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Breda, Juliana Fernandes [UNESP]. "Amor e morte em Schopenhauer." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/93136.
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breda_jf_me_mar.pdf: 1300764 bytes, checksum: 83bbec5e2332be7624e2d8e704e89bfa (MD5)O presente projeto pretende analisar a função que os temas amor e morte exercem no conjunto da filosofia de Arthur Schopenhauer, examinando atentamente a evolução destes desde o início da construção de seu sistema filosófico. Procuraremos investigar em que medida o tema da morte pode ter servido de motivação, de gérmen à sua especulação filosófica, bem como seu entrelaçamento com o do amor, como impulso gerador da vida. Interessa-nos também o tratamento naturalístico e ético que Schopenhauer dá ao tema amor e morte: primeiramente ele empenha-se para dar uma imagem naturalista dos problemas tratados em Metafísica do Amor e Metafísica da Morte, mas logo ele torna claro que o problema é de ordem ética, contexto em que se apóia fortemente na literatura védica. Neste sentido, investigaremos também como Schopenahuer articula as Ciências Naturais e seus estudos dos Vedas
The present research project aims at analysing the role played by the themes „love“ and „death“ in the context of schopenhauerian philosophy as a whole, by means of a close investigation of the development of Schopenhauer’s refletions on both themes since the beginnings of his philosophycal efforts. We shall try to determine in what measure may the theme of death have worked as first motivation and as an “original seed” for his philosophical especulations, as well as this theme’s profound imbrication with that of love, understood as life generating impulse. We are also interrested in both the naturalistic and the ethical approaches presented by Schopenhauer reflections on love and death. On the one hand, he gives us a naturalistic account of the mentioned problems, but soon, in the other hand, he leaves it clear that these problems have also an ethical dimension. In his explorations of that dimension, his thinking appears to be heavily supported by vedic philosophy. Thus, we shall also investigate how does Schopenhauer menage to articulate nature sciences and his vedic studies
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真樹子, 小宮, and Makiko Komiya. "Bound by the Pentecostal oath : chivalric performance and the round table in Malory's Morte Darthur." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12864014/?lang=0, 2014. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB12864014/?lang=0.
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本論文はトマス・マロリーの『アーサー王の死』における「円卓」の役割を、三つの定義を通じて考察するものである。中世において「ラウンド・テーブル」は「(1)アーサー王の騎士組織(2)彼らの集う場である家具(3)アーサー王伝説を模倣して行われた見世物」を意味した。本研究では特に円卓の形状と意味の変化、模擬戦と誓約による理想の提示、円卓が騎士たちの間に生み出す友愛と敵対、誓いにより結ばれた義兄弟と実の兄弟の差異、偽証による円卓の崩壊を取り上げる。This dissertation presents a more comprehensive study of Thomas Malory's Morte Darthur from the three aspects of the Round Table. I focus on the following elements especially: the evolution of the shape and significance of the Round Table; visual and verbal representations of the Round-Table ideal by means of tournaments and the Pentecostal Oath; the conflicts the table creates between fellowship and rivalry; the chasm between brothers bound by oath and those tied by blood; and its fall due to the violation of the Pentecostal Oath. Through these perspectives, I would like to reveal the functions of the Round Table and capture the essence of Le Morte Darthur.
博士(英文学)
Doctor of Philosophy in English Literature
同志社大学
Doshisha University
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Poppelaars, Antonius Gerardus Maria. "O drama social, o herói trágico e o "sonho americano" em a morte de um caixeiro-viajante de Arthur Miller." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8289.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Willy Loman, the protagonist of Arthur Miller’s Death of a Salesman (1949) is a simple, flawed, middle class salesman. Can a common man such as Willy Loman be considered as a tragic hero? Does tragedy still exist in modern drama? Could the dark side of the “American dream” be the external flaw that provoces Loman’s fall? The objective of studying Arthur Miller’s play Death of a Salesman is focused on the possibility whether the protagonist, Willy Loman, can be considered a tragic hero. This study consists of a literary and historical perspective and is of a qualitative-descriptive character. The problem focuses on the question: what could be the influence, or rather, the illusion of the “American dream” that causes Willy’s tragic fall? This study is constructed by three cornerstones: first, the analysis of drama and tragedy from the perspective of Aristotle’s theory; second, the analysis of social drama and ultimately, the historical and literary perspective of the concept of the “American dream” as a reason for Willy Loman’s fall. The results of this study indicate that Death of a Salesman is not a period piece and that this play highlights issues from the past that are still current. It is noticed that Willy Loman meets his inglorious end because he is fooled and deluded by the “American dream”. The development of tragedy, culminating in modern social drama, indicates that a common man can be tragic, exactly because of the fact that Willy is an ordinary human being, which even more provoces feelings such as fear and pity, once what happened to him can happen to anyone of us.
A Morte de um Caixeiro-Viajante (1949) de Arthur Miller tem como protagonista Willy Loman, um simples vendedor fracassado da classe média baixa. Um homem comum como Willy Loman pode ser considerado como herói trágico? Existe ainda tragicidade no drama moderno? Seria o lado sombrio do “sonho americano” a falha trágica externa para a queda de Loman? O objetivo do estudo da peça de Arthur Miller, A Morte de um Caixeiro-Viajante, está centrado na possibilidade do protagonista, Willy Loman, ser considerado um herói trágico. Esta é uma pesquisa que abrange a perspectiva históricoliterária, bibliográfica e de carater qualitativo-descritiva. A problemática trabalhada centra-se na questão: qual seria a influência, ou melhor, a ilusão, do “sonho americano” que provoca a queda trágica de Willy? O estudo é desenvolvido sob três frentes: em primeiro lugar, a análise da dramaticidade e tragicidade sob a ótica da teoria de Aristóteles; em segundo lugar, a análise do drama social e, finalmente, a perspectiva histórico-literária do conceito do “sonho americano” como uma razão para a queda de Willy Loman. Os resultados do estudo apontam na direção de que A Morte de um Caixeiro-Viajante não é uma peça de época, e que esta peça ressalta questões do passado, ainda atuais. Percebe-se que Willy Loman encontra seu fim inglório porque é enganado e iludo pelo “sonho americano”. O desenvolvimento da tragédia culminando no drama social moderno mostra que um homem comum pode ser trágico, pois, o fato de Willy ser um ser humano comum, provoca sentimentos tais como terror e piedade, e estes ficam maiores, uma vez que aconteceu com ele pode acontecer a qualquer um de nós.
