Dissertations / Theses on the topic 'Malte romane'

Nella presente tesi sono state esaminate alcune malte storiche romane prelevate all interno della Villa dei Quintili , un sito romano di grande interesse storico-archeologico, risalente al II sec. d.C. Si tratta del primo studio archeometrico ad oggi effettuato sul sito in questione ed è stato eseguito in collaborazione con la Soprintendenza Archeologica di Roma. Il sito è costituito da strutture imponenti che si estendono a sud-est di Roma, tra la via Appia Antica e l Appia Nuova. La villa, articolata in più nuclei distinti, sembra aver conosciuto diverse fasi edilizie. Per tale ragione, il campionamento è stato eseguito in accordo e in presenza degli archeologi della Soprintendenza Archeologica di Roma, che hanno autorizzato il prelievo di un totale di 40 campioni di malta, di differenti tipologie, rappresentativi di ciascuna fase costruttiva. I campioni prelevati sono stati sottoposti ad un programma analitico integrato che ne ha consentito la caratterizzazione completa al fine di ottenere informazioni utili a chiarire molteplici aspetti riguardanti sia l area di approvvigionamento delle materie prime sia le tecnologie di produzione in relazione alle diverse fasi costruttive ad oggi ipotizzate unicamente su base archeologica. Tale programma analitico ha previsto l uso di molteplici metodologie, quali MOP, SEM-EDS, XRD e LA-ICP-MS. L analisi petrografica in sezione sottile ha permesso di definire i principali costituenti delle malte e i loro rapporti volumetrici, mentre le indagini mineralogiche (XRD), le analisi micromorfologiche (SEM) e quelle chimiche (SEM-EDS) hanno consentito di analizzare singolarmente i vari componenti. La verifica dell ipotesi riguardante l esistenza di diverse fasi costruttive è stata basata sul confronto dei risultati ottenuti dall analisi petrografica con le ipotesi cronologiche effettuate dagli archeologi. Uno dei caratteri più innovativi del presente lavoro riguarda l utilizzo della metodologia LA-ICP-MS finalizzata a studi di provenienza. Attraverso l elaborazione dei dati LA-ICP-MS è stato possibile individuare le aree di approvvigionamento delle materie prime utilizzate nel confezionamento delle malte. Seguendo l approccio già proposto da Barone et al. (2010), tale tecnica è stata qui applicata ai clinopirosseni rinvenuti nell aggregato vulcanico per discriminare la tipologia di pozzolana impiegata. Come proposto da Barba et al. (2009), l analisi LA-ICP-MS è stata condotta anche sui grumi di calce e su calcari locali allo scopo di individuare le materie prime utilizzate nella preparazione del legante.

This thesis is an investigation of Roman pottery from the Maltese islands from the 1st century BC to the mid-4th century AD, and how pottery can help assess Malta's economic role in the wider central Mediterranean region. The archipelago's locally produced vessels, its range of ceramic exports, and the quantification of the types of amphorae, fine, and cooking wares the islands imported, were studied and the data were used to compare with the pottery available from the small islands of Pantelleria, Lampedusa and the Kerkennah isles. The aim is to revisit the theme of the economic role of the Maltese islands and other similar-sized islands in the region by moving away from the tradition of unilateral and monographic narratives, which more often than not, omit the wealth of information that can be garnered from pottery. In the first instance, a detailed study of three complete and new ceramic assemblages, including amphorae, fine, cooking and coarse wares, was undertaken. The opportunity to quantify identifiable imports and compare them with local products - the first of its kind for fine, cooking and coarse wares - provided valuable proxy data for comparing Malta with neighbouring islands and centres, and demonstrated what proportion of ceramic vessels were locally supplied, and how these changed over time. These data were also fed into a series of network analyses, which plotted the common pottery links shared between small-island and mainland sites in the region. The analyses were interpreted in conjunction with a critique of existing pottery quantification methods, and the potential acceptance for utilising all known pottery data irrespective of the quality and quantity of the published data available. Most importantly, the import trends obtained from this study were incorporated into the existing narrative of how small islands and their local industries featured in the central Mediterranean's regional economy, highlighting the types of archaeologically visible industries that existed; how these developed symbiotically alongside other larger supply networks; and what effect this might have had on the integration of small islands in the Roman Mediterranean.

L’objectif de cette étude est de présenter une lecture critique et raisonnée de l’œuvre de Léo Malet. Une part importante est consacrée à sa production écrite, constituée de plus de cinq mille pages, allant des poèmes surréalistes aux romans populaires et policiers. Mais l’apport de l’écrivain à d’autres champs de la création n’en est pas exclu pour autant. A cet important corpus, il a fallu trouver un fil directeur, permettant d’aborder à la fois la personnalité et l’œuvre de l’auteur. C’est la quête d’une unité derrière une apparente hétérogénéité qui a semblé l’axe le plus à même de guider l’analyse : elle constitue la problématique de fond de ce travail. Le développement suit une progression en sept temps : Le premier est consacré à la présentation de la vie de l’auteur, soulignant la dimension éminemment autobiographique de son œuvre. L’étude de son évolution idéologique en est le prolongement naturel. La période surréaliste est abordée, du fait de son importance et de son apparente singularité dans le parcours de Malet. La quatrième partie analyse le choix de Malet de s’orienter vers la littérature populaire. On voit alors comment il se trouve à l’origine de la triple rupture épistémologique du roman policier français au cours du XXe siècle. La spécificité de son regard et de son écriture est ensuite évoquée, à travers une approche plus stylistique. Pour finir est évoquée la durable influence qu’a eue Léo Malet sur les diverses formes de la culture populaire française
This study’s purpose is to survey and analyse Leo Malet’s work. It is mainly devoted to his written productions [more than 5.000 pages…], from Surrealist poems to popular and detective novels. Nevertheless, other artistic fields are not left apart. Because of his taking part in them, or because of his contribution, some films, TV productions or comics are also mentioned. Given the size of this corpus, a guiding thread had to be found, which could deal with the author’s personality as well as his work. The search for unity behind apparent heterogeneity seemed to be the best way to guide the analysis: it thus constitutes the central line of this study. The structure of this work decomposes into seven parts: The first one is devoted to the presentation of the author’s life; it allows to show how autobiographic his work is. The study of his ideological evolution follows, in a second part. The Surrealist period is evoked, because of its importance and of its apparent peculiarity within Malet’s work. Fourth part deals with Malet’s choice to turn towards popular literature. Then it is explained how he provoked a major evolution of the 20th century French detective novel. A survey of his personal style brings to light the specificity of his vision and of his way of writing. The last part eventually analyses Leo Malet’s long-lasting influence in French popular culture

