "brief history" of short film broadcasts in Poland in the years 1944-1969. ln the third and final part, I talk about the films, artistic trends and the most important phenomena of 1960s Polish documentary film, and I show the characteristics of the political situation of that period. I draw attention to the events that had a direct influence on the development of Polish documentaries: the creation of the Short Film Festival in Krakow in 1961, the development of television, the organizational changes of the film world and the crisis-officially declared by the film press-in the mid-60s. ln the last sub-chapters I also introduce the new generation of documentary filmmakers. The Appendix contains interviews I conducted with people associated with Polish cinema of the period which I speak of in my thesis. There is also a text on the production of the documentary "273 days below zero", illustrating the former state of Polish-Soviet relations
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Buarque, Adriana. "A compaixão em O apanhador no campo de centeio, de J. D. Salinger." Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/2100.
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Previous issue date: 2005-09-20<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Compassion as redemption of the human being. The aim of this work is to show how Holden Caulfield, the character of The catcher in the rye, returns from his isolation of the world by means of his altruistic love, considering 'the other' more important than himself.
From the hypothesis that Holden's grief in maintaining innocence leads him to depression, as compassion leads him to the answer for such conflict, the methodological procedures were based on the inductive method for elaborating theses: historical procedures, such as contextualizing the novel, bibliographical research, text selection, analysis, interpretation, organization and composition of the theoretical approach.
Contextualizing J. D. Salinger and his narrative leads to a more accurate comprehension of Holden Caulfield. The anguish of being lonely makes him want to die, something that changes when he realizes, benevolently, that the answer to his question is to seek 'the other'. Then, compassion, the need to love, silences his inner pain<br>A compaixão como redenção do ser humano. O objetivo desta pesquisa é mostrar como Holden Caulfield, a personagem de O apanhador no campo de centeio, retorna de seu isolamento do mundo por intermédio de seu amor altruísta, considerando o 'outro' mais importante que si mesmo.
Partindo da hipótese de que a angústia de Holden em querer perpetuar a inocência 0 leva à depressão, bem como a compaixão 0 leva até a resposta para tal conflito, foram traçados os procedimentos metodológicos a partir do método indutivo para a elaboração da dissertação: procedimento histórico, como a contextualização do romance, levantamento bibliográfico, seleção de textos, análise, interpretação, organização e composição do quadro teórico.
Contextualizar J. D. Salinger e sua narrativa leva a uma compreensão melhor apurada do adolescente Holden Caulfield. A angústia da solidão o faz desejar a morte, quadro que é revertido quando percebe de modo compassivo que a resposta de seu questionamento está em olhar o 'outro'. Assim, a compaixão, a necessidade de amar cala a dor que o jovem traz consigo
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Skuhrovcová, Alena. "Tělové vnímání v herecké pedagogice a v dramatické výchově." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2012. http://www.nusl.cz/ntk/nusl-155937.
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This thesis describes what the body perception is, how it works, and how it is used in acting. Further the thesis deals with possibilities of development of body perception through drama in education. How is possible to develop the body perception through drama in education. The inspiration is taken from the work of Michail Chekhov and Jerzy Grotowski. .
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Alaniz, Sirlei. "Le Corps qui pense, l'esprit qui danse - l'acteur dans sa quête de l'unité perdue." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030082/document.
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Cette étude aborde le thème de la quête de vérité menée par l’acteur. Partant du « paradoxe de l’acteur » qui met en lumière la tension qui se joue entre Forme et Spontanéité, ainsi que sa difficulté à être simultanément artiste et œuvre d’art. Or une recherche comparative sur le théâtre Occidental/Oriental, et d’autres sources telles que les pensées de Georges Gurdjieff et de François Delsarte nous ont conduit à considérer le travail du comédien d’un point de vue trinitaire, en prenant en compte les trois éléments essentiels que sont son corps, son émotion et son esprit. La quête de vérité que mène l’acteur tout au long de sa vie doit s’enraciner dans une compréhension de sa propre nature trinitaire et d’un éventuel manque d’harmonie qui peut résulter dans des comportements automatiques et stéréotypés. Cette vision nous a servi de base pour mener une étude de la pensée de certains grands réformateurs du théâtre du XXe siècle. Ainsi, les méthodes de Jerzy Grotowski et d’Etienne Decroux sont analysées à partir des approches de l’organicité et de l'artificialité selon la perspective de Grotowski. Notre but est de trouver une possible complémentarité entre les travaux de ces deux investigateurs, dans la quête de l’équilibre du trinôme corps-émotion-esprit. Finalement, l’acteur doit cultiver simultanément ses trois centres pour unifier le créateur, l’artisan et la matière de son œuvre, et retrouver ainsi sa vraie Présence sur scène<br>This study begins with the actor’s quest for truth. Starting from the « actor’s paradox » which shines light on the tension that plays between Form and Spontaneity, and the difficulty of being simultaneously artist and work of art. A comparative research of Occidental/Oriental theatre, and other sources such as the thoughts of George Gurdjieff and François Delsarte led us to consider the work of the actor from the point of Trinitarian view, taking into account the three essential elements that are his body, his emotion and his mind. The quest for the truth that drives the actor has to begin with the comprehension of his own nature of this human trinity; before the understanding of its fragmentation, that is, the lack of harmony that can exist between these three principle functions and the danger of falling into automatic and stereotypic behaviors and reactions. This study allows us to observe the thought of certain great theatre reformers of the 20th century. Therefore, methods of Jerzy Grotowski and Etienne Decroux are analyzed using approaches of organicity and artificiality from the perspective of Grotowski. Our objective is to find a possible complementarity between the works of these two researchers in the quest for balance of the trinity body/emotion/intellect. Finally, the actor must simultaneously cultivate the three centers in order to unify the creator, the artisan and the matter of his work, and find his true presence on stage
34
Souza, e. Silva Silveiro Neto Marta Isaacsson de. "Le Processus créateur de l'acteur : Stanislavski et Grotowski, étude d'une filiation." Paris 3, 1991. http://www.theses.fr/1991PA030075.
