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Stanko, Vlaški. "Hegelova kritika romantiĉarskog poimanja religije." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=107083&source=NDLTD&language=en.
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Istraživanje tematizuje Hegelovo kritiĉko vrednovanje ranoromantiĉarskog poimanja religije kao centralni aspekat Hegelove kritike romantiĉarskog duhovnog strujanja uopšte. Autor polazi od naĉina na koji Hegel određuje pojam filozofije religije. Saglasno tom pojmu, poimanje religije kod romantiĉara propituje se s obzirom na naĉin na koji su vodeći predstavnici tzv. jenske romantike (Šlajermaher, Šlegel, Novalis) pristupali pitanju o pojmu boga, problemu forme religijske svesti, pitanju o odnosu religije prema onome praktiĉkom i pitanju o odnosu religije prema umetnosti i filozofiji. Romantiĉarski pojam religije manifestovaće se pre svega kao programsko depotenciranje pitanja o pojmu boga i božjem postojanju, favorizacija formi neposrednosti svesti kao formi koje jesu autentiĉno religijske, razgraniĉenje religije od sfere ljudskog praksisa i nagovor na kreiranje nove religiije. Hegel ovakvom pojmu religije kritiĉki pristupa kao obliku duhovnosti koji je u ontološkom pogledu zasnovan Fihteovim filozofskim stanovištem. Kritika romantiĉarskog pojma religije kod Hegela biva konkretizovana kao kritika apsolutizacije formi neposrednosti religijske svesti, kao kritika promišljanja odnosa religije i drţave koje nije reflektovalo razliku onoga što jeste drţava i onoga što jeste građansko društvo i kao opozivanje mogućnosti da se moderna religioznost revitalizuje u liku romantiĉarske nove religije umetnosti.
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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3655.
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This informal presentation will include discussion with the filmmakers about the background and production of the film "Banjo Romantika," as well as sneak peeks at a selection of key scenes from the film. For more information, visit http://music.virginia.edu/colloquium-lee-bidgood-and-shara-lange-banjo-romantika
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Bidgood, Lee. "Banjo Romantika [Soundtrack album]." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu_books/183.
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The film has moved many audiences, opening new spaces for discussion, art, and movement. Releasing this soundtrack album will provide new opportunities to spark conversations about where bluegrass music can belongs and how we can share a global discourse across cultural boundaries.https://dc.etsu.edu/etsu_books/1203/thumbnail.jpg
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Marica, Rajković. "Естетика у филозофији немачког идеализма." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=100608&source=NDLTD&language=en.
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Предмет истраживања је проблематизација естетике у филозофији немачког идеализма. Процес те проблематизације укључује кључне естетичке појмове најважнијих представника филозофије немачког идеализма, као и њихов међусобни однос према тој теми. Ток тематизације естетике у филозофији немачког идеализма би се у укратко могао представити и следећом скицом: Кантова филозофија покушава да унесе појам у сферу чулности и лепоте преко два хоризонта: теоријског, у оквиру трансценденталне естетике, и естетичког, у оквиру тематизације моћи суђења. Тај појам се, ипак, у Кантовој филозофији уноси само као форма и оквир, чиме се губи и живот појма и естетски садржај, који се том приликом испушта. Шилер разуме потребу да се естетски садржај сачува, али у њега уноси појам без правог оквира, будући да је потреба за синтетичким мишљењем још увек на ступњу осећаја да је оно потребно, али не и конституисано према принципима нужности. Проблематизација естетике у филозофији немачког идеализма се у случају Фихтеа мора фокусирати на тумачење оног прећутаног, као и на расветљавање ретких експлицитних теза о естетици у Фихтеовој филозофији. Шелинг брижљиво чува естетски садржај, испуштајући из вида појам, чиме се из филозофије уметности филозофија готово уклања на уштрб уметности, која у једној фази Шелингове филозофије заузима централну позицију. Напослетку, Хегел разуме комплексност форме и живота појма, као и релевантност естетског садржаја, чиме се подручје чулног, лепог и уметничког позиционира као филозофска тема, којој се приступа појмовно. Естетика постаје филозофском дисциплином у пуном смислу, појмовно обухватајући естетски садржај. На тај начин, видљиво је да је право конституисање естетике као филозофске дисциплине у пуном смислу на делу тек у филозофији немачког идеализмa.Predmet istraživanja je problematizacija estetike u filozofiji nemačkog idealizma. Proces te problematizacije uključuje