This thesis argues that British and French novelists and illustrators in the late nineteenth century frequently represent pathological narcissism as a defining feature of masculinity in the period. It states that depictions of men’s illness in decadent and middle-brow novels and illustrations of the fin de siècle do not chiefly reflect models of self-obsessive sickness in nineteenth-century psychology. Instead, they anticipate the early and mid-twentieth-century narcissism and schizoid pathology outlined by Sigmund Freud and the object relations theorists Harry Guntrip, Ronald Fairbairn, and Donald Winnicott. Rather than diagnosing authors and illustrators, or suggesting that the artworks reflect a ‘real-life’ sickness in the period, the thesis constructs a fictional male self-obsession. It asserts that novelists and illustrators portray this illness as the almost inevitable result of male characters’ fin-de-siècle socio-economic and intellectual context. Further, it suggests that the novelists and illustrators represent the whole of society as exhibiting pathological self-absorption, but depict the narcissism of fictional men as distinct from that of their female counterparts, and as varying with the male characters’ class. Artists convey the sickness, the thesis argues, through both characterization and style. The Introduction provides an overview of key developments in the theme of pathological self-obsession in psychology, psychoanalysis, cultural commentary, and literary criticism from the nineteenth century to the present day. It presents the Freudian and object relations theories which provide a theoretical framework in subsequent chapters, and the socio-economic and intellectual factors which fin-de-siècle writers and illustrators portray as causes of male narcissistic illness. Chapter one constructs a pathology of male self-absorption in two novels often labeled quintessentially decadent: Oscar Wilde’s The Picture of Dorian Gray (1890, 1891) and J.-K. Huysmans’s A Rebours (1884).The fictional male aristocrats mistakenly believe that their choice to be ill distinguishes them from women and the masses, and qualifies them for membership of an elite. This portrayal of upper-class men’s sickness is contrasted with that of the Duke’s illness in Jean Lorrain’s Monsieur de Phocas (1901) in order to demonstrate how decadent representations of pathological masculinity changed during the late nineteenth century. Chapter two discusses two middle-brow novels: George and Weedon Grossmith’s illustrated The Diary of a Nobody (1888-89, 1892) and Jerome K. Jerome’s Three Men in a Boat (1889). The lower middle-class male characters exhibit the same schizoid illness as the aristocratic men in Dorian Gray and A Rebours. The way that the sickness manifests itself, however, is lower middle-class: unwittingly or otherwise, the men emulate the upper-class male’s illness whilst consciously celebrating health. Chapter three considers Max Beerbohm’s Zuleika Dobson (1911) and the illustrations and additions the author made to his copy of the novel in the two months after its first publication. It argues that Beerbohm looks back at the late nineteenth century and parodies its satire of pathological masculinity. The thesis emphasizes the fact that men in decadent and middle-brow novels and illustrations share the same illness, even though in the former the sickness is explicitly stated, and in the latter the pathology, for fear of destroying the novels’ light-hearted tone, is only intimated and is overlooked by critics. By considering these supposedly disparate genres alongside one another, I argue, the features of characterization and style which convey male narcissistic illness become evident in middle-brow novels and illustrations. The thesis, that is, interrogates the labels ‘decadent’ and ‘middle-brow’ and thereby provides fresh insights into both late nineteenth-century depictions of masculinity and fin-de-siècle aesthetics.

Inserida nos estudos da Germanística Interdisciplinar no Brasil, a presente dissertação, A experiência do estranho no romance Die Aufzeichnungen des Malte Laurids Brigge, de Rainer Maria Rilke, tem como objetivo analisar na mencionada obra literária, considerada o primeiro romance moderno em língua alemã do século XX, o conceito do estranho. Os diversos elementos ficcionais que compõem cada um de seus setenta e um fragmentos permitem ao protagonista-narrador, Malte Laurids Brigge, ter acesso à abrangente configuração da semântica do estranho que se apresenta aqui por meio de três vertentes: a experiência de vida em uma metrópole estrangeira com a qual ele não se identifica, mas que, dialeticamente, lhe serve como uma ponte para a descoberta de seu mundo interior; a revelação de recordações de sua infância, até então não manifestadas, e regidas por acontecimentos particulares que reconstituem a busca precoce por sua identidade; e a afirmação de seu Eu através de leituras de narrativas alheias que projetam camufladamente sua identidade. Com esse conjunto semântico multifacetário, Rilke logra articular com a experiência do estranho diversas possibilidades e tentativas de Malte Laurids Brigge em buscar e redefinir sua identidade.
Inscribed within Interdisciplinary Germanic Studies in Brazil, the objective of this thesis, The Foreigners/Stranger´s Experience in Rainer Maria Rilkes Die Aufzeichnungen des Malte Laurids Brigge, is to analyze the concept of the foreigner/stranger in said text, considered to be the German languages first 20th Century modern novel. The diverse fictional elements comprising each one of the seventy one fragments of the work grant the central character/narrator access to the configuration of the semantics of the foreigner, presented in three strains: the experience of living in a foreign metropolis with which he does not identify yet serves him as a bridge to discovering an inner world in dialectic terms; the revelation of memories not manifested during his childhood and governed by particular occurrences that reconstruct his search for identity; and the projection of his ego through readings of narratives by others. With this group of elements and by way of the foreigners experience, Rilke manages to articulate the most diverse possibilities of Malte Laurids Grigges search for identity.

Cette thèse a choisi le roman policier français contemporain comme objet privilégié de recherche. Le genre se veut fondamentalement ludique et on lui reproche aussi souvent de se complaire dans les artifices de l'intrigue. En France, la fiction policière s'est distinguée en prenant en compte de manière singulière, et ce dès son apparition, le réel dans la construction des récits. Très tôt, son chemin a croisé celui du réalisme, nouant avec lui toute une connivence. C'est ce faisceau de relation entre réalisme et fiction policière qu'explore ce travail. Certes, les réalités contemporaines liées à la mondialisation irriguent et nourrissent la fiction policière. Mais elles ne sont pas mises en récit de manière mimétique. C'est bien le paradoxe d'une tendance qui continue à dire le réel, sans pour autant prétendre le dupliquer. Chez Fred Vargas, Marcus Malte, Pascal Garnier et Tanguy Viel, les caractéristiques de nos sociétés sont davantage figurés que décrites et transparaissent à travers le traitement de thèmes comme le sacré, le monde du travail, les constructions identitaires, les relations interindividuelles et la violence. Le monde sensible et matériel est mis en sourdine, les paysages sont insaisissables et cette modalité de la représentation dit à la fois vide et l'absence qui caractérisent nos sociétés. Nous ne parlerons pas pour autant de récits désenchantés ou mélancoliques. L'esthétique mise en oeuvre dans ses romans est en effet à la fois déroutante et réconfortante. Nos fictions grâce à des narrations plurielles et très dynamiques parviennent à susciter chez le lecteur toute une gamme d'émotions productrices de plaisir. L'évasion par les émotions et sens du réel ne sont donc pas incompatibles.

Boys‘love (BL) is originated from the Japanese comics. The phrase ―”boy‘s love” first appeared as a proper noun in the comics at an approximate time of 1966 in Japan. Most BL comics depicted hopeless love of boys. Then, the 1990s saw the emergence of new type of BL comics, namely 耽美 (Tanbi). Tanbi is a Japanese word, it can be attributed the same meaning as aestheticism. Tanbi comics showed a perfect scene to audiences within beautiful boys’ love, pleasure stories also end up with a comedy. The boys‘ love or nature love between boys is different from the circle of gay. BL is a kind of emotion always can only be seen in literary output due to its strict conditions. BL ought to be explained like this, a beautiful boy is falling love with somebody else, by coincidence, it is a beautiful boy. BL is more like a Platonic love, BL always give a picture of spiritual experiences of boys‘love but fewer sex. In other word, BL is just a kind of comic form. The researchers in Japanese comics always concentrated on its social influences, characteristics, conditions, etc. There is scarce any research touching on the comic forms. BL comics are a special component of the comics, and this form demonstrates a series of phenomenon in sociology. With an informal research, BL comics is now turning into a common fashionable comic form among the Asia regions. However, with great exchanges with other areas, there also exists a large number of BL comic fans in Mainland China, and most of them are young ladies. Given this background, BL is treated as an exclusive form to the young ladies, and it largely reflects values and tastes of these ladies. The findings of this thesis might provide insights into a desire understanding males and an expectation of a fathfully lover. Undeniably, Japanese people attain amazing achievements in many fields, the success of circulating BL products is one of them. To some extent, researching the circulation and consumption patterns of BL comics may reveal the great achievement of Japan in culture transmission.
published_or_final_version
Modern Languages and Cultures
Master
Master of Philosophy

This Research studies leadership in Roman Catholic primary and secondary schools in Malta. The study takes a grounded approach in order to investigate what it is like to be a headteacher in a church-run school, through an exploration of attitudes, behaviours, leadership styles and managerial skills and approaches. The initial phase of the project involved interviews with ten Roman Catholic school headteachers (five primary and five secondary). On the basis of these interviews a questionnaire was constructed, focusing on what had been identified as the key issues. The questionnaire was then distributed to the Heads of all Roman Catholic schools in Malta (forty schools). The findings of the study give some privileged insights into the perceptions and experiences of church school Heads, providing information about positive and negative aspects of the job, indicating areas where organisational and / or administrative changes would be helpful and also highlighting areas for further headteacher education and training.