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Cattin, François. "Analyse de la pratique d'un formateur en développement dans le cadre du processus de mûrissement de l'acteur par l'entraînement intensif du corps et de la voix." Master's thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/22117.
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Ce document témoigne de l'analyse de ma pratique de formateur en développement dans le cadre du processus de mûrissement de l'acteur par l'entraînement intensif du corps et de la voix. En utilisant la forme du récit chronologique, je fais un retour sur ma recherche-formation où je me suis placé comme praticien chercheur en position d'analyse dite à la première personne. À l'aide d'outils d'analyse de pratique que j'emprunte à la psychopédagogie, je tente de formaliser et de théoriser le vécu de ma pratique, laquelle s'inspire directement des ateliers d'entraînement du Théâtre de Recherche le Contre-courant à Québec, des ateliers de maître dirigés par Richard Nieoczym, ainsi que des principes de Grotowski et de la via negativa. En auscultant la réalité et les enjeux intrinsèques de mon agir, j'élucide une problématique majeure dans mon rôle de formateur : la nécessité de développer la capacité à accompagner l'acteur dans un cheminement qui agit essentiellement sur le plan personnel. Je parle alors de la présence du formateur dans l'espace-temps sacré du processus de mûrissement de l'acteur.
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Arriola, Sylvio. "L'action créatrice de l'acteur dans la pièce C.H.S. : étude sur l'effet de présence actoral dans un dispositif intermédial." Master's thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/22765.
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Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2011-2012<br>L'ACTION CRÉATRICE DE L'ACTEUR DANS LA PIÈCE C.H.S.¹ Étude sur l'effet de présence actoral dans un dispositif intermedial Par un aller et retour entre la théorie et la pratique, l'objectif de notre recherche-création est d'expliciter le répertoire de techniques qui a permis de varier les registres de présence de l'acteur dans le dispositif intermedial² de C.H.S. Dans un premier temps, nous nous sommes demandé si les recherches en biomécanique de Meyerhold, consistant en des variations des mises en rapport de l'acteur, pouvaient s'avérer adéquates pour construire une présence actorale dans l'immobilité. Ensuite, nous avons enrichi notre répertoire de placements scéniques, avec les travaux de Stanislavski et Grotowski. Afin d'étudier les qualités relationnelles de l'acteur, nous avons abordé une définition de la présence à soi, proposée par la Psychologie Corporelle Intégrée et le modèle constructiviste de Masciotra (2004). Puis, des réflexions sur les pratiques théâtrales actuelles nous ont permis de mettre de l'avant la notion « d'être-entre ». Par le biais de laboratoires artistiques, nous avons réfléchi et mis en pratique ces fondements théoriques pour préciser les procédures techniques permettant de varier la présence de l'acteur qui interprète le scientifique³. Le but de notre réflexion a été de rendre compte des diverses mises en relation qui permettent à l'acteur de C.H.S. de moduler adéquatement ses degrés de présence entre performativité et théâtralité. 1 Voir Annexe A 2 Voir Annexe B 3 À partir de maintenant, chaque fois que nous ferons mention du scientifique, il s'agira du personnage que nous avons interprété dans la pièce C.H.S. Ce travail actoral sert d'étude de cas, tout au long de cette réflexion théorique.
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Boulé, Stéphane. "Sous la Tiffany : roman ; suivi de La dynamique de l'écart dans Hotaru et dans L'Attrape-cœurs : réflexion." Master's thesis, Université Laval, 2013. http://hdl.handle.net/20.500.11794/24748.
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Création Dans le roman Sous la Tiffany, Mikaël Langevin, le personnage principal, vit une pénible remise en question. Dans les derniers mois, il a délibérément sabordé son couple, sa vie sociale et même sa santé en misant tout sur sa réussite professionnelle en tant qu'enseignant. Tout pour une carrière où, selon sa perception, il ne réussit pas comme il l'aurait souhaité. Une nuit de la fin d'août, attablé devant des dizaines de cahiers noircis de sa main, il revisite un journal tenu chaque soir de l'été qui s'achève, un été pendant lequel de nombreuses fenêtres sur le passé auront été ouvertes, puis refermées. Le jour poindra dans quelques heures, il le sait bien. Mais nul éclairage ne le sert mieux que celui de la vieille Tiffany. Réflexion La deuxième partie, une réflexion d'ordre narratologique sur la dynamique de l'écart et ses procédés (analepse, prolepse, sommaire, scène, pause, ellipse, digression), vise à expliciter ce qui m'a tant séduit dans Hotaru, d'Aki Shimazaki, et dans L'Attrape-coeurs, de Jerome David Salinger, deux romans primés1 où les procédés d'écart sont habilement exploités. J'indiquerai aussi où, comment et pourquoi j'ai utilisé ces procédés dans Sous la Tiffany. Le but, au final, est de montrer comment la dynamique de l'écart contribue à accrocher le lecteur et à enrichir le récit, à conférer au texte le caractère évocateur si présent dans les oeuvres littéraires de Shimazaki et de Salinger.
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Rollo, André Corrêa. "Ficção de formação na era audiovisual : Salinger e Anderson & Wilson." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/103869.