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Justice, Jennifer. "(N)Onomastics and Malory: Anonymity and Female Characters in Sir Thomas Malory's Le Morte D'arthur." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/955.
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This dissertation examines the approximately 700 anonymous female characters who appear in Sir Thomas Malory's Le Morte D'Arthur, expanding the possibilities for how gender roles might be interpreted based on a wider range of female roles. Primary named female characters such as Guinevere and Morgan Le Fay perform more stereotypical functions in the text as created and limited by the Arthurian literary tradition, but a significant portion of the nameless female characters challenge these assumptions. Malory uses many of these anonymous women to perform actions which are often attributed to male characters in medieval literature, such as acting as a guide or helper on a quest, challenging gender roles by assigning more active roles to these secondary characters. However, the very anonymity of the women help negate examples of potentially dangerous female agency by downplaying their presence in the text, removing a sense of individuality by creating nameless, faceless female characters who more easily fade into the background by refusing to identify them. This helps reassert patriarchal concerns both by focusing the reader's attention on the male characters' actions and by partially glossing over the female characters' contributions to the text. In order to address such a significant number of characters, this dissertation is divided into two parts. The first section is an analysis of Malory's text, examining the implications of using the anonymous female characters as a more significant factor in examinations of Le Morte. While current scholarship does address gender concerns to some extent, this generally focuses on those primary female characters who align more readily with stereotypical gender roles. I examine how gender assumptions can be undermined when the anonymous women are included as part of an analysis, as well as how they can affect such concerns as threatening or preserving the masculinity of the male characters based on the functions the female characters perform. I also explore medieval naming customs, or onomastics, and how cultural practices might have influenced Malory's text. This includes analyzing how Malory uses various forms of anonymity. How he refers to individual characters, such as through a vocational reference, gives the reader some insight into the character's function and portrayal. The second section of this dissertation consists of indexing the approximately 700 female characters according to Stith Thompson's Motif-Index of Folk-Literature. Because the number of episodes these women are in comprise 44% of the total text , Thompson's Motif-Index offers a systematic approach for dealing with such a significant number of characters. It provides a method for classifying specific actions in Le Morte according to common themes, as well as identifying how these motifs are used by Malory in non-traditional ways. Since many of his anonymous female characters perform stereotypically male roles, the motifs offer a way to quickly identify areas of future interest for scholarship. My own Index sorts the motifs based on forms of anonymity Malory uses to identify his characters. This allows the reader to compare how he portrays women within the same category, such as female relatives or helpers. While this project is necessarily limited, my Index offers a starting point for future study by allowing for an easy identification and comparison of the anonymous female characters in Malory's text.
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Rocha, Andréa Aparecida. "Apontamentos sobre a tragédia moderna nas peças Death of a Salesman [A morte do caixeiro viajante] de Arthur Miller e A moratória de Jorge Andrade." Universidade Federal de Uberlândia, 2018. http://dx.doi.org/10.14393/ufu.di.2018.250.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA presente pesquisa analisa e interpreta as peças Death of salesman [A morte do caixeiro viajante] (1949), do dramaturgo norte-americano Arthur Miller (1915 - 2005), e A Moratória (1955), do dramaturgo brasileiro Jorge Andrade (1922 - 1984), apoiando-se na forma da tragédia moderna, e baseando-se em ambos enredos, isto é, nos textos teatrais e nos seus respectivos conteúdos dramáticos reflexivos. Tais dramas mostram que tanto Miller quanto Andrade dividiram a mesma inquietude, propondo conflitos baseados em crises históricas, com o objetivo de evidenciar a luta do homem comum contra a sociedade, através do cotidiano de dois patriarcas e suas famílias, os quais estão deslocados com o desenvolvimento social e econômico de meados do século XX. Para entender esses e outros conflitos e como estão inseridos dramaturgicamente, este estudo está organizado da seguinte forma: o primeiro capítulo contextualiza historicamente a tragédia até sua condição moderna, após a influência do drama e de sua crise, com o propósito de se chegar à discussão sobre a tragédia e sua condição liberal adquirida na contemporaneidade. O segundo capítulo, apresenta a vida e a obra de ambos os dramaturgos, seguida das considerações iniciais acerca das peças em questão e de seus respectivos conteúdos históricos. E o terceiro capítulo, compara e analisa os aspectos relevantes de ambos os enredos, tais como: o conflito entre pais e filhos, a representação das mulheres, dos protagonistas como heróis modernos, das casas como plano de fundo das ações dramáticas e dos recursos formais cênicos que ajudam a dar expressividade às inquietações e à realidade subjetiva vivida pelos personagens.
Basead on the form of modern tragedy, the present research is devoted to analyzing the plays of Death of Salesman (1949), the american playwright Arthur Miller (1915 - 2005), and A Moratória (1955) by brazilian playwright Jorge Andrade (1922 – 1984), relying on the form of modern tragedy, and based on both texts, that is, on theatrical texts and their respective dramatic reflective content. These dramas demonstrate that both Miller and Andrade shared the same concern, proposing conflicts based on historical crises, in order to highlight the struggle of the common man against society, through the daily lives of two patriarchs and their families, who are displaced with the social and economic expansion of the mid-twentieth century. To understand these and other issues and how they are inserted dramaturgically, this study is organized as follows: the first chapter contextualizes historically the tragedy to its modern condition, after the influence of the drama and its crisis, with the purpose of arriving at the discussion about the tragedy and its liberal condition acquired in contemporaneity. The second chapter presents the life and work of both playwrights, followed by initial considerations about the plays in question and their respective historical contexts. The third and last chapter, however, compares and analyzes relevant aspects of both texts, such as: father-son conflict, representation of women, protagonists as modern heroes, of the houses as the background of dramatic actions and formal scenic resources that give expressiveness to the concerns and subjective reality experienced by the characters.