The popularity of the Twilight saga, enhanced by the film adaptations of the books, sparked a series of interesting reactions of fans. One was the creation of “Team Edward” and “Team Jacob,” in which fans aligned with one or the other character and argue about which one of them could be a better romantic partner. This study explores the messages the movies are sending to young girls around the world about what are the traits of the “ideal” male romantic partner as portrayed through the characters of Edward and Jacob. A textual analysis of the first three movie adaptations of the saga, Twilight (2008), New Moon (2009), and Eclipse (2010) was conducted. Based in social cognitive theory and using a feminist critical approach, I argue that these messages might be teaching young girls lessons about relationships that are up to certain degree dangerous, some of them perpetuating patriarchy.

From an anti-oppressive and a gender perspective, the aim of this paper is to examine whether three English teachers at a comprehensive school in Stockholm make gender conscious selections when selecting novels for their English literature lessons. Through quantitative research, semi-structured interviews and e-mail interviews with these teachers I have attempted to find out if they include both male and female writers when selecting English novels for their students and also what factors affect their selections. I have analyzed the interviews and the quantitative research by using a qualitative and a quantitative content analysis. The theories that I have established my analysis upon are gender theories about the male norm in society, the feminist Simone de Beauvoir’s ideas about the woman as a second gender and the sociologist Raewyn Connell’s gender regimes. Furthermore, the Professor Kevin K. Kumashiro’s theories on anti-oppressive education have been very useful when interpreting my research. My results show that these teachers do not make gender conscious selections for their English literature lessons since they almost only choose novels written by men. They explain their choices to depend upon factors such as them wanting to individualize their literature lessons by selecting novels that their students will enjoy. They also elucidate the issue that the school only has a limited selection of novels to choose from, which narrows their choices. But I argue that since the teachers are able to purchase new novels to the school and also borrow class sets from the Public Library, they have the possibility to select novels by female writers as well. I interpret the fact that they almost only use novels written by men as a result of the male norm in society, which influences the teachers on a subconscious level. That the teachers select male writers prior to female writers results in the students achieving an inadequate education, given that they mostly learn about the male perspective upon the world, since the female angle is invisible. If these teachers would begin working from an anti-oppressive perspective and make gender conscious selections of novels for their English literature lessons, they must first be aware of how the male norm influences them.

L’œuvre de la romancière libanaise ‘Alawiyya Ṣubḥ (née à Beyrouth en 1955) est traversée par un rapport intrinsèque entre le corps épanoui et son exercice de la parole, de même qu’entre le corps réprimé et son embrigadement dans le silence, le tout lié à une peur du féminin dans ses manifestations aussi bien corporelles que langagières. Face à la norme répressive, le langage des personnages, lieu de l’articulation du savoir et du pouvoir, comme leur corps, lieu de l’exercice de la domination masculine, deviennent des lieux de contre-pouvoirs, des « subjectivités » en devenir comme dirait Michel Foucault. Ainsi se pose dans les trois romans de Ṣubḥ : Maryam al-ḥakāyā (2002), Dunyā (2006) et Ismuhu l-ġarām (2009) la question de la représentation des femmes et la possibilité qu’elles ont de prendre ou non la parole et de se faire entendre. Dans le système patriarcal mis en scène dans ces romans, le silence est la norme contre laquelle s’élève la voix de certains personnages, femmes et hommes. Par conséquent, quand elle intervient, leur parole, qui se situe aux confins de l’admissible, du convenable et du soutenable, a tout de suite valeur de transgression. Une fois cette parole advenue, la femme, parce que c’est surtout d’elle qu’il s’agit, récupère sa voix et l’image de son corps, ce dernier étant, en quelque sorte, le premier lieu où se manifeste l’appropriation patriarcale du discours féminin, et sa réappropriation par la femme, le premier et principal signe d’une possible émancipation. Un parler « féminin » est alors célébré, un parler qui n’est pas exclusivement de femmes, mais un parler qui ne prétend pas à l’universel, et qui permet l’émergence d’un discours minoritaire échappant à la vision logocentrique et théocentrique du monde
The work of the Lebanese novelist 'Alawiyya Ṣubḥ (Beirut, 1955) is traversed by an intrinsic relationship between the unimpeded body and its exercise of speech, likewise between the repressed body and its enslavement in silence, all being linked to a fear of what feminine would be in its corporal and linguistic manifestations. Faced with the repressive norms, the language of the characters being a place where power and knowledge articulate on the one hand and their body, as the place of the exercise of male domination on the other hand, become places of counter power. In other hands, they become places of upcoming "subjectivities", as Michel Foucault would say. In the three novels of Ṣubḥ: Maryam al-ḥakāyā (2002), Dunyā (2006) and Ismuhu l-ġarām (2009), arises the question of the representation of women and the possibility for them to be voiced and heard. In the patriarchal system depicted in these novels, silence is the norm against which the voice of certain women and men rises. Therefore, when their word intervene, lying at the confines of the admissible, the suitable and the sustainable, it has immediately the value of transgression. Once this word has come, the woman, main subject of this word, recovers her voice and the image of her body. The body is the first place where the patriarchal appropriation of feminine discourse manifests itself, and the reappropriation of this discourse by woman becomes the first and principal sign of a possible emancipation. A « feminin » speech is then celebrated, a speech that is not exclusively that of women, yet a speech that does not pretend to the universal, and which allows the emergence of a minority discourse that escapes the logocentric and theocentric visions of the world

Si la littérature et la critique se sont abondamment intéressées aux figures du clown et du saltimbanque depuis le XIXe siècle, force est de constater que les artistes féminines n’ont connu ni la même gloire ni la même légitimation. Tandis que leurs homologues masculins peuplent les romans, les femmes saltimbanques sont peu mises en scène dans les œuvres littéraires et n’ont en général qu’un rôle secondaire. À sa publication en 1901, Lulu, roman clownesque, de Félicien Champsaur, change cette donne en plaçant au centre de son récit un personnage féminin fort. Le roman relate alors l’ascension et la gloire sans précédent de Lulu la clownesse. En nous attardant plus spécifiquement au traitement du corps de l’artiste féminine dans le roman, nous dégagerons le rôle essentiel que joue l’enveloppe charnelle dans la réussite du parcours de la saltimbanque, ainsi que dans les rapports qu’entretient cette dernière avec le public. Nous verrons dans un premier temps que le corps s’impose dans l’œuvre comme un puissant outil d’agentivité. Par la suite, nous constaterons que ce travail est mis à mal dès lors que la chair du personnage féminin devient l’objet du spectateur masculin. Lulu n’est plus définie selon ses actes, mais plutôt selon les termes de celui qui l’observe. Nous montrerons que le corps féminin constitue un enjeu primordial et ambigu dans le roman de Champsaur dans la mesure où il se situe au cœur de la construction du personnage romanesque et de son parcours.