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Cette thèse porte sur une étude comparative entre le roman L'Attrape-Coeurs (1951) de J. D. Salinger et le film Rushmore de Wes Anderson. (1998). Les deux récits dialoguent avec la tradition du genre romanesque connu sous le nom Bildungsroman (roman de formation ou roman d'apprentissage). En dépit du fait que les romans d'apprentissage ont continué d’être écrits, la forme a subi de nombreux changements pendant et après la période historique appelée modernisme. Parmi les principaux caractéristiques il y a les faits racontés dans un court laps de temps et la surligne sur le narrateur en première personne. Nous appelons ce genre de narration « fiction de la formation » parce qu’elle peut s'adresser au récit de cinéma et au récit écrit, selon le concept de "fiction" traité par Robert Stam. Nous avons découvert le terme «ère audiovisuelle » après avoir lu un article écrit en 1966 par le critique littéraire et historien austro-brésilien Otto Maria Carpeaux (1900-1978). Carpeaux avait supposé que la peinture (spécialement l’abstraite) dépasserait la littérature de l'importance dans la vie culturelle. Le plus important c’est qu’il a réalisé que les nouveaux médias audiovisuels (cinéma et télévision) sont vennus a être considérés et étudiés (ou rejetées) par les universitaires et les critiques. Ce phénomène avait déjà été décrit par Umberto Eco en Italie. Dans l’Ére Audiovisuelle et Après Modernisme c’est impossible d'écrire le développement d'un personnage de la manière habituelle, car les effets de la vie urbaine et la perception de la nouvelle imagerie ont été ressentis par l'écrivain et par le public. Le but de cette étude était d'évaluer la persistance du thème de la maturité dans la fiction de nos jours. Les résultats ont indiqué Salinger comme un diviseur dans ce genre de littérature et Wes Anderson et Owen Wilson des scénaristes importants d'un genre nouveau, "le cinéma de la formation".<br>Esta tese é um estudo comparativo sobre O apanhador no campo de centeio (1951), de J. D. Salinger, e o filme Rushmore (1998), de Wes Anderson. Ambas as narrativas dialogam com a tradição do gênero de romance conhecido como Bildungsroman (romance de formação ou romance de aprendizagem). Ainda que romances de aprendizagem continuassem a serem escritos, a forma sofreu muitas mudanças através do e após o período histórico chamado Modernismo. Entre as principais características estão os fatos narrados em um curto espaço de tempo e o destaque sobre o narrador em primeira pessoa. Chamamos esse tipo de narração de "ficção de formação" por que pode abordar tanto o filme como a literatura, de acordo com o conceito de "ficção" como tratado por Robert Stam. O termo "era audiovisual" foi cunhado depois de lermos um artigo escrito em 1966 pelo historiador e crítico literário austro-brasileiro Otto Maria Carpeaux (1900-1978). Carpeaux defende que a pintura (especialmente a abstrata) ultrapassaria a literatura em importância na vida cultural. O mais importante é que ele percebeu que os novos meios audiovisuais (cinema e televisão) passaram a ser considerados e estudados (ou rejeitados) por professores universitários e críticos. Esse fenômeno já havia sido descrito por Umberto Eco, na Itália. Na Era Audiovisual e Após Modernismo é impossível escrever o desenvolvimento de um personagem da forma habitual, porque os efeitos da vida urbana e da percepção do novo imaginário foram sentidos tanto pelo escritor como pelo público. O objetivo deste estudo foi avaliar a permanência do tema do amadurecimento na ficção dos dias atuais. As conclusões indicam Salinger como um divisor de águas nesse tipo de literatura e Wes Anderson e Owen Wilson como importantes realizadores de um gênero cinematográfico, o "cinema de formação".<br>This thesis is a comparative study on J. D. Salinger’s The Catcher in the Rye (1951) and Wes Anderson’s movie Rushmore (1998). Both narratives dialogue with the tradition of the novel genre known as Bildungsroman (novel of formation or novel of apprenticeship). In spite of the fact that novels of apprenticeship kept on being written, the form suffered many changes through and after the historical period called Modernism. Among the main features are the narrated facts in a short amount of time and the highlight on the first person narrator. We call that kind of narration “fiction of formation” for the reason it may approach both movie narrative and written narrative, according to the concept of “fiction” as treated by Robert Stam. We coined the term “audiovisual era” after reading an article written in 1966 by the Austro-Brazilian historian and literary critic Otto Maria Carpeaux (1900-1978). Carpeaux supposed that painting (specially the abstract one) would surpass literature in importance in cultural life. The most important thing is that he realized that the new audiovisual media (cinema and television) came to be considered and studied (or rejected) by the academics and the critics. That phenomenon had already been described by Umberto Eco in Italy. In an Audiovisual and After Modernism era is impossible to write the developing of a character in the usual way because the effects of the urban life and the perception of the new imagery were felt by both, writer and public. The purpose of this study was to evaluate the continuance of the theme of coming of age in fiction in the current days. The results indicated Salinger as a watershed in that kind of literature and Owen Wilson as an important screen writer of a new movie genre, the “cinema of formation”.
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Palma, Gustavo Garcia da. "Estados alterados de consciência em artemídia: o papel do corpo no trabalho do ator." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5083.
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Previous issue date: 2008-04-28<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>It s very common Nowadays the use of technologies in communication processes in art.
The coupling of prosthesis to the body and the cross-breeding of scenic languages happen. The
analysis of these processes, most of them at least, is done under the director s, the
choreographer s or the critic s perspective. The objective is the investigation of consciousness
alteration for the actor based on the trance technique proposed by Jerzy Grotowski (1979,
2007), for a theater poor in technology . The hypothesis is the application of this concept in
an art rich in technology: the Artmedia (MACHADO, 2002). An undisciplined and
theoretical-practical methodology was used. M. McLuhan (1969, 1972), S. Pinker (1998, 2002),
Y. R. G. Araújo (2005) e de P. M. Aguiar (2006) made it possible to conceive the technology as
an organic/environmental process and overcome the dualism rich-poor inherent in Grotowski.
The concept syntheticbody , created from the concept corpomídia (KATZ & GREINER,
2005), represents the refusal in altering itself. T. Richards (2001), R. Cohen (2004, 2003), M.