ključne estetičke pojmove najvažnijih predstavnika filozofije nemačkog idealizma, kao i njihov međusobni odnos prema toj temi. Tok tematizacije estetike u filozofiji nemačkog idealizma bi se u ukratko mogao predstaviti i sledećom skicom: Kantova filozofija pokušava da unese pojam u sferu čulnosti i lepote preko dva horizonta: teorijskog, u okviru transcendentalne estetike, i estetičkog, u okviru tematizacije moći suđenja. Taj pojam se, ipak, u Kantovoj filozofiji unosi samo kao forma i okvir, čime se gubi i život pojma i estetski sadržaj, koji se tom prilikom ispušta. Šiler razume potrebu da se estetski sadržaj sačuva, ali u njega unosi pojam bez pravog okvira, budući da je potreba za sintetičkim mišljenjem još uvek na stupnju osećaja da je ono potrebno, ali ne i konstituisano prema principima nužnosti. Problematizacija estetike u filozofiji nemačkog idealizma se u slučaju Fihtea mora fokusirati na tumačenje onog prećutanog, kao i na rasvetljavanje retkih eksplicitnih teza o estetici u Fihteovoj filozofiji. Šeling brižljivo čuva estetski sadržaj, ispuštajući iz vida pojam, čime se iz filozofije umetnosti filozofija gotovo uklanja na uštrb umetnosti, koja u jednoj fazi Šelingove filozofije zauzima centralnu poziciju. Naposletku, Hegel razume kompleksnost forme i života pojma, kao i relevantnost estetskog sadržaja, čime se područje čulnog, lepog i umetničkog pozicionira kao filozofska tema, kojoj se pristupa pojmovno. Estetika postaje filozofskom disciplinom u punom smislu, pojmovno obuhvatajući estetski sadržaj. Na taj način, vidljivo je da je pravo konstituisanje estetike kao filozofske discipline u punom smislu na delu tek u filozofiji nemačkog idealizma.
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Teoli, Maria-Luisa. "La ballata romantica in Italia /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56622.
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This work deals with the existence of a wide body of ballads in Italy during the romantic era. It disproves Giovanni Berchet's contention in his "Lettera semiseria", the manifesto of Italian Romanticism. He argued that Italy did not have popular literature and, being unaware of an existing tradition, he translated and proposed two of Burger's ballads as examples to be followed.The first two chapters of this thesis concentrate on the origins of the popular ballad and its first occurrence in Italy.
The third chapter examines the major ballad writers in Italy. Particular attention is given to Luigi Carrer and Giovanni Prati.
The final chapters are a discussion of Italy's minor ballad writers, followed by a conclusion.
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Bidgood, Lee. "Banjo Romantika: Screening and Discussion." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1084.
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Banjo Romantika introduces the musicians who play this unique bluegrass hybrid. Czechs first heard bluegrass during World War II when the Armed Forces Network broadcast American music for soldiers. The music represented freedom to dissatisfied Czechs living in a communist state. Czechs’ love for the music was solidified when Pete Seeger visited and performed in 1964. Inspired by classic American bluegrass sounds, an assortment of musicians from across the formerly communist Czech Republic have melded the past, the political and the present into a lively musical tradition entirely its own.Screening and discussions occurred on the following dates and places:
Czech and Slovak Cultural Association / Minnesota Bluegrass and Old Time Music Association, St. Paul, MN (11/18/2017) William King Museum Speaker Series, Birthplace of Country Music Museum, Bristol, VA (02/07/2017)Mid-Atlantic Chapter of the Society of Ethnomusicology Annual Conference, Charlottesville, VA (03/05/2016)Appalachian Studies Association, Johnson City (03/27/2015)Society for Ethnomusicology, Pittsburgh, PA (11/13/2014)IBMA World of Bluegrass Business Conference, Raleigh, NC (09/28/2014)International Country Music Conference, Nashville, TN (05/24/2014)Colgate University, (9/20-21/2016)Merlefest, Wilkesboro, NC (4/24/2015)College of Charleston (3/19/2015)West Virginia University (11/12/2014)University of Virginia Dept. of Music, Charlottesville, VA (11/8/2013)Walker Arts and History Center, Cary, NC (9/26/2013)Fulbright Distinguished Scholar Series, American Center at the U.S. Embassy, Prague, Czech Republic (6/20/2013)Banjo Jamboree Bluegrass Festival, Čáslav, Czech Republic (6/21/2013, 6/22/2013)Jerome College of Prague, Prague, Czech Republic (6/24/2013)Moravská Zemská Knihovna, Brno (6/27/2013)White Stork Bluegrass Festival, Luka nad Jihlavou (7/8/2013)
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Bidgood, Lee. "Banjo Romantika: Film and Community Effort." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1042.