Dissertação (Mestrado)
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Ancona, Alexis Faith. "King Arthur as Transcendent Rhetoric of Anxiety: Examining Arthurian Legends as Sociopolitical Paratexts." University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1525102970057973.
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Withrington, John Kenneth Brookes. "The death of King Arthur and the legend of his survival in Sir Thomas Malory's 'Le Morte Darthur' and other late medieval texts of the fifteenth century." Thesis, University of York, 1991. http://etheses.whiterose.ac.uk/4253/.
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Caron, Elaine Cristina [UNESP]. "Rimbaud, Molière e Sade lidos pelos brasileiros: aspectos da representação literária dos escritores franceses homenageados na coleção Literatura ou Morte." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136799.
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000859299.pdf: 1218234 bytes, checksum: 84868a517f29e833b65c8d75273035a4 (MD5)Résumé: Rimbaud, Molière et Sade. Ces sont les trois écrivans français qui ont été honorés, respectivement, par les brésiliens Leandro Konder, Rubem Fonseca et Bernardo Carvalho, dans la collection Literatura ou morte, de 2000, publiée par Companhia das Letras. L'idée de la collection est apparue lorsque Leandro Konder a soumis à son éditeur l'originel de son roman A morte de Rimbaud, où il cite le poète français dans le titre, et en plus, il fait plusieurs références à la littérature française. Heureux du résultat, le rédacteur Luis Schwarcz a contacté plusieurs écrivains pour créer des romans qui doivent suivre le même modèle de A morte de Rimbaud, en prenant deux prémisses fondamentales: qu'ils soient des romans policiers et qu'ils contiennent le nom d'un écrivain consacré par la critique et par le public. Parmi les sept volumes qui ont suivi la proposition, on a O doente Molière et Medo de Sade. Dans la construction de ces romans leurs auteurs ont été menés à revoir les biographies et les oeuvres de chacun des écrivains honorés, en fournissant des relectures et de nouvelles significations pour elles. Le but de notre travail est d'étudier les raisons qui ont fait que Konder, Fonseca et Carvalho choisissent comme thème de leurs oeuvres littéraires précisément ces trois écrivains, en essayant de démontrer que ce choix n'a pas été arbitraire, mais dirigé par l'éditeur, qui à part la promotion obtenue grâce aux références faites aux noms des auteurs classiques, atteint un nouveau type de lecteurs. La collection permet à ses écrivains de suivre deux propositions de récit en même temps, elle se caractérise à la fois comme une littérature de divertissement, marquée par le choix de la forme, le roman policier et la biographie, et une littérature de proposition, marquée par le thème, concernant les oeuvres de auteurs classiques...
Rimbaud, Molière e Sade. Estes são os três escritores franceses homenageados, respectivamente, por Leandro Konder, Rubem Fonseca e Bernardo Carvalho, na coleção Literatura ou morte, de 2000, da editora Companhia das Letras. A ideia da coleção teria surgido quando Leandro Konder apresentou a seu editor os originais do romance A morte de Rimbaud, em que, além de citar o poeta francês no título, inclui referências à literatura francesa. Contente com o resultado, o editor Luís Schwarcz contatou vários escritores para criarem romances que seguissem o mesmo modelo de A morte de Rimbaud, atendendo a duas premissas fundamentais: que fossem romances policiais e envolvessem o nome de um escritor consagrado pela crítica e pelo público, já falecido. Entre os sete volumes que seguiram a proposta, estão O doente Molière e Medo de Sade. Na construção destes romances seus autores foram levados a revisitar as biografias e as obras de cada um dos escritores homenageados, proporcionando releituras e novos significados a elas. O objetivo de nosso trabalho é investigar os motivos que levaram Konder, Fonseca e Carvalho a escolherem como tema de seus trabalhos literários justamente estes três escritores, além de constatar que esta escolha não foi arbitrária, mas direcionada pela editora, que além de se promover com a referência aos nomes dos escritores clássicos, coloca diante de si um novo nicho de leitores. A coleção possibilita a seus escritores seguirem duas propostas narrativas ao mesmo tempo, pois se caracteriza tanto como uma literatura de entretenimento, marcada pela escolha da forma, narrativa policial e biografia, e uma literatura de proposta, marcada pelo tema, que são as obras de escritores clássicos. São romances escritos tanto para aquele que busca na leitura um passatempo de viagem, como o acadêmico que procura nas entrelinhas citações e alusões a outros escritores...
Rimbaud, Molière and Sade. These are the three french writers honored, respectively, by Leandro Konder, Rubem Fonseca and Bernardo Carvalho, at the collection Literatura ou morte (2000 published by Companhia das Letras. The idea of the collection would have appeared when Leandro Konder submitted to his publisher the original novel A morte de Rimbaud, in that in addition to quote the french poet in the title, includes references to french literature. Enthusiastic with the result, the publisher Luis Schwarcz contacted several writers to create novels that follow the same model of A morte de Rimbaud, serving two fundamental assumptions: that they were crime novels and involved the name of an established writer by critics and the public, now deceased. Between the seven volumes that followed the proposal are O doente Molière and Medo de Sade. In constructing these novels his authors were brought to revisit the biographies and works of each of the honored writers, providing readings and new meanings to them. The goal of our work is to investigate the reasons Konder, Carvalho and Fonseca to choose the theme of his literary works precisely these three writers, and demonstrated that these choices was not arbitrary, but directed by the publisher, which besides promoting with the reference to the names of classical writers, sets before itself a new group of readers. The collection allows its writers follow two narratives proposals at the same time, it is characterized both as an entertainment literature, marked by the choice of form, crime novel, and biography, and a proposal literature, marked by the theme, which are the classical writers works. These are novels written for both the reader who search a traveling hobby, as to the academic who seeks the references and allusions to other writers. In addition, we aimed to draw a reading that considers the three works together, this perspective that glimpse the formation of a historical-literary...
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Johnston, Michael R. "The sociology of middle English romance: three late medieval compilers." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1186773637.