Bonfitto (2002), R. Ferracini (2003), E. Barba (2006), R. Demarcy (in GUINSBURG, 2003)
and others allowed a new interpretation of important theater authors like Aristóteles (1966), C.
Stanislávski (1979) e J. Grotowski (op. cit.). A. Damásio (2000, 2004), S. Pinker (1998), D. C.
Dennett (1997, 2006), Lakoff & Johnson (2002), R. Dawkins (2001a, 2001b), and others
allowed the conception of consciousness in a healthy state, here, a parameter to identify and
create altered states, which can be systemically understood from J. Vieira (2006, 2007).
Consequently the actor s training system was called Alteration Procedures , and Jerry
Grotowski s interpretation of the trance technique for the body could be reviewed and enlarged
in high levels of technology in communication processes<br>É cada vez mais comum a utilização de tecnologias nos processos comunicacionais em
arte. Acoplamentos de próteses ao corpo e hibridização de linguagens cênicas se sucedem. Tais
processos, em sua maioria, são realizados sob a perspectiva do diretor, do coreógrafo ou do
crítico de arte. Aqui é proposta uma análise pelo corpo em ação no meio. O objetivo é a
investigação da alteração de consciência para o ator, com base na técnica de transe , proposta
por Jerzy Grotowski (1979, 2007), para um teatro pobre em tecnologia. A hipótese é a
aplicação deste conceito em uma arte rica em tecnologia: a Artemída (MACHADO, 2002).
Utilizou-se de metodologia indisciplinar e teórico-prática. Autores como M. McLuhan (1969,
1972), S. Pinker (1998, 2002), Y. R. G. Araújo (2005) e P. M. Aguiar (2006) possibilitaram
conceber a tecnologia como processo organismo/meio, e superar a dualidade rico-pobre
inerente em Grotowski. O conceito corposintético , criado a partir do conceito corpomídia
(KATZ & GREINER, 2005), representa a recusa em alterar-se. T. Richards (2001), R. Cohen
(2004, 2003), M. Bonfitto (2002), R. Ferracini (2003), E. Barba (2006), R. Demarcy (in
GUINSBURG, 2003) e outros permitiram a releitura de importantes autores da área teatral
como Aristóteles (1966), C. Stanislávski (1979) e J. Grotowski (op. cit.). A. Damásio (2000,
2004), S. Pinker (1998), D. C. Dennett (1997, 2006), Lakoff & Johnson (2002), R. Dawkins
(2001a, 2001b), e outros permitiram conceber os conceitos de consciência para ser possível
identificar e criar estados alterados, entendidos sistemicamente a partir de J. Vieira (2006,
2007). Os princípios de treinamento do ator são tratados como Procedimentos de Alteração, e a
leitura da técnica de transe de Jerzy Grotowski pôde ser revista e ampliada para o corpo em
ambientes com altos índices de tecnologia nos processos comunicacionais
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Rollo, André Corrêa. "Duas representações de família : "Os Glass", de J. D. Salinger, e "Os Tenenbaum", de Wes Anderson & Owen Wilson." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/17525.
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O presente trabalho analisa o tema das famílias desajustadas no sistema ficcional norte-americano. Os corpora estudados são os contos sobre a família Glass, de J. D. Salinger, e o roteiro do filme The Royal Tenenbaums, escrito por Wes Anderson e Owen Wilson. O enfoque comparatista aqui desenvolvido é duplo: de um lado, o diálogo temático entre a obra dos diferentes autores, de outro lado, a investigação sobre os modos em que os contos de Salinger e o filme dialogam com as demais artes. Desta forma, a leitura crítica aqui efetuada rastreia as estratégias intertextuais e inter-artísticas presentes nos corpora. A análise temática é desenvolvida a partir da definição de um conceito de desajuste. A inadaptação pode ser vista como uma inadequação ou reação do indivíduo ao grupo ou comunidade a que pertence, aos pensamentos, valores e modos de agir desta. Tanto os Glass quanto os Tenenbaums são irmãos que, quando crianças, foram destacadamente brilhantes em atividades comumente desempenhadas por adultos. Ao amadurecer tornaram-se pessoas problemáticas com dificuldades de relacionamento pessoal. Para chegar à síntese da leitura comparativa visualizamos três elementos comuns em ambos os corpora: o conflito do indivíduo com o mundo; a dificuldade da comunicação pessoal (além de discorrermos sobre as estratégias da comunicação ficcional) e a dificuldade em lidar com a instabilidade. Ao final, examino como tais problemas são superados pelos personagens. Além disso, também tentamos descrever como tais obras inserem-se na tradição ficcional norte-americana de produção obras cujo tema principal são as problemáticas relações familiares.<br>The present work analyses the theme of maladjusted families in the American fictional system. The corpora consists of the short stories about the Glass family, by J. D. Salinger, and the screenplay for The Royal Tenenbaums, written by Wes Anderson and Owen Wilson. The comparative approach here developed is twofold: on the one hand, a thematic dialogue between the different authors' works, on the other hand, a research about the ways in which Salinger's stories and the film dialogue with another arts. Thus, the critical reading searches the intertextual and interartistic strategies present in the corpora. The thematic analysis is developed from a definition of a concept of maladjustment. Maladjustment can be seen as an individual's inadequacy or reaction to the group or community to which he/she belongs, to the thoughts, to the values and ways of behaviour. Both Glass and Tenenbaums are siblings which, when children, were outstandingly brilliant in activities mainly fullfilled by adults. Coming of age they become problematical with difficulties in personal relationship. To summarize the comparative reading we highlight three elements in common to both corpora: the individual's conflict with the world; the difficult of the personal communication (besides the strategies of fictional communication) and the difficulty in deal with instability. Finally, I examine how such problems are overcome by the characters. Besides this, I also try to describe how such works are inserted in the American fictional tradition of producing works whose main theme is the problematic family relationship.