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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika: Across Genres & Disciplines." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3653.
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Žana, Pejanović. "Фигура оца у историјској драми српског предромантизма и романтизма." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=107469&source=NDLTD&language=en.
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Предмет истраживања докторске дисертације јестефигура оца у историјској драми српскогпредромантизма и романтизма. Намераистраживања је да на основу обимног корпусадрамских текстова изврши темељна анализа драмау којима је идентификована фигура оца као и да сепружи преглед ликова који се јављају у овојулози. Истраживачки рад ће бити усмерен напроучавање и допуну резултата досадашњиханализа улоге мушких ликова. Успоставиће сепримерена типологија главних и епизодних ликовакоји се у историјским драмама српскогпредромантизма и романтизма појављују уулози оца. Полазиште дисертације је историјскадрама и фигура оца као њен незаобилазни део.Почетна претпоставка је да је психолошкауверљивост наступа појединих јунака последицапородичних прилика, а не историјских догађаја.Тежиште истраживачког рада је приказивањејунака чија ауторитативна природа доводи досукоба, отуђења од породице и самоотуђења.Докторска дисертација би требала подстаћи неканова питања и одговоре као и нова проучавањаисторијске драмеPredmet istraživanja doktorske disertacije jestefigura oca u istorijskoj drami srpskogpredromantizma i romantizma. Nameraistraživanja je da na osnovu obimnog korpusadramskih tekstova izvrši temeljna analiza dramau kojima je identifikovana figura oca kao i da sepruži pregled likova koji se javljaju u ovojulozi. Istraživački rad će biti usmeren naproučavanje i dopunu rezultata dosadašnjihanaliza uloge muških likova. Uspostaviće seprimerena tipologija glavnih i epizodnih likovakoji se u istorijskim dramama srpskogpredromantizma i romantizma pojavljuju uulozi oca. Polazište disertacije je istorijskadrama i figura oca kao njen nezaobilazni deo.Početna pretpostavka je da je psihološkauverljivost nastupa pojedinih junaka posledicaporodičnih prilika, a ne istorijskih događaja.Težište istraživačkog rada je prikazivanjejunaka čija autoritativna priroda dovodi dosukoba, otuđenja od porodice i samootuđenja.Doktorska disertacija bi trebala podstaći nekanova pitanja i odgovore kao i nova proučavanjaistorijske drame
The subject of the doctoral thesis research is thefigure of a father in the historical drama ofSerbian Preromanticism and Romanticism.Based on the large corpus of drama texts, theintention of this research is to do a thoroughanalysis of dramas where the figure of a fatherhas been identified as well as to present areview of characters appearing in this role. Theresearch work will be aimed on studying andcompleting the results of the previous analysisof male characters. An appropriate typology ofmain and episodic characters which appeared inhistorical dramas of Serbian Preromanticismand Romanticism in the roles of a father,will beestablished. A starting point of the thesis is thehistorical drama and the figure of a father as itsunavoidable part. The initial assumption is thatthe psychologically stringent appearance ofsome heroes is the consequence of familyevents and not of the historical ones.The centreof the research work is a presentation of theheroes whose authoritative nature leads toconflict, alienation from the family and selfalienation, too. The doctoral thesis shouldinduce some new questions and answers as wellas a new studying of historical drama
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Lujan, Luciana Savioli. "A melancolia romantica em Freud e Nerval." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/313434.