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Clark, Aidan. "Malory and Morte Arthure : some problems in sources." Thesis, Bangor University, 1996. https://research.bangor.ac.uk/portal/en/theses/malory-and-morte-arthure--some-problems-in-sources(c36c9f52-cd7b-4134-9ce0-f94288328c28).html.
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Adji, Aklesso. "L'insaisissable destinée humaine : la mort et les apories de la vie chez Schopenhauer et chez les Kabiye." Poitiers, 1996. http://www.theses.fr/1996POIT5005.
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Ce travail consacre a l'etude de la destinee humaine a priori insaisissable et vouee a l'absurde, cherche a repondre a un ensemble de questions qui entrent dans le cadre de la nature universelle de l'homme, questions dont la plus importante est de savoir pourquoi l'homme a peur de la mort bien que le monde ou il vit l'accueille comme un etranger ? Selon l'histoire primitive de l'humanite, l'homme a d'abord fait la conquete de sa liberte par les rites ancestraux et par la croyance aux differentes divinites. C'est le cas des kabiye qui donnent une signification religieuse et spirituelle a l'homme en se basant sur sa consubstantialite cosmique. Selon cette signification, "la dialectique du vivre et du perir" s'inscrit dans le cercle fecond et intemporel de l'ancestralite malgre la finitude de l'etre : c'est l'evocation d'une ontologie primitive dont le fondement repose sur la negation de la mort elle-meme, negation s'inscrivant dans l'idee du cercle comme scheme du retour et se rapportant a la theorie de la metempsycose. Celle-ci, chez schopenhauer, apparait sous forme de metaphysique cosmologique fondee sur la loi de l'immanence, une loi inconsciente de l'univers se manifestant particulierement chez l'homme par des desirs egoistes et par un besoin de survie individuelle. Selon cette loi, le besoin de survie propre a tous les etres n'est qu'une ruse de la nature qui, pour sa perennite, se joue des individus sous l'illusion complice du plaisir et de la satisfaction placant l'"egocite" humaine devant une reelle absence de but en poussant eternellement l'homme a perseverer dans son etre, meme dans la mortThis work, dedicated to the study of human destiny a priori indiscernable and devoted to the absurd, seeks to respond to a series of questions which come into the context of the universal nature of man, questions among which the most important is to know why man fears death although the world where he lives welcomes him as a stranger ? According to the primitive history of humanity, man has first of all conquered his liberty through ancestral rites and through a bilief in various deities. This is the case of the kabiyes who gave a religious and spiritual meaning to man by basing themselves on his cosmological consubstantiality. According to this meaning, "the dialectic of living and perisching" lies within the fertile and thimeless circle of the generations in spite of the finiteness of the being : it is the evocation of a primitive ontology, the foundation of which rests on the negation of death itself, negation lying within the idea of the circle as the return schema and relating to the theory of metempsychosis. This, in schopenhauer, appears in the form of cosmological metaphysics founded on the law of immanence, a subconscious law of the universe which manifests itself particularly in man through egoistic desires and through a need for survival. According to this law, the need for survival, appropriate to all beings, is only a ruse of nature which, in order to prevail, deceives individuals by the conniving illusion of pleasure and satisfaction which places human "egoicity" in front of a real absence of an aim by eternally pushing man to persevere in his being, even in death
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Gabriel, Nathan Edward. "Knowing More Than the Hero: An Exploration of Nathan Gabriel's 2011 Production of A View from the Bridge." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/212261.
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TheaterM.F.A.
In 2011 Nathan Gabriel directed Arthur Miller's A View From The Bridge for his graduate thesis production at Temple University in Philadelphia. In this essay, Gabriel posits that keeping the character of Eddie ignorant about his true feelings for Catherine until the final moments of the play is crucial to making the play work. He supports his argument by pointing to the changes Miller made in the script between the one-act and two-act versions. Gabriel demonstrates how the play followed Aristotle's ideal for a classic Greek tragedy and compares this ideal with Miller's conviction that a true tragedy should not only be sad but should also teach its audience how to better live their lives. He also defends his choice to keep the true sexuality of Rodolpho ambiguous and examines the creative journey of his designers.
Temple University--Theses
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Majeri, Sophia. "Le parti pris humain dans les œuvres de Camus et de Koestler." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040215.
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Cette étude tente d’apporter une analyse comparée et détaillée des réflexions d’Albert Camus et d’Arthur Koestler ayant un rapport avec cette volonté de défendre l’homme oppressé. Notre apport littéraire à travers cette analyse est de travailler en profondeur sur les textes de Koestler, d’en dégager les particularités lexiques et stylistiques, de les rapprocher de celles de Camus, d’en tirer une analyse subtile et minutieuse de la pensée de l’auteur hongrois, déplorablement méconnu, et de montrer comment deux intellectuels d’origines différentes et de langues d’expression différentes peuvent mener un même combat, avoir les mêmes influences littéraires, les mêmes « ennemis », les mêmes doutes et la même passionThis study tries to bring a comparative and detailed analysis of the reflections of Albert Camus and Arthur Koestler having a relation with this will to defend the oppressed man. Our literary contribution through this analysis is to work in depth on Koestler 's texts, to identify its lexical and stylistic peculiarities, to bring them closer to those of Camus, to draw from them a subtle and minute analysis of the thought of the " A Hungarian author, deplorably misunderstood, and to show how two intellectuals of different origins and different languages of expression can lead the same struggle, have the same literary influences, the same "enemies", the same doubts and the same passion
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Le, Lan Nadège. "La demoiselle d'Escalot : morte d'amour, inter-dits, temps retrouvés." Paris 12, 2002. http://www.theses.fr/2002PA120041.