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Becchetti, Patrizia. "Anthropologie du Performer : parcours et pratiques de « l’art comme véhicule » auprès du Workcenter of Jerzy Grotowski and Thomas Richards." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100118.
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En suivant les parcours et les pratiques de l’«art comme véhicule» auprès du Workcenter of J. Grotowski and Thomas Richards je me propose de mettre en évidence les éléments mobilisés dans la formation du Performer, en tant que agent créatif dans un contexte artistique spécifique. Dans le laboratoire du Workcenter, la tradition théâtrale stanislavskienne dialogue avec les pratiques rituels pour expérimenter les possibilités de l’action dramatique réflexive et expressive. L’art performative, envisagé comme véhicule de transformation interhumaine, devient ici un projet chargé de tensions éthiques et culturelles. Cette culture habite le théâtre comme possibilité de formation d’un «homme nouveau», qui maîtrise l’art de la fiction performative pour questionner et expliciter les "fictions" dans la Culture<br>Following the practices of «art as vehicle» at the Workcenter of Jerzy Grotowski and Thomas Richards, I focus on the performative elements that are mobilized in the training of the Performers, considered as creative agents in a specific artistic context. At the Workcenter in Pontedera, the theatrical tradition initiated by Stanislavskij dialogues with ritual practices in order to experiment the potentialities of reflexive and expressive dramatic action. Performing art is considered here as a vehicle of human development and transformation
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Buarque, Adriana de Jesus. "A compaixão em O apanhador no campo de centeio, de J.D. Salinger." Pontifícia Universidade Católica de São Paulo, 2005. http://tede2.pucsp.br/handle/handle/1799.
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Roy, Aurélie. "Surviving childhood : trauma and maturation in J.D. Salinger's "The catcher in the Rye", S.E. Hinton's "The outsiders", and Stephen Chbosky's "The perks of being a wallflower"." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28334.
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Ce mémoire de maîtrise propose une étude détaillée des répercussions sociales et psychologiques des évènements traumatiques sur le développement de l’enfant en utilisant trois Bildungsromane importants, The Catcher in the Rye de J.D. Salinger, The Outsiders de S.E. Hinton et The Perks of Being a Wallflower de Stephen Chbosky. En me basant sur les études de Cathy Caruth, Shoshana Felman, Ronald Granofsky, Dominick LaCapra, Dori Laub et Judith Lewis Herman, je démontre que les expériences traumatiques ont des effets contradictoires, mais indissociables sur l’évolution psychologique de l’enfant, à savoir de ralentir et d’accélérer le passage de l’enfance au monde adulte. J’explique que Holden Caulfield, Ponyboy Curtis et Charlie font preuve de comportements qui dévoilent la paralysie que peuvent entraîner les traumatismes psychologiques et qui peut forcer l’enfant à demeurer immature et innocent. Ensuite, j’illustre que ces mêmes expériences traumatiques, et l’acceptation de celles-ci peuvent finir par pousser l’enfant à brusquement atteindre la maturité. Ce mémoire souligne également l’importance du témoignage dans la guérison et dans l’éventuel passage de l’enfance à l’âge adulte. Considérant son omniprésence dans les romans pour jeunes adultes, le témoignage et ses ramifications seront analysés dans chaque chapitre. Au fil des trois chapitres, j’analyse chaque roman de façon indépendante, j’évalue la réaction de chaque personnage face aux expériences traumatiques et j’établis la nomenclature et les liens qui permettent une conversation entre les trois romans. Bien que les trois œuvres étudiées proposent différents modèles de réponses psychologiques aux traumatismes, chaque roman entre en dialogue avec l’autre. L’objectif de ce mémoire est donc d’offrir de nouvelles perspectives sur les trois histoires, tout en démontrant les corrélations qui les unissent et qui contribuent à la compréhension de chaque œuvre. Ainsi, ce mémoire se veut un outil pour établir une conception globale du rôle des expériences traumatiques dans la littérature pour jeunes lecteurs.<br>This thesis examines the psychological and social repercussions of trauma on a child’s maturation process using three landmark novels of the Bildungsroman genre, J.D. Salinger’s The Catcher in the Rye, S.E. Hinton’s The Outsiders, and Stephen Chbosky’s The Perks of Being a Wallflower. Grounding my analysis on the findings of trauma theorists Cathy Caruth, Shoshana Felman, Ronald Granofsky, and Dominick LaCapra, and psychiatrists Dori Laub and Judith Lewis Herman, I demonstrate that trauma can occupy two contradictory but inextricably linked functions in the maturation process, that of both hindering and catalyzing a child’s coming-of-age. I demonstrate that Holden Caulfield, Ponyboy Curtis, and Charlie all display behaviours that suggest the paralyzing nature of trauma and its initial ability to prevent the child from growing up. I then argue that trauma, or the acceptance of one’s traumatic past, has the potential to accelerate the maturation process. My study also highlights the importance of the testimonial process in the recovery from trauma and the character's ensuing maturity. Because of the omnipresence of testimony in young people’s literature, its ramifications and implications are explored in each chapter of this thesis. Through the use of close reading, I study each work independently, evaluate each character’s individual response to trauma, and establish the thematic vocabulary and the interlinks that allow a conversation between the three novels. Although the studied works propose different types of traumatic negotiation and response, each novel is dialogically linked with the other. This thesis offers new readings of each novel, while establishing insightful comparisons between the three works. The intent of this thesis is therefore to contribute to the assessment of each narrative and to a general understanding of the role of trauma in young people’s literature.
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Viviand, Aline. "La compréhension des gentilés Polacy, Niemcy, Francuzi et Europejczycy par la jeunesse polonaise contemporaine : une étude ethnolinguistique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040172/document.