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Orientador: Mario Eduardo da Costa PereiraDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas
Made available in DSpace on 2018-08-03T15:29:04Z (GMT). No. of bitstreams: 1 Lujan_LucianaSavioli_M.pdf: 1153103 bytes, checksum: a97467557413e2ce036503265fe1f540 (MD5) Previous issue date: 2001
Resumo: O objetivo deste estudo é compreender o processo subjetivo da melancolia, tomando por referência a obra literária Aurélia, de Gérard de Nerval. O narrador descreve sua paixão intensa e não correspondida pela musa inspiradora que dá título à obra, no contexto da visão romântica do século XIX, e, através de uma poética ¿viagem ao mundo dos Espíritos¿, persegue uma busca transcendental de si mesmo entre sonhos e visões de uma ¿doce melancolia¿. Uma leitura do percurso do sujeito narrador permitirá compreender em que medida ele sucumbe ao processo melancólico por um efeito reativo ante a perda do ser amado, cuja natureza é idealizada e remete a uma perda anterior, arcaica, narcísica. Este processo encontra-se na descrição psicopatológica de Freud em ¿Luto e Melancolia¿, artigo de 1917. Da apreciação de temas psicanalíticos como o narcisismo ou as relações objetais concernentes às relações amorosas do sujeito, compreende-se um universo melancólico dado pelo conjunto simbólico de elementos como a perda, a ausência, o duplo, a morte - simbólica ou não ¿, inspiradores dos ricos devaneios. Aurélia, como obra romântica e, sobretudo, nervaliana, fornece exclusivamente distintas dimensões da melancolia. Para a apreensão de algumas delas - como a relativa a uma estética romântica espiritualizada, da história da cultura ocidental, ou a do pensador que escreve, própria de sua experiência subjetiva ¿ bem como da melancolia pertencente à dinâmica psicopatológica de Freud, fundamenta-se a pesquisa por meio de um levantamento de dados sobre a história do fenômeno melancólico de acordo com os discursos, de um lado, estético/literário da primeira metade do século XIX, quando Nerval escreve esta última obra antes de seu suicídio e, de outro, médico/psicopatológico e psicanalítico freudiano do início do século XX. Tal cuidado permite pontuar o que há de comum entre estes diferentes discursos, os quais seguem caminhos paralelos em direção às profundezas da alma humana, para, então, proceder ao que é novo da melancolia à área da Psicopatologia Fundamental a que se aplica esta pesquisa. Mais especificamente, para a compreensão dos mecanismos subjetivos desta psicopatologia clássica, acompanha-se a abordagem freudiana da obra literária como recurso heurístico, cujo ponto de encontro entre os diferentes campos do saber foi realizado segundo os pressupostos de que a intuição do poeta determinaria o caminho para captar a essência da alma humana, logo formulado como um marco teórico explicativo pertinente ao campo científico em que Freud quis inscrever a psicanálise. Finaliza-se o trabalho com a referência à atualidade clínica da melancolia e sua intrincada relação com a depressão. Ainda se contempla, à luz da psicanálise, cujas origens podem ser encontradas na reação romântica contra a realidade moderna, uma espécie de atualidade para o resgate desta antiga crítica, renovada nos tempos da ultratecnologia aplicada à ciência que, ainda profundamente empírica e pragmática, carente de olhares críticos e do saber que contempla a subjetividade humana, é capaz, por exemplo, de tornar o medicamento psiquiátrico, sob o discurso da efetividade palpável a partir da supressão ou alívio de sintomas, o amuleto simbólico, amparo aos sujeitos desejantes que sofrem das ¿doenças da alma¿ contemporâneas
Abstract: The objective of this research is to understand the subjective process of melancholy, giving as reference the literary work Aurelia, from Gérard de Nerval. The narrator describes his intense and unrequited passion for the poetic muse, who gives title to the work, in the context of nineteenth century romanticism. Through his ¿journey to the Spirit world¿ he pursues a transcendental self-discovery while encompassing dreams and visions of a ¿sweet melancholy¿. A reading of the narrator¿s subjective exploration will elucidate to which degree he succumbs to the melancholic process in his reaction to losing the loved one, whose nature is idealized and refers to a