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La demoiselle d'Escalot (La Mort Artu) qui meurt d'amour pour Lancelot est l'ultime espoir du monde arthurien et l'entraîne avec elle dans sa disparition. Figure synthétique et mnémonique du Lancelot-Graal, c'est une mise en abyme du roman et du cycle. Elle réapparaît dans la littérature de toute l'Europe médiévale (hébrai͏̈que, italienne, anglaise, allemande, néerlandaise et catalane). Au XIXe, un poème de Tennyson porté par l'iconographie en fait une figure de proue de la littérature anglo-saxonne. En France, elle est reprise, mais dépourvue de la dimension contextuelle et symbolique de La Mort Artu et des attributs emblématiques de l'héroi͏̈ne tennysonienne elle ne soulève pas l'enthousiasme. Elle finit par s'effacer de la mémoire collective au profit de l'Elaine de Malory (Morte Darthur), son plus illustre descendant, à qui l'on attribue l'exclusive paternité de celle de Tennyson. Or le plus célèbre personnage arthurien de l'Angleterre victorienne est également inspiré de La Mort ArtuIn the French Mort Artu, Arthur's kingdown disappears with the maiden of Escalot. The story of the maiden who dies of unrequited love for Lancelot of the Lake synthetizes and reminds the whole Vulgate Cycle. In the Middle Ages, it is retold in Hebrew, Italian, English, German, Dutch and Catalan. With Tennyson's Elaine of Astolat, it comes to the first place in Victorian litterature. The character is said to be derived from Malory's, but it is actually more indebted to the Mort Artu, through its 16th century Italian translation. The modern French retellings of the story, though numerous, have been overlooked, due to the lack of contextual and symbolic meaning
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Johnson, Lesley Anne. "Commemorating the past : a critical study of the shaping of British and Arthurian history in Geoffrey of Monmouth's Historia Regum Britannie, Wace's Roman de Brut, Lazamon's Brut and the alliterative Morte Arthure." Thesis, King's College London (University of London), 1990. https://kclpure.kcl.ac.uk/portal/en/theses/commemorating-the-past--a-critical-study-of-the-shaping-of-british-and-arthurian-history-in-geoffrey-of-monmouths-historia-regum-britannie-waces-roman-de-brut-lazamons-brut-and-the-alliterative-morte-arthure(69e29fce-4401-4b4f-a58f-3b33f5656c19).html.
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Shishido, Cesar Augusto de Oliveira. "O teatro e seu duplo de Antonin Artaud: uma outra cena do inconsciente." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-29092015-154955/.
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Este trabalho tem como objetivo abordar uma das obras mais importantes do escritor francês Antonin Artaud, Le Théâtre et son double, explorando o universo artaudiano, a partir de conceitos, como a peste e a crueldade. O estudo procura abordar a proposta de Teatro da Crueldade e as críticas feitas por Artaud em relação aos espetáculos apresentados na França na década de 1930. Por meio de uma crítica ao chamado teatro psicológico, Artaud exalta um teatro constituído por diversas linguagens, não restrito à mera reprodução do texto. Sem a pretensão de abordar a extensa obra escrita por Artaud, a dissertação tem como objetivo tratar de aspectos revelantes dos conceitos tratados por Artaud, como a crueldade e a peste, tentando identificar em sua proposta de teatro, o desenvolvimento de conceitos ligados à psicanálise, como a pulsão de morte. Procuramos, ainda, discutir o processo de criação de Artaud, problematizando a figura do Pai em sua escrita e a chamada outra cena do inconsciente que seria aberta pelo teatro da crueldade.The purpose of this research is to analyse one of the most important works of Antonin Artaud, The Theater and its double (Le Théâtre et son double), exploring his universe from concepts like the pest and cruelty. The study seeks to analyse the proposal of the Theatre of Cruelty and the criticisms made by Artaud in relation to theatrical performances presented in France in the 1930s. By making a critique of the psychological theater, Artaud ideates a theater consisted of different languages, not restricted to the simple reproduction of the text. Without attempting to address the extensive work by Artaud, the dissertation aims to analyse some aspects of important concepts created by Artaud, as the cruelty and the pest, trying to identify in its proposal for the theater, as well as the development of concepts related to psychoanalysis, like the death drive. We also aim to discuss the creation process of Artaud, by analyzing the figure of the Father in his writing and the so called \"other unconscious scene\" that would be opened by the theater of cruelty.
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Withers, Jeremy. "The Ecology of War in Late Medieval Chivalric Culture." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1215570638.
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Brackett, Michael Scott. "L'inscription idéologique dans La mort le roi Artu, ou, La victoire du clergé sur la classe militaire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq33582.pdf.
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Winterkvist, Frida. "”There is Nothing More Deceptive than an Obvious Fact” : A Feminist Study of the Detective Work by Miss Marple and Sherlock Holmes." Thesis, Högskolan i Gävle, Engelska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32473.
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This comparative study focuses on the detective genre and is conducted through literary analysis with a feminist critical perspective of two of its most iconic protagonists, Sherlock Holmes and Miss Marple, created by Sir Arthur Conan Doyle in 1887 and Agatha Christie in 1930 respectively. The purpose is to attempt to establish the effect of the gender differences on these two protagonists. Both Holmes and Miss Marple are deemed as iconic in the detective genre, but the protagonists do not have similar experiences and are created by authors of different genders. Thus, the focus is to explore how gender differences are represented in the literary texts A Study in Scarlet (1887), “A Scandal in Bohemia” (1891), and The Murder at the Vicarage (1930) when it comes to their work as detectives. By using a feminist critical perspective and with the help of previous research, the differences in three central issues, that is, work methods, attitudes and method of disguise, are established. The most prominent result from the analysis is that Miss Marple has to work independently from the police force and trust another character, Leonard Clement, with what she knows hoping that Clement will use her observations to make the case move forward. By contrast, Holmes is approached by clients and even assists the police force in investigations, while Miss Marple is dismissed because of gender discrimination and ageism when she reaches out to the police force. Miss Marple is clearly a victim of gender discrimination and ageism, while Holmes is seen as eccentric but fully competent as a detective. Holmes is even described as having “extraordinary powers” while Miss Marple is described as an “old pussy” in a derogatory manner. Therefore, the results are that there is a significant difference in attitude where Holmes as a man encounters more positive attitudes and Miss Marple as a woman encounters more negative attitudes, all because of gender discrimination and ageism. These results are of great importance as it reveals what gender differences Holmes and Miss Marple encounter in their literary texts. It opens up the opportunity for more research in gender differences and gender discrimination in comparisons between protagonists. That Miss Marple is successful in the end, however, functions as a feminist statement.