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Notre étude prend pour objet la façon dont la jeunesse polonaise comprend aujourd’hui les gentilés européens tels que Polacy (les Polonais), Niemcy (les Allemands) et Francuzi (les Français), ainsi que le gentilé Europejczycy (les Européens) lui-même, plusieurs années après l’adhésion de la Pologne à l’Union européenne, faisant suite à la chute du régime communiste. Ces deux évènements historiques relativement récents sont en effet susceptibles d’avoir affecté la perception du monde des Polonais. En appréhendant la signification des gentilés précités par la vision d’une communauté de locuteurs, les jeunes locuteurs Polonais, cette étude s’inscrit dans le courant linguistique des recherches cognitives. Ces recherches mettent en avant, dans l’étude des structures sémantiques de la langue, le lien fondamental entre langue et pensée et prennent pour objectif de parvenir au sujet parlant (en tant que membre d’une communauté de locuteurs), à sa perception, à sa conceptualisation du monde (liée à son expérience) et à son système de valeurs. Notre étude adhère ainsi plus particulièrement au courant de l’ethnolinguistique de Lublin tel que l’a défini Jerzy Bartmiński et selon lequel nous ne saurions chercher le sens des gentilés Polacy, Niemcy, Francuzi et Europejczycy dans les dictionnaires, puisqu’il se trouve avant tout, pour ainsi dire, dans la tête des locuteurs<br>Our study takes as its object the way the Polish youth understands today European ethnonyms such as Polacy (the Polish), Niemcy (the Germans), Francuzi (the French), and also the name Europejczycy (the Europeans) itself, several years after the accession of Poland to the European Union, following the fall of the communistic regime. These two historical events, these advances, could affect the way that Polish people perceive the world. This study situates itself in the mainstream of the cognitive linguistics research, which puts in the foreground the crucial link between language and thinking in the study of the semantic structures of language and aims to reach the speaking subject (as a member of a linguistic community), his perception and his conceptualization of the world (connected to his experience) together with his system of values. Therefore this thesis falls within the mainstream of the ethnolinguistic school of Lublin, the basic assumptions of which were described by Jerzy Bartmiński. According to this, the meaning of words such as Polacy, Niemcy, Francuzi and Europejczycy cannot be found in dictionaries, because their meaning exists primarily in the mind of the speakers
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Hugonnier, François. "Les interdits de la représentation dans les œuvres de Paul Auster et de Jérome Rothenberg." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100163/document.
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Les événements d’Auschwitz, d’Hiroshima et du 11 septembre 2001 ravivent un questionnement ancien sur le pouvoir du langage, ainsi que sur la responsabilité et les modes du témoignage. Tenter de dépasser les interdits de la représentation dans ce contexte historique relève d’un acte de résistance envers tous les préceptes linguistiques, éthiques, épistémologiques ou politiques. Écrivains juifs-américains séculiers et polymorphes, Paul Auster et Jerome Rothenberg redéfinissent le réel grâce à l’imagination, à la mutation du medium et au dérèglement des sens dans leurs textes défigurés. S’inscrivant dans la rupture d’après 1945, ils recherchent une voie détournée, un langage premier et organique dépassant l’inadéquation du signe et l’impulsion iconoclaste. S’inspirant d’un héritage juif diasporique et mystique, des avant-gardes européennes et américaines, du transcendantalisme, du rituel archaïque ou encore du poststructuralisme, ils contribuent au renversement des images mythiques issues de la spéculation sémiotique. Le trauma ne peut être dit, mais se crie, la présence s’écrit dans la répétition et dans la rencontre de l’infini, le cœur de l’œuvre se dévoile dans l’excentration et l’excentricité de la lettre pétrifiée. Dire l’indicible, c’est se taire et écouter la mort qui sommeille dans l’ombre du verbe, dans le silence d’une musique naissante ; c’est rêver éveillé, se remémorer les pulsions et les cauchemars enfouis ; c’est accueillir une non-langue conjuguée à contretemps dans une grammaire du désastre. Traduire une parole qui ne dit rien et qui ne peut être comprise, telle est la contradiction qui informe ces écrits en souffrance<br>Auschwitz, Hiroshima and September 11, 2001 revive the ancient issues of the power of language and of the responsibility and modes of testimony. Trying to overcome the taboos and restrictions of representation in this historical context is a matter of resistance against all linguistic, ethical, epistemological and political precepts. Paul Auster and Jerome Rothenberg are multi-faceted secular Jewish-American writers who redefine the real thanks to the imagination, thanks to medium mutation and the derangement of the senses in their disfigured texts. Coming within the scope of the post-1945 breakdown, they seek a roundabout means, a primal and organic language overcoming the discrepancy of signs and the iconoclast impulse. Drawing from a diasporic and mystical Jewish heritage, from the European and American avant-gardes, from transcendentalism, from archaic ritual and postructuralism, they contribute to bringing down the mythical images shaped by semiotic speculation. Trauma cannot be said, but the wound is voiced in a scream. Presence writes itself in the repetition and the discovery of infinity. Depth is unveiled by a whirligig of nameless sticks and stones. Speaking the unspeakable means keeping quiet and listening to the death that sleeps in the shadow of the word, in the silence of a new song. It means daydreaming, recollecting repressed drives and nightmares; cradling a no-tongue conjugated in a grammar of the disaster. Translating a word that says nothing, that cannot be understood, such is the contradiction which informs these pending works of pain
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Peslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
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Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communauté internationale du Théâtre. Alors inconnus, la plupart sont aujourd’hui les grands maîtres du XXe et du XXIe siècle. En accueillant de même certains créateurs révolutionnaires, il fera souffler un vent de jeunesse et de liberté préfigurant les événements de Mai 68. L’analyse des événements précurseurs permet de comprendre les conditions de son institutionnalisation et la définition de ses trois missions qui ont permis d’explorer en onze ans un champ illimité de culture au bénéfice des professionnels, des artistes et des spectateurs: la découverte des traditions théâtrales majeures venues de quatre continents, la recherche de nouvelles formes scéniques, et la consécration des troupes les plus prestigieuses. L’étude du Théâtre des Nations exige aussi d’adopter une approche sociologique et historique car il fut impliqué dans les grandes questions de l’époque, entre autres la reprise des relations politiques et diplomatiques d’après guerre, et la reconnaissance des droits d’artistes originaires de régimes totalitaires ou d’anciennes colonies. Le plus international de tous les festivals internationaux, le Théâtre des Nations reste ce qu'il a toujours été, un défi au monde<br>The Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
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Huang, Shu Ping. "La fabrique mémorielle et identitaire dans le théâtre contemporain taïwanais : exemple du Théâtre Golden Bough (Jin Zhi Yan She)." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080040.