Within Gothic literature, the mother is frequently missing. In Charles Brockden Brown’s Edgar Huntly, Edgar Allan Poe’s “Morella,” “Ligeia,” and “Eleonora,” and Edith Wharton’s “Bewitched,” men are left without parents, and they attempt to recuperate a mother-figure. To do so, the men in these texts psychologically project the role of their mother onto other women. Wives, sisters, and daughters all have the potential to become mothers to these men. This is a catastrophe for the women involved, for male perception fails to distinguish females as autonomous, unique beings. By conflating roles in the family structure, men destroy women and thus are left without the nurturing mother-figure – or indeed any female – they desperately need.

This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.

Cette étude cherche à penser la nécessité de la littérature : d'une part en la considérant d'un point de vue esthétique afin de s'approcher d'une définition, en commençant par se pencher sur le langage, puis sur ce qui fait de la littérature un art, "l'art littéraire" ; d'autre part, en considérant la littérature d'un point de vue ontologique, comme étant à la fois l'un des espaces permettant la représentation et l'interrogation - philosophique - de la pensée, mais aussi un espace où la pensée - quand elle risque le désastre - peut trouver à se transformer pour gagner l'art, l'art littéraire. Cette recherche est le résultat de l'analyse détaillée de trois romans, saisis comme fondamentaux, de l'oeuvre littéraire d'un auteur espagnol majeur du XXe siècle : Carmen Martín Gaite (1925-2000). Le premier roman étudié, "Los Parentescos" (2000), permet de rendre compte de la théorie du langage pratiquée et révélée par l'auteur à même le roman, et ainsi, de saisir le langage en tant que matière de la littérature. Le deuxième roman, "Ritmo lento" (1963), fait glisser cette quête de définition de la littérature de la perspective métalinguistique à la perspective philosophique en prenant pour objet la pensée dans la représentation de l'expérience de sa radicalité tournant au désastre. Le troisième roman, "La Reina de las Nieves" (1994), permet le retour à la considération esthétique de la littérature, et notamment à sa dimension essentiellement artistique, que notre auteur nous invite à décliner à travers les notions d'esthésie, mémoire, et immagination. Par où une oeuvre littéraire se révèle théorie littéraire ; par où on assiste à l'émergence d'une théorie de la nécessité de la littérature.

This research is aimed to explain the origins and evolution of the philosophical antagonism to male same -sex sexuality under the argument that same-sex relations were contra naturam. It spans from classical Greece through the early middle-ages, and covers Platonism, Aristotelianism, Epicureanism, Greek Stoicism, Roman Judaism, Neoplatonism, and Christianity. A recurrent presence behind all antagonism to male same-sex sexuality was the Socratic ethics of abstention, and notions natural supernatural teleology. Other contributors were negative social connotations of passivity in adult men, and the intrinsic power differences that existed within the male same-sex relationships of antiquity. The argument that same-sex relations go against nature seems to fare worse under more modern understandings of the universe, animal sex-life, and the evidence against intelligent design in evolution of life forms.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of History.

Le roman policier occupe une place originale dans le champ littéraire et connaît des succès éditoriaux exceptionnels, en particulier les séries dans lesquelles évolue un personnage récurrent. Ce dernier fascine et assure le succès de l’œuvre. Pour réfléchir à ce pouvoir de fascination, il convient d’abord d’observer l’évolution du personnage principal à travers un historique du genre. Nous nous interrogerons ensuite sur le degré de réalité qui lui confère sa vraisemblance. Enfin, nous nous attacherons à saisir les images symboliques et imaginaires qui le façonnent pour cerner sa dimension de personnage de fiction. Trois personnages de romans policiers français qui se sont imposés dans l’imaginaire du public font l’objet de cette réflexion : Arsène Lupin de Maurice Leblanc, Jules Maigret de Georges Simenon et Nestor Burma de Léo Malet
Detective Novels have a particular place in the literary domain and are today outstanding best sellers. This is especially true for series of thrillers which feature the same character. This protagonist mesmerizes and ensures the sucess of the book. In order to consider this fascinating power, it is first useful to study the evolution of the main character in relation to the general Detective Novel history. One will then wonder about the degree of reality given by the verisimilitude of the character. Finally, one will endeavour to examine the symbolic and imaginary images that compose him to seize his fictional dimension. Three characters of French Detective Novels will form the subject of the demonstration, ie Arsène Lupin by Maurice Leblanc, Jules Maigret by Georges Simenon, and Nestor Burma by Léo Malet

The insular nature of the Maltese archipelago provides a unique opportunity to explore trade and cultural change from the Neolithic to the Bronze Ages in the central Mediterranean. I hypothesize that, during the period in which the Maltese islands were experiencing a form of isolation—owing either to their distance from Sicily and other populated regions, to the collective formation of an inwardly-focused culture, or to a combination of these factors—it is unlikely that pottery played a significant role as either an import or export in the archipelago’s exchange relationships with other communities in the central Mediterranean. I accordingly propose that ceramics were only significant in the interaction networks between Malta and its neighbors during periods when the archipelago was culturally connected to Sicily. Except for a limited number of archaeometric studies (Barone et al. 2015; Molitor 1988; Mommsen et al. 2006), analysis of similarities among ceramic wares produced in Malta and elsewhere that allow archaeologists to draw conclusions about the nature of Malta’s connectivity to other communities has been based on macroscopic observation. The present study builds on the few archaeometric studies by determining the provenance of ceramic samples based on their trace elemental composition. Included in this study were both clay samples and ceramic artifacts representing each of Malta’s chronological phases from the Neolithic to the Bronze Ages. Specifically, in order to address the question of the role that pottery played in the prehistoric trade of the Maltese islands, 392 Maltese ceramic sherds were analyzed using a Bruker III-V handheld portable X-ray fluorescence device, which revealed the relative abundance of six trace elements, namely thorium, rubidium, strontium, yttrium, zirconium, and niobium. The trace elemental composition of the Maltese pottery was compared with that of 18 Sicilian ceramic sherds and clay samples from both Malta and Sicily. The results of this research support my hypothesis in part, suggesting that neither ceramics nor raw clay materials played a significant role in overseas trade during Malta’s period of cultural isolation, which extended from the Ġgantija phase to the end of the Tarxien phase. On the other hand, ceramics played a more active role in Malta’s interaction networks during periods of connectivity with Sicily, for instance in the Neolithic Age. This study also provides the first chemical evidence that Malta exported pottery to Sicily during the Bronze Age and that Malta’s contact with Mycenaeans was indirect in nature. The findings presented here thus contribute to understanding Malta’s role in trade and interaction networks from the Neolithic to the Bronze Ages and point to new approaches to exploring the cultural change that becomes apparent in the Maltese Temple Period.