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Lane, Véronique. "Tenir l'évanouissement : entre maîtrise intégrale et abandon anéantissant : Jean Genet et Antonin Artaud." Thèse, Paris 7, 2011. http://hdl.handle.net/1866/7080.
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Antonin Artaud et Jean Genet ont respectivement connu l’enfermement asilaire et carcéral. Ils conçoivent tous les deux l’écriture comme le théâtre, sur le même plan que la vie, et partagent en outre la même conviction que la littérature, comme toute forme d’art, peut quelque chose pour nous. Malgré leurs nombreux points de contact biographiques, poétiques et éthiques, leurs œuvres n’ont jamais fait l’objet d’un rapprochement exclusif, une étonnante lacune que l’introduction substantielle de cette étude se donne pour tâche d’éclairer. En fait, si les œuvres d’Artaud et de Genet sont souvent comparées, c’est invariablement de façon limitée : brièvement, par le biais d’un tiers auteur et au plan du théâtre. Or toute leur écriture est théâtrale : c’est la prémisse sur laquelle se base ce travail qui constitue, donc, la première étude comparative approfondie de leurs œuvres.
Dans un premier temps, nous étudions la conception du théâtre d’Artaud et de Genet dans la perspective de la tragédie qu’ils privilégient, parce qu’ils estiment primordiale la reprise vivante de l’œuvre par chacun de nous. En fait, nous nous intéressons à Genet et Artaud aussi bien en tant qu’écrivains que lecteurs, en analysant la manière singulière dont ils puisent l’un et l’autre de grandes figures dans les textes de la mythologie, de la littérature et de l’histoire pour les faire intervenir, indifféremment de leur provenance, dans leur propre texte. Pour démontrer ce travail de "reconfiguration" tout à la fois biographique, esthétique et éthique chez Artaud et Genet, nous analysons leur traitement de la figure tragique par excellence d’Antigone, dans "Antigone chez les Français" et "Journal du voleur".
Dans un second temps, nous examinons comment Artaud et Genet s’en prennent à la dialectique du jugement qui préside à la lecture univoque qu’ils récusent : d’une part, par la conjuration, dans les textes qu’ils rédigent en 1948 pour une même série radiophonique, "Pour en finir avec le jugement de dieu" et "L’Enfant criminel" (tous deux censurés) et, d’autre part, par la révélation, en pratiquant ce que nous appelons une écriture de l’évanouissement – qui n’a rien de sublime, qui ne conserve en fait de la relève hégélienne que la structure du coup de théâtre, à savoir l’interruption qu’elle introduit dans la délibération de la conscience. Nous analysons alors les commentaires de dessins d’Artaud et les nombreuses scènes d’évanouissement dans l’œuvre de Genet.
Dans un troisième temps, nous suggérons d’approcher de manière éthique les troublants termes de "cruauté" et de "trahison" qu’Artaud et Genet nous ont légués. Plus que des notions, celles-ci, avançons-nous, sont des méthodes visant l’acquisition d’un nouveau mode de lecture. Par l’entremise de ces concepts anti-conceptuels, Artaud et Genet nous invitent en fait à vivre comme ils écrivent et lisent : à "voire" la réalité. Pour le démontrer, nous proposons une micro-lecture du "Théâtre et son double" d’Artaud au regard de "La Sentence" de Genet, texte dont la publication toute récente vient confirmer la pertinence du rapprochement que nous établissons dans cette étude.Antonin Artaud and Jean Genet experienced confinement in an asylum and a prison respectively. They both also conceived of writing as theatre, on the same level of tragedy as life, and shared the same conviction that literature, like all forms of art, has the power to do something for us. Despite their many points of contact in terms of biography, poetics, and ethics, their works have never been the object of an exclusive comparative study, a surprising omission that the substantial introduction of this study sets out to elucidate. In fact, if the works of Artaud and Genet are often compared, it is inevitably in a limited fashion: briefly, via a third author, and in terms of the theatre. Yet all their writing is theatrical: it is the premise on which this, the first full-length comparative study of their works, is based. Firstly, I study Artaud and Genet’s conception of theatre from the perspective of the tragic which they both privilege, because above all they value the reanimation of their work performed by the reader. In fact, I engage with Genet and Artaud as both writers and readers, analysing the singular way in which each takes great figures from mythology, literature, and history, in order to introduce them, irrespective of their provenance, into their own works. To demonstrate this work of "reconfiguration" in Artaud and Genet, which is at once biographical, aesthetic, and ethical, I analyse their treatment of Antigone, in "Antigone chez les Français" and "Journal du voleur". Secondly, I examine how Artaud and Genet defy the dialectic of judgement ruling the univocal reading which they oppose. In part, I focus on their defiance in the texts that they composed in 1948 for the same radio broadcast, "Pour en finir avec le jugement de dieu" and "L’Enfant criminel" (both of which were censored). And in part I focus on the defiance they practice by way of a revelation that I call a writing of fainting—which has nothing of the sublime in it, which in fact only retains the structure of the interruption from the Hegelian Aufhebung, that is to say the coup de theatre that it introduces in the deliberation of consciousness. I further analyse the commentaries of Artaud on his drawings and numerous scenes of fainting in Genet’s works. Thirdly, I put forward an ethical way of approaching the troubling terms "cruelty" and "treason" that Artaud and Genet have bequeathed us. More than being notions, I propose, these are methods aiming towards a new mode of reading. By the intervention of these anti-conceptual concepts Artaud and Genet invite us to live in the same way they write and read, that is to say in the same way they "see" the multiplicities of reality. As an exemplification, I advance a close reading of Artaud’s "Théâtre et son double" in relation to Genet’s "La Sentence"—a text whose recent publication confirms the pertinence of the comparative approach taken in this study.
Thèse réalisée en cotutelle (Université de Montréal et Université Paris Diderot - Paris 7)
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Walter, Philippe. "L'Ordre et la mémoire de temps la fête et le calendrier dans les oeuvres narratives françaises de Chrétien de Troyes à "La Mort Artu /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610718k.