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Grotowski a influencé fortement, grâce au Théâtre U, les créations du Petit Théâtre taïwanais. Les recherches de Grotowski autour des techniques de la source, pour les artistes du Petit Théâtre taïwanais, revêt un caractère propre à leur culture populaire et les aident à s’identifier comme une communauté spécifique. Hérité du Théâtre U, le Théâtre Golden Bough ne s’exclut pas de la tendance à la recherche d’une nouvelle langue physique sur la base de techniques traditionnelles, mais progressivement, il s’est orienté vers un type de comédie musicale populaire. Le Théâtre Golden Bough met en scène de façon burlesque des stéréotypes de films et de séries télévisées du genre mélodrame. Le bricolage d’extraits de médias d’aujourd’hui avec des éléments d’hier construit une passerelle reliant les spectateurs contemporains à une « belle époque » empreinte de nostalgie des années 1960.Cette thèse décrypte la situation des Taïwanais souvent tiraillés entre des conflits identitaires. L’étude du Théâtre Golden Bough montre comment les artistes du théâtre ont représenté les différences culturelles, les tensions sociales, dans leurs mises en scène et le jeu des acteurs. Elle permet de mettre en exergue les logiques qui orientent l’évolution de la construction et l’affirmation d’une « identité taïwanaise »<br>Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective
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Carron, Delphine. "Figures du détective dans le polar américain contemporain." Phd thesis, Université d'Angers, 2013. http://tel.archives-ouvertes.fr/tel-00961471.
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Le polar américain contemporain se pose en continuité et en rupture avec l'âge d'or des années 1930-1950 en reprenant les codes et représentations mythiques du hard-boiled et du modèle anglais pour les confronter au monde contemporain. A la ville des années 1930, terrain privilégié du détective progressant méthodiquement vers la clé de l'énigme, s'oppose l'univers urbain contemporain - New York et plus particulièrement Brooklyn - au coeur duquel l'énigme initiale reste sans véritable dénouement. Les méthodes traditionnelles n'ont plus cours, laissant place à l'incertitude et au doute ; il n'est plus question de héros triomphant contre le Mal au coeur de l'univers urbain, mais des efforts d'un détective perdu dans sa propre fragmentation. Ainsi, la focalisation ne porte plus sur l'aboutissement de l'enquête mais sur la quête interne du détective qui, avant même d'élucider le mystère, est d'abord en quête de lui-même. Le polar d'avant-garde sous toutes ses formes, et en particulier la bande dessinée et le roman, détrône le statut mythique du détective pour en proposer de multiples figures, prétextes à la redéfinition des codes bien connus du genre et à l'exploration métaphysique du monde contemporain.
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Berland, Agathe. "Pratiques du détour et du suspens dans l'œuvre de J.D. Salinger." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR085.
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Cette thèse se propose de relire l’œuvre de J. D. Salinger à la lumière de l'usage que fait l'écrivain des motifs du détour et du suspens, tous deux caractérisés par un fonctionnement ambivalent. L'écriture de Salinger, fondamentalement introspective, prend par bien des aspects des allures de quête, à la fois identitaire et littéraire. L'exploration de l'identité qu'elle met en scène implique notamment un détour par l'altérité, auteur et personnages revêtant un certain nombre de masques, au risque parfois de refuser de s'en défaire ensuite. L'auteur se devine également derrière ses pratiques d'écriture, dont la dimension obsessionnelle révèle un profond désir de maîtrise de son travail, qui l'amène parfois à se perdre dans ses textes et s'apparente finalement davantage à une attitude de fuite qu'à la recherche d'un idéal littéraire. Dans l’œuvre salingerienne, le détour participe d'une réflexion sur les concepts de norme et de déviance, ainsi que sur le thème de l'errance. D'abord perçu comme néfaste, il apparaît à terme comme un moyen privilégié d'accéder à des révélations insoupçonnées. L’éloge de l'écart que l'on observe sur le plan thématique trouve un écho dans l'utilisation par les personnages-narrateurs de stratégies narratives louant les mérites du détour. La digression, le fragment, le renvoi aux marges du texte ainsi que l'intertextualité – autant d'outils interrogeant la distinction généralement établie entre le centre et la périphérie, entre l'accessoire et l'essentiel – révèlent toute leur efficacité lorsqu'ils sont employés pour aborder des sujets qui échappent aux cadres traditionnels. Le décentrement du texte passe également dans certains cas par un recours à la métatextualité qui permet notamment à l'écrivain de prolonger et de mettre en scène la réflexion qu'il mène sur son écriture. Les encarts métatextuels, parce qu'ils viennent interrompre temporairement la narration, peuvent aussi être considérés comme des manifestations du suspens dans le texte, suspens d'abord employé par Salinger pour interroger les notions de progression et de stase. Son œuvre présente simultanément une réflexion sur la résistance au passage du temps et la notion d'entre-deux, l'auteur affectionnant particulièrement la représentation de périodes liminales, à la fois lieux du mouvement et lieux hors du temps. Par ailleurs, l'écrivain s'attache par diverses stratégies narratives déployées dans ses textes à suspendre l’interprétation du sens, qui se révèle mouvant, différé, voire tout simplement retenu, lorsqu'il ne s'abîme pas dans l'absurde ou le non-sens. Ce faisant, Salinger interroge la validité de toute interprétation, plaidant pour une approche plus intuitive de l'art, et s'efforce du même geste de repousser indéfiniment l'achèvement de son œuvre, trahissant par là l'urgence éprouvée de mettre à distance l'angoisse mortifère qui l'obsède<br>The aim of this PhD research is to