Le cinéma s’est, dès ses origines, heurté à la question du réel. La caméra, en tant que machine à enregistrer, s’est présentée comme une opportunité de retranscrire une forme de vérité, épurée de tous les différents filtres qui faisaient obstacle à la représentation des « choses telles qu’elles sont ». Pourtant, l’image filmée, comme tout énoncé linguistique, ne peut échapper aux multiples trahisons de la vérité qui ne peuvent faire d’elle qu’une construction, même dans son dispositif le plus élémentaire. Outre la question du réel et son axe véritatif, le cinéma n’a jamais cessé de se confronter à de nouvelles trahisons : la trahison de classe (les frères Lumière), la trahison de genre (le male gaze), la trahison politique (Godard) et la trahison spectatorielle. Faisant état de l’ensemble de ces trahisons, cette thèse s’interroge sur les formes de l’autonarration dans ses allers-retours de l’écran à l’écrit et les multiples avatars du moi. Comment se raconter sans se trahir, du moins le moins possible ? Le documentaire est-il plus fidèle au réel que la fiction ? Faut-il dire « je » pour se raconter ? Que devient « je » une fois à l’écran ? Quelle est la valeur d’un « je » féminin face à un « je » masculin ? S’écrit-on plus sincèrement qu’on ne se filme ? L’auto-incarnation à l’écran est-elle gage de vérité ? Afin d’apporter des pistes de réponses, cette thèse propose une exploration transmédiale d’œuvres d’auteur.ices qui n’ont cessé de placer l’enjeu biographique au cœur de leur travail : Cyril Collard, d’abord, qui s’est écrit, filmé, chanté, a fait sacrifice de sa chair à l’écran jusqu’à sa mort médiatique ; Eva Ionesco ensuite, qui s’est d’abord filmée avant de s’écrire, faisant du trauma de l’enfance le point de départ narratif de l’ensemble de son œuvre ; et Julie Maroh à qui nous réservons un traitement particulier puisque la dimension autofictionnelle de ses romans graphiques n’a jamais été clairement revendiquée. Néanmoins, Maroh, dans sa pratique d’autrice-illustratrice se situe dans un entre-deux-mondes, où le roman porte en lui la marque d’une volonté cinématographique. Nous démontrerons que le roman graphique, en tant que scénarimage, constitue une forme de propédeutique à la pratique cinématographique. Et qu’il peut être le lieu d’une expression sincère affranchie des contraintes tant de la défaillance des langues que de la trahison filmique
From its inception, cinema has come up against the question of reality. The camera, as a recording machine, presented itself as an opportunity to transcribe a form of truth, stripped of all the different filters that hindered the representation of "things as they are". However, the filmed image, like any linguistic statement, cannot escape the multiple betrayals of the truth which can only make it a construction, even in its most elementary device. In addition to the question of reality and its real axis, cinema has never ceased to face new betrayals: class betrayal (Lumière brothers), gender betrayal (male gaze), political betrayal (Godard ) and spectator betrayal. Taking stock of all of these betrayals, this thesis questions the forms of self-storytelling in its back and forth from the screen to the written word and the multiple avatars of the ego. How can you tell your story without betraying yourself? Is documentary more faithful to reality than fiction? Do you have to say "I" to tell yourself? What happens to "I" once on the screen? What is the value of a female "I" compared to a male "I"? Do we write to ourselves more sincerely than we film ourselves? Is Self-Incarnation on Screen True? In order to provide avenues for answers, this thesis proposes a transmedial exploration of works by authorship that place the biographical issue at the heart of their work: Cyril Collard, first of all, who has written, filmed et sung himself, sacrificed its flesh on screen until its death; Eva Ionesco then, who first filmed herself before writing, making childhood trauma the narrative point of departure for all of her work; and Julie Maroh, to whom we reserve different treatment since the autofictional dimension of her graphic novels has never been clearly claimed. Nonetheless, Maroh, as an illustrator, finds herself in a middle ground, where the novel bears within it the mark of a cinematic will. We will demonstrate that the graphic novel, as a storyboard, constitutes a form of propaedeutic to cinematographic practice. And that it can be the place of a sincere expression freed from the constraints of both language failure and filmic betrayal

The current paper is a study of the male characters Simon and Jace from Cassandra Clare's City of Bones (2010), and the characters Tamlin and Rhysand from Sarah J. Maas’ A Court of Thorns and Roses (2015). The main aim is to examine whether the characters in these fantasy novels for young adults have traits and functions that previously have been used to describe and portray female characters. The study discovered among other things that vulnerability and sensitivity could be found in all the characters, especially when danger was upon them or their loved ones. Simon was also the only character that was not portrayed with skills in combat, which was mocked by the other male characters but not by the female protagonist. The two male characters in A Court of Thorns and Roses were also portraited as sexual objects in the novel, and Rhysand was exposed to sexual abuse by the novel’s antagonist, which can be seen as stereotypical female trait. The male character’s function in the novels was to have a folie function to each other, and be a love interest, a confidant, and a choir to the female protagonist. The male characters in the novels were also the ones who needed to be rescued by the female characters, and thereby found themselves in a female position.

Cette thèse est une recherche interdisciplinaire entre care et littérature, basée sur l'hypothèse d'un lien d'interdépendance entre les deux perspectives. Mon travail s’appuie sur l'idée que la littérature peut être un instrument particulièrement adéquat de recherche sur le travail et la relation de care justement parce que les romans racontent des histoires ordinaires. En effet, le care n’est pas un principe ontologique général, il est lié à des situations particulières, concrètes. De même, les récits littéraires de Slow Man de John M. Coetzee et Maria de Lalla Romano, sur lesquels va porter mon analyse, inversent la condition d'invisibilité sociale qui dans notre société touche les travailleuses de care. Dans les romans et les ouvrages sociologiques analysés les femmes care-givers occupent la scène principale : elles sont des héroïnes, non pas dans le sens de l'héroïsme universel masculin, mais de celui qui émerge des récits de care au prisme du genre. Enfin l'analyse des romans Maria et Slow Man a aussi nourri la réflexion sur le Unheimliche. En effet, le personnage de la care-giver est source d'inquiétante étrangeté, parce qu'elle est une femme, et que son travail consiste à s'occuper de ce qui est familier, mais aurait dû rester caché : la vulnérabilité humaine. De plus, très souvent la care-giver est une femme étrangère qui trouble l’espace de la domesticité et de l’intime. À travers la double perspective de la critique littéraire féministe et de l’éthique du care nous proposons une nouvelle lecture genrée de l’inquiétante étrangère familière au niveau des représentations sociales, littéraires et symboliques
This thesis is an interdisciplinary research between care and literature, based on the assumption of an interdependence between the two perspectives. My work relies on the idea that literature can be a research instrument particularly suitable on work and care relation, precisely because novels can recount ordinary stories. Indeed, care is not a general ontological principle, it is related to specific situations, concrete. Then, literary narratives Slow Man by John M. Coetzee and Maria by Lalla Romano, basis of my analysis, reverse the condition of invisibility that affects care workers in our society. In novels and sociological works analyzed, care-givers occupy the main stage : they are heroines, not in the sense of universal male heroism, but in one that emerges from the care stories read from a gender perspective. Finally, the analysis of novels Maria and Slow Man has also inspired reflection on the Unheimliche. The character of the care-giver is a source of uncanny, because she is a woman, and that her job is to take care of what is familiar, but should have remained hidden: the human vulnerability. Moreover, very often the care-giver is a foreign woman who disturbs the space of domesticity and intimacy. Through the double perspective of feminist literary criticism and ethics of care we propose a new gendered reading of the uncanny in social representations, literary and symbolic