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Walter, Philippe. "L'ordre et la memoire du temps : la fete et le calendrier dans les oeuvres narratives francaises de chretien de troyes a la mort artu." Paris 4, 1987. http://www.theses.fr/1987PA040176.
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L'etude des indices temporels et des mentions calendaires dans le recit francais de 1170 a 1230 permet la mise en evidence d'une esthetique narrative ou la fete et les deux notions d'ordre et de memoire essentielles dans le comput medieval jouent un role important. La fete ne sert pas seulement de repere dans la trame chronologique du recit ; sa distribution et sa place dans une oeuvre permet de comprendre les enjeux narratifs de celle-ci: au douzieme siecle, on ne trouve presque que des romans nuptiaux (conclus par des mariages), alors qu'au treizieme siecle, c'est le roman dynastique (destine a se conclure sur un couronnement) qui devient le modele dominant. L'analyse de la representation narrative des fetes calendaires (carnaval, fetes de mai, fete de la saint-jean, etc. ) et des fetes de cour (avec toutes leurs activites specifiques : jeux, rites, etc. ) permet de definir la culture courtoise comme une ere du jeu et du plaisir, par opposition a la culture de l'ordre symbolisee par la fete liturgique. Cette derniere cherche d'ailleurs de plus en plus a s'imposer tout comme elle investit les ceremonies sociales (mariages, couronnements, adoubements) que reflete la litterature. Le calendrier est en fait le lieu strategique d'affrontement de deux memoires au depart totalement distinctes voire antagonistes. L'hagiographie tente de les concilier en perpetuant de vieux substrats mythologiques du paganisme dans les saisons liturgiques. Un comparatisme attentif a la structure calendaire de l'imaginaire medieval et a la finalite differente des textes hagiographiques et litteraires permet d'eclairer certains themes courtois ainsi que certaines structures anthropologiques du conte populaire francais. L'histoire du calendrier permet de comprendre l'histoire des mentalites ainsi que les grands mythes dominant une epoque bien delimiteeThe study of temporal marks and calendar mentions in the french narrative from chretien de troyes to la mort artu (1170-1230) emphasizes an esthetical conception of the narrative where the theme of feast and the two concepts of order and memory (used in mmedieval comput) are essential. The analysis of calendar and courteos feasts shows that this literature promotes a culture based on play and pleasure, in opposition to a culture based on order (ordo) symbolized by liturgical feasts. In medieval societies, the calendar is a strategical space where two memories struggle for power. Medieval hagiography tries to conciliate them : it perpetuates old mythological substrata of paganism in the seasons of liturgical year. A comparative reading conscious of the calendar structure of medieval "imaginaire" explains several themes of courteosy and a few aspects of the french popykar tales
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Milland-Bove, Bénédicte. "Figures de l'aventure, figures du récit : les demoiselles dans les romans en prose du XIIIe siècle : Lancelot, La queste del saint graal, La mort le roi Artu, Perlesvaus, Tristan." Paris 3, 2001. http://www.theses.fr/2001PA030112.
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Comment rendre compte de l'insistante récurrence des demoiselles qui peuplent les routes ou les étapes de l'aventure dans les romans en prose du XIIIe siècle ? L'étude comparée de la trilogie du "Lancelot", du "Perlesvaus" et du "Tristan en prose" permet de dégager les caractères constants qui définissent le type de la "demoiselle arthurienne" : souvent anonyme, peu décrite, la demoiselle est définie par sa fonction, au service des personnages de premier plan. Mais cette transparence même lui permet d'assumer un rôle fondamental dans la grammaire du récit : figure annonciatrice de l'aventure, elle est aussi figure du récit, en lien étroit avec une écriture propre à la prose. .How can one account for the persistent recurrence of those damsels glimpsed alongside the roads or at different stages of the adventure in 13th century prose romances ? it is possible through a comparative study of the "Lancelot trilogy", of "Perlesvaus" and of the "Tristan en prose", to outline the recurring t aits that define the type of the arthurian damsel. Often anomymous, only briefly described if at all, the damsel is defined by her function : to be in the service of the main characters. However, that very transparency is what enables her to assume a fundamental role in the narrative economy : more than just a figure which announces the irruption of adventure, she is also a figure of the narrative itself, in close relation to a form of writing typical of the prose genre. .
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Judkins, Ryan R. "Noble Venery: Hunting and the Aristocratic Imagination in Late Medieval English Literature." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337896675.
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Wilk, Beata. "L'orgueil : péché du monde chevaleresque et clérical : étude de la notion d'orgueil dans la littérature religieuse, didactique et quelques œuvres fictionnelles du début du XIIe siècle à 1350." Caen, 2003. http://www.theses.fr/2003CAEN1370.
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L'objet de cette thèse est une étude de la notion d'orgueil dans la littérature française du début du XIIe siècle à la première moitié du XIVe siècle. L'orgueil occupe une place importante dans la pensée médiévale en tant que racine du mal et que premier des péchés capitaux. Celui qui refuse sa condition commet un acte d'orgueil. Les moralistes médiévaux accusent de ce péché ceux qui ne remplissent pas le devoir de leur état, en premier lieu les chevaliers, qui ne veulent pas jouer le rôle de protecteurs de l'Eglise et de la justice. L'orgueil étant le péché des puissants qui abusent de leur force, il concerne aussi le clergé, imbu de sa position, profitant du pouvoir qu'il a sur les âmes et sur la société, attaché aux valeurs séculières. Il touche les hommes d'Eglise, car il atteint ceux qui sont épris de perfection spirituelle et ceux qui possèdent le savoir. C'est le péché de la rébellion, de l'individualité et de la nouveauté ; il sera reproché aux groupes sociaux qui ne rentrent pas dans une catégorie précise, qui sont nouveaux et/ou difficiles à définir. L'orgueil chevaleresque et clérical introduit la confusion, perturbe l'ordre établi qui est celui de Dieu.
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Prozesky, Maria Lieselotte Catherine. "Reading the Englisg epic : changing noetics from Beowulf to the Morte Darthur." Diss., 2006. http://hdl.handle.net/2263/22900.