try to shed new light on J. D. Salinger's work by focusing on the writer's use of two inherently ambivalent motifs, namely detour and suspension. Salinger's writing, partly because of its introspective nature, often takes on the appearance of a quest, both personal and artistic. It stages the author's exploration of his own identity, which implies exploring otherness through the use of masks worn by both characters and writer, who sometimes refuse to later put them down. The study of Salinger's writing practices shows an obsessional dimension indicative of his powerful desire to control every aspect of his work, sometimes leading him to fully immerse himself in the world of fiction – an attitude in the end more evocative of evasion than of a search for literary perfection. In Salinger's work, the representation of detours is the starting point of a reflection on the concepts of norm and deviance, as well as on the theme of wandering. While it first appears as harmful, the detour motif eventually shows its potential for the revelation of unsuspected truths. Deviation is thus presented in a positive light, and its effectiveness as a writing strategy is repeatedly praised. Such stylistic devices as digression, fragmentation, or intertextuality are called upon to question the classical distinction between center and margins, between what is essential and what is incidental. Those devices are most effective when it comes to dealing with topics unfit for traditional approaches. The author’s will to decenter the text also involves the use of metatextuality, which serves the writer's exploration of his own writing and its staging for the reader's benefit. Metatextual passages, as they temporarily bring the narration to a halt, may also be seen as manifestations of suspension. In his work, Salinger first uses suspension to question the notions of progress and stasis. His texts invite the reader to engage in a reflection on the characters' resistance to the passing of time as well as the notion of in-betweenness. Indeed, the author has specialized in the depiction of those liminal periods in the lives of individuals, which are characterized by change and an out-of-time quality. Moreover, the writer makes use of different stylistic devices to suspend the reader’s access to the meaning of his stories. In most of them meaning remains unstable and unsure, whether elucidation is deferred or simply refused to the reader, who is also confronted to manifestations of the absurd or even utter nonsense. Salinger thus challenges the value of interpretation, pleading for a more intuitive approach to art, and makes sure he indefinitely postpones the completion of his own work, in the same way that his characters develop strategies to postpone their confrontation with death
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Huang, Shu Ping. "La fabrique mémorielle et identitaire dans le théâtre contemporain taïwanais : exemple du Théâtre Golden Bough (Jin Zhi Yan She)." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080040.
Full textAbstract:
Grotowski a influencé fortement, grâce au Théâtre U, les créations du Petit Théâtre taïwanais. Les recherches de Grotowski autour des techniques de la source, pour les artistes du Petit Théâtre taïwanais, revêt un caractère propre à leur culture populaire et les aident à s’identifier comme une communauté spécifique. Hérité du Théâtre U, le Théâtre Golden Bough ne s’exclut pas de la tendance à la recherche d’une nouvelle langue physique sur la base de techniques traditionnelles, mais progressivement, il s’est orienté vers un type de comédie musicale populaire. Le Théâtre Golden Bough met en scène de façon burlesque des stéréotypes de films et de séries télévisées du genre mélodrame. Le bricolage d’extraits de médias d’aujourd’hui avec des éléments d’hier construit une passerelle reliant les spectateurs contemporains à une « belle époque » empreinte de nostalgie des années 1960.Cette thèse décrypte la situation des Taïwanais souvent tiraillés entre des conflits identitaires. L’étude du Théâtre Golden Bough montre comment les artistes du théâtre ont représenté les différences culturelles, les tensions sociales, dans leurs mises en scène et le jeu des acteurs. Elle permet de mettre en exergue les logiques qui orientent l’évolution de la construction et l’affirmation d’une « identité taïwanaise »<br>Since the abolition of the martial law in 1987, the Taïwanese have been trying to create a new cultural identity by defining Taïwan as a nation and as an ethnic group. The quest results from the long-term colonization of Taïwan by Japan and KMT. In this atmosphere, young university students created small-sized avant-garde theatres, the so-called Little Theatre, as a means to express their discontent and their resistance to the authoritarian government.Through the workshops and the project of “tracking back” of the U-Theatre of Taïwan, Grotowski, a western theater master, has greatly influenced the acting style of the Little Theatre. Grotowski’s works of “techniques of source” inspired the Taïwanese performers to find their own traditional physical techniques. Inherited from the U-Theatre and the practices of Grotowski, Golden Bough Theatre initially searches for a new sacred and abstract physical language based on traditional techniques. However, the effort gradually evolved into the creation of a type of comedy, where the stereotypes of movie and television series were performed in a burlesque way. By means of mixing the elements of modern and old days, Golden Bough Theatre has constructed a bridge bringing contemporary spectators back to a nostalgic “golden age” in 1960s. Golden Bough Theater is now considered as an authentic Taïwanese theatre. This thesis discusses the Little Theatre, whose plays often reflect taïwanese political situation and ethnic conflicts. The artists of the Little Theatre act out the cultural and social tensions. The study of Theatre Golden Bough allows us to understand the evolution of Taïwanese cultural identity from an artistic perspective