This paper will look at the interpretation and translation of ἀρσενοκοῖται (1 Cor 6:9) in the list of people who will not inherit the kingdom of God. The word is mentioned in 1 Cor 6:9-10, and it has been translated in ways going from “homosexual”, “men who lay with men” and “sodomite” to “a man who lets others use himself or who uses others for debauchery” and “pedophile”. By looking at the views on sexuality, and male same-sex sexuality in particular, pertaining the Greco-Roman society and the Jewish culture contemporary to Paul, and also paying attention to the textual context as well as the context of the congregation in Corinth, the study has its aim set on finding what the word might have denoted to the first readers in the congregation in Corinth, and to Paul. The goal, then, is not to find a translation of the word ἀρσενοκοῖται that is literal, but to find one that is as close to a dynamic equivalent as is possible. This goal will, hopefully, be attained by giving the translation to the modern reader that is the one most likely to connote the same ideas and emotional connotations as the Greek word did in its original context. As the meaning of words change with time and context, there is a need for a translation that can bridge the gap created by that shift of meaning. Building that bridge in the case of ἀρσενοκοῖται is the goal of this paper. When the meaning, or meanings, that is found most likely to have been attained by the ancient readers is found, there will be a critical evaluation of some of the modern translations (and some a bit older) of the word in 1 Cor 6:9 to see if there already exists a translation that can be said to reach the goal of dynamic equivalence, given the meaning that is found most plausible in this paper. The study will argue that that is not the case, and therefore also propose a new translation, one that is argued to be closer to dynamic equivalence than those that has been evaluated. This translation is ”Men who sexually exploit men to gain social powers”.
Denna uppsats undersöker översättningen och tolkningen av ordet ἀρσενοκοῖται, det ord som avslutar 1 Kor 6:9 och är del av en lista över dem som inte kan ärva Guds rike (6:9-10). Ordet har översatts på olika sätt genom tiderna, med förslag som sträcker sig från “homosexuella”, “sodomiter”, “män som ligger med män” till “en man som låter utnyttja sig eller utnyttjar andra till osedlighet” och “pedofiler”. Genom att titta på hur sexualitet, och främst då manlig homosexualitet, sågs i den grekisk-romerska och judiska kontexten på Paulus tid, samt studera ordets litterära kontext och församlingens kontext i Korint, är målet att utröna vad ἀρσενοκοῖται bar med sig för betydelser och konnotationer för Paulus och de första mottagarna i Korint. Vad ett ord betyder är inte alltid statiskt över tid och rum utan förändras ofta, om än gradvis. Det riskerar därför att uppstå en klyfta mellan det som ordet från början innebar samt uppfattades som att det innebar, och hur det uppfattas idag. Den här uppsatsens mål är att överbrygga den klyftan för ἀρσενοκοῖται genom att ta reda på vad det grekiska ordet innebar i sin ursprungliga kontext och sedan ge en översättning som på bästa möjliga sätt ger en modern läsare konnotationer som i högsta möjliga grad stämmer överens med de konnotationer som de antika läsarna fick när de mötte ordet. Detta innebär alltså att målet inte är att ge en bokstavlig översättning av ἀρσενοκοῖται, utan en dynamisk ekvivalent översättning, där läsaren så långt det är möjligt får möjligheten att uppfatta det de första läsarna uppfattade. När den, eller de, meningar det är mest troligt att ordet bar med sig i sin ursprungliga kontext är konstaterade, kommer en kritisk utvärdering utifrån den slutsatsen göras av ett antal moderna översättningar (och några lite äldre), för att se om det finns en existerande översättning som uppnår dynamisk ekvivalens. Det kommer visa sig att så inte är fallet, och en ny översättning kommer därför att föreslås: ”Män som sexuellt utnyttjar män för att vinna social makt”.

The psychological realm in which late nineteenth century male romance takes place is not simply an anarchic land liberated from the conventional constraints of Victorian morality. Rather it is a complex male space that reflects the dynamics, protocols and contradictions of nineteenth century middle-class masculine relations as embodied in male fraternal associations such as public schools, secret societies, and the clubland of London's West End. A historical survey of London clubs and secret societies demonstrates the characteristics and social function of these institutions in defining and sustaining prevailing models of masculinity. An examination of Rudyard Kipling's Kim in relation to Masonic symbolism and initiation rites shows the didactic role of boys' fiction in transmitting and sustaining the imperial masculine ideology. A reading of H. Rider Haggard's African novels demonstrates the dynamics of idealized middle-class fraternal relations. Finally, an analysis of Bram Stoker's novels illustrates issues of male communities in dealing with alien others. In an environment in which men perceived an increasing threat from outside social forces, the network of fraternal associations, quest romance and masculine ideologies created a dynamic that illuminates a more complex reading of the culture and literature of the genre.

In this research I address the phenomenon of female fans’ fascination with online boys’ love fiction in China, and the discussion centers on the questions of why these women are interested in the boys’ love theme, why they prefer boys’ love to traditional heterosexual romance, and how they define and identify with male–male relationships in the boys’ love fiction. Through focusing research on a popular Chinese online-fiction website for women (www.jjwxc.net), I use historical review, online observations, and content analysis of online boys’ love fiction to collect data on my research questions. Understanding female fans’ expectation of and attitudes towards love and romance and analyzing the content of boys’ love fiction allow for a comprehension of the interactions of gender, sexuality, identity, and culture in shaping these women’s practice and choice of boys’ love genre in China.
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Romance reality programming has become a major player in the television field, with the most successful shows garnering huge ratings and massive audiences over the course of numerous seasons. But while the concept of finding love in a competitive environment on the national stage is new, romance reality TV programs seem to regenerate outdated stereotypes which work in a retrograde fashion to envisage love in traditional, pre-feminist heteronormative and patriarchal structures. Combining a background of literature on reality TV which gives insight to the manipulative tendencies of the industry; feminist scholarship on the acculturating and indoctrinating nature of classic fairy tales; and writings on the prevalence of postfeminist ideology that emphasizes self-surveillance/subjectification, the rhetoric of self-empowerment, and natural differences between the sexes, this thesis examines one of the most ubiquitous romance reality shows, The bachelor. Through the lens of nine tropes--beauty, passivity, marriage, victimization, vilification, romance rhetoric, gender roles, consumerism, and the male gaze--I analyze a full season of episodes, tallying the occurrences in each category. Using these tally numbers as general indicators and providing examples of each theme, I argue that the lessons conveyed to audiences by The bachelor and other romance reality programs bear a striking resemblance to classic fairy tales morals in which positive outcomes for heroines directly correlate to their perceived femininity, including conventionally feminine virtues like physical beauty, moral turpitude, and adherence to normative gender roles. The presence of postfeminism in the media contributes to making these outdated fairy tales themes seem congruent with female agency and empowerment by uncritically casting the failure to find love as a personal one. At the same time, men are placed in advantageous positions of authority and power, affirming the inevitability and desirability of patriarchal relationship arrangements.
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From the first to the fourth century AD, male perceptions of female sexuality underwent a radical change with the advent of Christianity. This thesis is an investigation into classical male and Christian male perceptions of female sexuality, to determine the manner and extent to which this change in perceptions took place. The investigation will be two-fold, studying both the laws that established these perceptions, as well as representations of female sexuality within specific, subjective male-authored texts. A study of the marriage legislation of Augustus and a male writer of the early Empire, Apuleius, shows an underlying pattern of thought, or paradigm, of female sexuality among classical males. Female sexuality was perceived as existing for the sole purpose of procreation, and males in positions of authority thought that it needed to be under male control in order to ensure acceptable sexual behaviour. They believed this would be best achieved by situating it under the authority of the family. With the advent of Christianity, however, a new competing paradigm on female sexuality emerged, which challenged the perceptions of men of the classical era. The church fathers spurned the classical view of female sexuality by instead advocating lifelong celibacy. They too, believed female sexuality had to be controlled, but they placed it under the authority of the church, and outside the family. Since the basis of the classical and Christian patterns of thought differed so markedly, especially when the Christian paradigm was first being formulated in the second century, it was inevitable that they would come into " conflict. Advocates of the classical paradigm tried to suppress Christianity by persecuting its supporters. Some Christian women became victims of this conflict. This thesis will also include an example of this conflict - the martyrdom of the female Christian Perpetua, who left a record of her persecution in the form of a diary. The conversion of the Emperor Constantine to Christianity in the fourth century brought about the end of the conflict ana a victory for the Christian paradigm. The church fathers suggest that the shift from classical to Christian was total and complete. However, closer examination of Constantine's legislation and the work of the influential church father Jerome shows that while this shift was complete in theory, it did not extend very far into social and legal practice. Although the Christian ideals of the church fathers were a major component of thenew paradigm, it also came to be composed of classical notions - now motivated by Christian thought - that were held by Constantine and the upper classes. It was these classical notions that shaped the social reality of life in the fourth century AD. The nature and extent of the paradigm shift was therefore radical and far-reaching in theory, but not in practice.
Thesis (M.A.)-University of Natal, Durban, 2002.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008.
Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4325. Adviser: Karen L. Fresco. Includes bibliographical references (leaves 319-339) Available on microfilm from Pro Quest Information and Learning.

“Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” définit le célibataire domestique, analyse les effets de l’érosion des frontières entre les domaines public et privé et retrace l’évolution du discours public au sujet de la masculinité dans quatre œuvres: Shirley écrit par Charlotte Brontë, Lady Audley’s Secret de Mary Elizabeth Braddon, Daniel Deronda par George Eliot, et The Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson. En identifiant le célibataire domestique comme personnage récurrent à la dernière moitié du dixneuvième siècle, cette dissertation démontre comment ce personnage arrive à représenter l’incertitude face aux questions de sexualité, non seulement dans des rôles féminins mais aussi dans les positions de l’homme dans la société et la remise en question du concept de la masculinité. Tout comme il y eu de femmes à l’affût de la liberté au-delà du domaine privé, des hommes aussi cherchèrent leur liberté au sein du domaine domestique par des performances féminines. Le célibataire domestique rapporte sur le concept New Woman de cette période par sa tendance de promouvoir de nouvelles définitions de la masculinité victorienne et les limites entre sexes. Le célibataire domestique passe du domaine public, plutôt masculin, vers le domaine privé, plutôt féminin en participitant dans le discours féminin, tel que les sujets de le domesticité, la chastité, la moralité, le mariage, et l’amour. En s’inspirant de l’analyse des domaines public et privé par Jürgen Habermas, cette dissertation revoit les rôles de ces domaines et leur élasticité dans les quatre œuvres en question ainsi que le sort des célibataires domestiques. L’assignation de sexe à ces domaines mena à la recherche de nouveaux formes de masculinité, produisant une définition de mâle liée au statut de la femme dans le domaine privé. Le célibataire domestique se déplace facilement entre ces domaines sans souffrir d’accusations de tendances effeminées ou d’aliénation sociale, à l’encontre des conséquences qu’ont souffert les personnages femelles pour leur comportement inhabituel. Chaque chapitre de cette dissertation considère les changements dans le discours de la sexualité afin de suivre la migration du célibataire domestique du domaine féminin au milieu du dixneuvième siècle jusqu’un nouveau domaine à la fin de siècle qui estompe la distinction rigide crue être en place tout au long de la période victorienne.
“Between the Spheres: Male Characters and the Performance of Femininity in Four Victorian Novels, 1849-1886” defines the domesticated bachelor, examines the effects of the blurring of the boundaries between the public and private spheres, and traces the evolution of the public discourse on masculinity in Charlotte Brontë’s Shirley, Mary Elizabeth Braddon’s Lady Audley’s Secret, George Eliot’s Daniel Deronda, and Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. By identifying the domestic man as a recurrent figure in the second half of the nineteenth century, this dissertation proves how he comes to represent the uncertainty surrounding issues of gender, not only concerning women’s roles, but also men’s positions in society and the re-defining of masculinity. Just as there were women seeking freedom by moving beyond the domestic sphere, there were men seeking a similar liberty by moving from the public into the private sphere by performing femininity. This bachelor is equally significant to the New Woman of this period based on his tendency to open up for discussion new definitions of Victorian masculinity and gender boundaries. The domesticated man moves from the “masculinized” public sphere into the “feminized” private sphere, by engaging in feminine discourse including issues of domesticity, chastity, morality, marriage, and love. Drawing upon Jürgen Habermas’s analysis of public and private spheres, this dissertation re-examines the roles of the spheres, their fluidity in the four works under consideration, and the fate of the domesticated male characters. The gendering of the spheres resulted in the search for new forms of masculinity; this new definition of maleness was extremely dependent on the status of women in the private sphere. The bachelor moves between the spheres without necessarily suffering consequences such as effeminacy and social estrangement, as opposed to “masculine” female characters that did suffer from social stigma resulting from their uncharacteristic behavior. Each chapter considers changes in the discourse of sexuality to account for a re-positioning of the domesticated man from a feminine sphere of activity into a new sphere which, by the end of the century, blurs the rigid distinction thought to be in place throughout the Victorian period.