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Epic, among the earliest and most universal of genres, is found in a developed form among the most ancient written records of cultures from China to Greece, and has been recorded as oral narrative on every inhabited continent. From these roots in Western culture a varied yet unbroken tradition of heroic narrative has grown. Epic’s form has changed with human society, reflecting our literary, social and psychological development. This study aims to explore the effects in epic literature in English of one such development, namely the internalisation of writing, at two stages of this process as they are manifest in Beowulf and Malory’s Morte Darthur. Every culture has particular noetic processes, that is, methods of structuring and storing knowledge. Writing has profoundly influenced noetic development, so that primary oral cultures (without writing), chirographic culture (with writing) and typographic cultures (with printing) are profoundly different. Parry and Lord’s oral formulaic theory, and Havelock and Ong’s noetic theory describe the characteristics of primary oral thought and poetic discourse. Beowulf’s noetic paradigm is vocality; it is written, yet still largely rooted in the oral tradition and meant to be heard. The Morte shows loosening ties between poetic creation and extra-linguistic tradition in a mix of oral and literate traits. This study traces in Beowulf and the Morte seven characteristics of orality, namely stereotypical/formulaic expression, ceremonial appropriation of history, standardisation of themes, epithetic identification, heavy/ceremonial characters, agonistic style and copiousness. In all seven characteristics, the early signs of literate noetics just discernable in Beowulf are more developed in the Morte, as would be expected. Between Beowulf and the Morte, the form and the function of poetic discourse change. In primary oral epic, words make things real and function as communal memory. Epic discourse forms individuals as communal, ethical, technological beings, and enables human society to give expression to things unknown. Primary epic is in some ways one of the fullest expressions of language’s nature and possibilities. Writing, which relieves the burden of memorisation, frees energy for the development of certain of these functions. The development, made possible by writing, of abstract conceptualisation and then analytical logic is seen in Beowulf’s deathbed musings on heroic worth, which broaden into Malory’s extended critique of chivalry. The opposition of concepts becomes more important than the opposition of persons, and so from agonistic rhetoric grows scientific logic. This development spelled the end of primary epic, and other genres based on logic and analytical syntax developed to fulfil its didactic and prescriptive roles, from charters to essays. The evolutionary role of oral epic, which enabled communal desires to be expressed, passed to romance, but this genre too died with the advent of Enlightenment rationality and modern depth psychology. Fantasy, perhaps, succeeds romance in this function. The study ends with concluding remarks about the future of epic; with the shift from typographic literacy to secondary orality, epic is showing a rebirth in film and literature, notably in J.R.R. Tolkien’s The Lord of the Rings.Dissertation (Magister Artium (English))--University of Pretoria, 2007.
English
unrestricted
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Chang, Jenny Yun-zhen, and 張芸甄. "“kynde lorde”: Arthur’s Kingship in Sir Thomas Malory’s Le Morte Darthur." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/25955672521237646668.
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碩士國立中正大學
外國語文研究所
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Sir Thomas Malory’s prose romance, Le Morte Darthur is a compilation of romance tales about King Arthur and the knights of the Round Table. Much of recent Malorian studies tend to contextualize the Morte. By contextualizing the Morte within its gentry culture and applying the theory of Key Performance Indicators (KPIs), I aim to provide a reading of the Morte in a novel way. In the Introduction, Malory’s gentry background is briefly introduced along with an overview of the authorship question. The first chapter examines the historicity of King Arthur in Malory’s Morte. In this chapter, I argue that our interpretation of the Morte depends much on our knowledge of the milieu in which the edited texts were published. In this regard, it is vitally important for us to historicize the text when we read either Caxton’s edition or the Winchester Manuscript. The second chapter explores Arthur’s role as a “kynde lorde” (245.17). I point out the similarities and differences between Malory’s Morte and his English and French sources, such as Geoffrey of Monmouth’s Historia Regum Britanniae, The Story of Merlin (Estoir de Merlin) and Merlin Continuation (Suite de Merlin). I conclude that Malory’s Arthur appears to his readers more a Chief Executive Officer than simply an inborn warrior-king. The third chapter discusses the CEO-king’s ruling and political achievements in the last tale of the Morte. In light of the theory of Key Performance Indicators (KPIs), King Arthur’s political deeds are analysed. Unlike the warrior-King Arthurs in Arthurian literature, I argue that Malory’s Arthur is an English monarch who possesses not only royal blood but also remarkable leadership and martial excellence. The nobility of a “kynde lorde” (245.17) manifests “thorow dygnyte of his hondys” (247.4). The thesis concludes that in Malory’s view, kingship has more to do with the king’s managerial ability than with his royal blood.
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Armstrong, John Lowell. "More than a diplomatic mission the American embassy and ambassador Arthur Bliss Lane in Polish politics, July 1945-February 1947 /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/22599116.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1990.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 200-203).
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Meleshyn, Artur [Verfasser]. "Monte-Carlo-Simulationen zur Untersuchung von Quell- und Sorptionsprozessen in Wyoming-Montmorillonit im Hinblick auf seine Verwendung als Barrierematerial in Endlagern für radioaktive Abfälle / von Artur Meleshyn." 2005. http://d-nb.info/975151312/34.
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Härnborg, Rebecka. "Den gröna korridoren : Biologisk mångfald i stadsrummet." Thesis, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7771.
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Mitt mål är att göra stadsrummet inbjudande för fler än bara människor och stärka ekosystemet där fjärilar är en viktig del, både som pollinerare och föda för andra arter. Jag har valt att hjälpa just fjärilar då deras antal under de senaste åren har halverats och är i starkt behov av stöttning. Med design som verktyg kommer jag att introducera de värdväxter som fjärilen är beroende av för att överleva. För att skapa en så stor förändring som möjligt använder jag mig av ett objekt som redan har en stark närvaro i stadslandskapet nämligen lyktstolpen. Jag har designat en växtbädd som är anpassad efter lyktstolpen och i den finns det möjlighet att plantera upp till 24 st växter. Tack vare lyktstolparnas strategisk placering kan man med hjälp av min design koppla ihop stadens grönområden och introducera växtlighet där det i dagsläget inte finns någon. Hade inte du velat bo i en stad med massa växter och vackra fjärilar?