This dissertation aims to explore, characterise and debunk the myth of the masculine war hero through the analysis of Pat Barker’s Regeneration trilogy. It focuses on showcasing how the traditionally patriarchal society of late-Victorian and Edwardian Britain educated its youth to follow unrealistic models of masculinity which privileged the suppression of emotion and tenderness, while promoting violence. The imperial agenda during the nineteenth and early twentieth centuries created a generation of males who believed in the “Great Adventure” of war and imagined it as a glorious event, where men were supposed to show their virility and honour in defence of western values. By focusing on the character of Billy Prior, a working-class, bisexual and shell-shocked soldier, this dissertation will demonstrate how his class, gender and sexual identity represent an exception to the patriarchal system of the time. Billy’s behaviour makes him an outcast of society, highlighting the problems and fragility of institutionalised masculinity. Furthermore, it will show how these characteristics are used by Billy as a weapon of survival, and how his late adherence to societal expectations ultimately led to his demise. The analysis of shell-shock will make clear how war went from being seen as a showcase of heroes to an event of indiscriminate violence which dehumanised its victims. Through Billy’s story, we can see that war erodes one’s humanity, turning a once lively and rebellious twenty-two-year-old man into a ghost, incapable of fitting in with regular human behaviour.
Esta dissertação ocupa-se com a análise da trilogia Regeneration de Pat Barker, uma obra que junta ficção com realidade para nos apresentar uma história da Primeira Guerra Mundial de uma forma mais humana. Um dos principais focos desta dissertação é a exploração do conceito de masculinidade tóxica e a descrição da sociedade patriarcal, de modo a tornar claro como este contexto ideológico e histórico foi utilizado pela escritora para tecer considerações sobre o papel do homem na sociedade, e sobretudo numa sociedade em guerra. Esta dissertação demonstra especialmente que a personagem Billy Prior é o elemento da trilogia que melhor reúne as características desta sociedade repressiva, mas procura ainda mais provar de que modos a personagem vai contra tais caraterísticas. A sociedade patriarcal do período vitoriano tardio e da época eduardiana serve como pano de fundo para os acontecimentos de Regeneration. Uma sociedade patriarcal pode ser definida como uma sociedade cujas estruturas e leis estão edificadas para beneficiar o género masculino, enquanto que ao mesmo tempo marginaliza não apenas as mulheres, mas também pessoas transgénero e crianças. O sexo masculino era dominante, mas isso nem sempre tinha boas consequências. O conceito atual de masculinidade tóxica é aplicado como um conjunto de comportamentos nocivos atribuídos aos homens, e que na época em análise passam pela promoção da violência e a supressão de emoções. A sociedade patriarcal da época levou à difusão de expectativas irrealistas para os jovens, ao educar os membros das classes mais altas para serem os futuros líderes do Império. Através do ensino dos colégios privados, estes rapazes estavam a ser doutrinados acerca da importância da disciplina, da cooperação entre estudantes, e do uso do desporto para fortalecer a moral e o corpo masculino. Por estas razões, era esperado (e exigido) que os jovens fossem capazes de lidar com os desafios colocados diante de si da maneira mais corajosa possível, sem temer o elevado risco de lesão ou de morte. Por outro lado, os homens que demonstrassem sofrer de traumas de guerra eram vistos como cobardes e fracos, incapazes de cumprir as suas obrigações de agir como um cavalheiro valente, disposto a ultrapassar todos os obstáculos para defender a sua honra, e mais importante, a honra da Pátria. Deste modo, Pat Barker demonstra como a sociedade patriarcal pode ser prejudicial para os homens, numa sociedade que foi edificada por homens, a pensar em outros homens. A pressão que estes jovens sofriam para agir e pensar de determinada maneira tornava ainda mais difícil o tratamento dos seus transtornos, porque os especialistas de psiquiatria recusavam-se, inicialmente, a reconhecer que estas reações não demonstravam a fraqueza dos soldados, mas sim a crueldade da guerra. Esta dissertação demonstra que a trilogia pode ser considerada uma obra feminista, apesar do seu foco ser em personagens do género masculino. O feminismo centra-se em promover a emancipação das mulheres, eliminando as normas e instituições que socialmente estabelecem a superioridade dos homens sobre as mulheres. Na sociedade britânica no início do século XX, a mulher era vista como um ser delicado, sensível, fraco e cujo principal dever era cuidar da casa e dos seus filhos. A mulher era, geralmente, dependente de um homem para a sua subsistência, que podia ser o seu marido/irmão/pai. Por esta razão tinha muito pouca autonomia. De acordo com a escritora, ao demonstrar que durante a guerra os homens sofriam de distúrbios mentais, dado a sua falta de autonomia e dependência, isto indica que o papel da mulher e do homem se torna mais semelhante. Supor que o homem que lutava era fraco era reduzi-lo à condição feminina, e por isso a sua virilidade era posta em causa. A guerra era considerada como a oportunidade suprema para o homem demonstrar as qualidades esperadas do seu sexo, mas Regeneration demonstra que a guerra de trincheiras teve frequentemente o efeito contrário. Um dos grandes temas de Regeneration é a compaixão da guerra. A compaixão para com os soldados que, com uma idade muito jovem, foram atirados para o meio de um conflito armado altamente destrutivo, com pouca ou nenhuma preparação adequada. Aliado a esta noção de compaixão estava a necessidade de desmistificar a ideia de que a guerra era um evento glorioso, em que o homem enalteceria a sua masculinidade. No início do conflito, a grande maioria dos jovens que se alistou tinha em mente o mito da “Grande Aventura.” Este mito espalhava a confiança desmesurada de que a guerra seria um conflito rápido, com poucas mortes e danos materiais. A guerra serviria, essencialmente, para defender o modo de vida europeu e para salvaguardar os interesses culturais e económicos do Império Britânico. No entanto, o passar dos anos tornou evidente que a guerra já não seria algo passageiro. O multiplicar dos falecimentos e dos soldados com lesões mentais contribuiu para tornar mais palpável que a Primeira Guerra Mundial, sendo a primeira verdadeira guerra da Era Industrial, estava a ter repercussões nunca antes vistas. Pat Barker usa Billy Prior para evidenciar estes aspetos, e é por isso que esta personagem foi escolhida como o principal foco de análise da dissertação. Prior é um oficial com origem na classe trabalhadora, o que complica o seu estatuto. Tendo acesso ao mundo da classe trabalhadora, assim como ao da elite dos colégios privados, Billy consegue adaptar os seus comportamentos aos contextos em que se insere. O seu estatuto de “cavalheiro temporário” atribui-lhe características únicas que tornam a personagem complexa, interessante e um tanto contraditória. Na verdade, a essência de Billy é sempre contraditória. Apesar de agir conforme a sua necessidade e vontade, tendo comportamentos que o colocam à margem daquilo que é esperado, sabemos através da narração subjetiva que Billy sente pressão para agir de maneira diferente. Mesmo tendo em conta que o oficial tem vários encontros sexuais com homens, o que na época seria reprovado, Billy desenvolve esses comportamentos em privado, apenas tornando as suas intenções claras perante aqueles em que confia. Billy é um doente que chega a Craiglockhart por ter lapsos de memória e não conseguir falar. Através dos seus protestos de silêncio, Billy Prior recusa a sua vulnerabilidade. Sendo assim, o soldado usa a sua enfermidade não só como modo de recalcar os seus traumas, mas porque o ato de os relembrar traria consequências que iriam contra o ideal do homem insensível, e por consequência, contra o sistema de sociedade patriarcal que Billy se esforça por integrar. A relação de Billy Prior com a sua namorada, Sarah Lumb, demonstra não só como o soldado era capaz de ver as mulheres como suas iguais, ignorando a ideia estabelecida de que o homem deve ter um papel dominante nas relações interpessoais, mas também como o soldado está alienado do quotidiano. Os momentos de romance que Billy passa com Sarah são os únicos que o afastam dos terrores da guerra, mas estar longe dos campos de batalha não apaga as suas memórias traumáticas. Depois de enfrentar os horrores de que foi testemunha, Billy é incapaz de se distanciar da sua vertente de soldado. Por isso vemos várias vezes Billy a ser comparado a um “fantasma” que vagueia pelas ruas citadinas, e que tem dificuldade em lidar com os risos e os barulhos dos cidadãos, felizes porque não têm noção das atrocidades inerentes a uma guerra de tal calibre. A noção de ignorância feliz ganha foco neste sentido. Uma vez “curado” dos seus transtornos, Billy volta à guerra voluntariamente, mas o seu ânimo nunca voltará ao mesmo. Este regresso não tem o intuito de demonstrar que as sessões com Rivers foram um sucesso, mas sim condenar a estrutura patriarcal que as motiva. O caso de Prior leva Rivers a reconhecer que era cúmplice no esforço de guerra, silenciando as vozes dos soldados, para que estes pudessem voltar a combater. Mesmo estando noivo de Sarah e com uma vida pela frente, Billy parece ter aceitado o seu destino. O oficial reconhece a perda da sua humanidade, focando-se apenas no dever que tem de cumprir. A perda da humanidade de Billy reflete a perda da humanidade de uma geração inteira de jovens que viram a sua vida tomar contornos assustadores, com muitos a não terem sequer a oportunidade de regressar a casa. Mesmo com a vitória dos aliados, Pat Barker demonstra que a Primeira Guerra não pode ter sido ganha quando tanto se perdeu. O sofrimento de milhões de jovens derruba o mito da guerra como um evento em que reina a heroicidade, o patriotismo e a masculinidade. O homem que lutava deixou de ser visto como um herói para passar a ser uma vítima de circunstâncias alheias à sua inocência juvenil. Por outro lado, a inclusão de Billy ajuda-nos a perceber a narrativa de guerra de um modo subjetivo, humanizado, renovado, permitindo uma leitura inovadora do conflito. O tom sarcástico com que Billy narra os acontecimentos contribui para a desconstrução da sociedade patriarcal, assim como da imagem romantizada do soldado heroico. Porque Billy não é uma personagem modelo – é de classe trabalhadora, bissexual e que padece de trauma de guerra – Pat Barker usa a sua voz para demonstrar que o comportamento ideal masculino não é inerente ao sexo, mas sim o resultado de condicionamento e repressão social.

As the topic for my diploma thesis I{\crq}ve chosen The Persecution of the Zlín-district-bound Roman Catholic Church by the Communist Party of Bohemia and Moravia in 1948 {--} 1960 from the Viewpoint of Archival Documents. I{\crq}ve set up two goals for this thesis. The primary goal of this work is to map the fates of each church organization, institution and order that were present in then Gottwaldov {--} Zlín district. The secondary goal, which serves as a complement to the primary one, is to show a fracture of the anti-church measurements, which the Gottwaldov-district-bound church was struck by, and the attitude of clergymen as well as that of laics towards them. The thesis is divided into several thematic fields, which depict individual areas of local church{\crq}s prosecution.