previous loss - archaic, narcissistic. This process can be found in Freud¿s psychopathological description in ¿Mourning and Melancholy¿, an essay from 1917. With an appreciation of psychoanalytic themes such as Narcissism or object relations concerning the subject¿s love life, it is possible to comprehend a melancholic universe formed by a symbolic ensemble of elements such as loss, absence, double, death - symbolic or not - which give inspiration for the richest reveries and daydreams. In Aurelia Nerval explores different dimensions of melancholy. For an understanding of some of them, such as the one related to a spiritualized romantic aesthetic from the history of occidental culture, or that of the philosopher specific to his subjective experience, as well as the melancholy pertaining to the Freudian psychopathological dynamic, this research is established by a survey of the history of melancholy¿s phenomena. It proceeds according to the literary discourses from the first half of the XIX century on the one hand, when Nerval writes his last work before committing suicide and, on the other hand, psychoanalysis from beginning of XX century, which contemplates a romantic view of melancholy in the referred essay. Such a method allows a definition of what is common between the different discourses following parallel paths towards the profundity of the human soul, and shifts towards what is new in Melancholy in Fundamental Psychopathology. More specifically, for the comprehension of the subjective mechanisms of this classical psychopathology, it follows the Freudian¿s approach of literary works as an heuristic resource, whose points of encounter between these different areas of knowledge rely on his presupposition that the poet¿s intuition would determine the way to apprehend the essence of human soul. This presupposition is later formulated into a theory pertaining to scientific fields on which Freud wanted to inscribe Psychoanalysis. The research ends with a reference to the present clinical understanding of melancholy and its concern about depression. A kind of contemporary rescue of the romantic point of view with regard to psychoanalysis, whose origins can be found in the reaction against modern Rationalism, is thus contemplated. This controversy can be reinvigorated in the light of Ultra scientism which though deeply empirical is destitute of experience that contemplates human subjectivity and is capable, for example, of formulating psychiatric medicine under the concept of concreteness, promising the suppression or alleviation of symptoms but not of the illness. So this medicine becomes the symbolic amulet - a prop for subjects who suffer contemporary ¿soul diseases¿
Mestrado
Saude Mental
Mestre em Ciências Médicas
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Grybauskaitė, Agnė. "Apšvietos ir Romantizmo susidūrimas J. S. Millio filosofijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2006~D_20110709_151618-96774.
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Šiame darbe nagrinėjamas Apšvietos ir Romantizmo susidūrimas Johno Stuarto Millio filosofijoje. Dauguma autorių ir Millio filosofijos komentatorių (ypatingai Johnas Gray‘us) linkę į ją žiūrėti kaip į Apšvietos doktrinos principus perėmusią teoriją. Mažesnė dalis komentatorių (Nicholas Capaldi, Isaiah Berlinas) Millio koncepcijoje įžvelgia ir Romantizmo principus taip modifikuodami tradicinę anglų filosofo interpretaciją. Tačiau nedominuojantis požiūris faktiškai beveik neanalizuojamas – apsiribojama tik glaustais pastebėjimais. Todėl šis magistro darbas ir yra skiriamas parodyti, kad Millio filosofija kyla tiek iš Apšvietos, tiek iš Romantizmo pamatinių principų, o to pasekoje ji įgauna nenuoseklų ir net konfliktišką pobūdį. Millio mąstymo nenuoseklumą galima susieti su Apšvietos ir Romantizmo konfliktu, kurį remiantis Alvydu Jokubaičiu, galima įvardyti kaip natūralizmo ir ekspresivizmo susidūrimą. Remiantis tokia perskyra aiškiai matyti, kad Millis pasižymi ir natūralistine orientacija (daugiausia mokslo srityje) ir ekspresivistine orientacija (nagrinėjant žmogų ir iš dalies – visuomenę). Darbe išskiriami esminiai Apšvietos principai, pastebimi Millio filosofijoje: 1) meliorizmas (įsitikinimas, kad asmenys, asmenų grupės, institucijos, mokslas, etc. tobulėja ir progresuoja) reiškiąs, kad utilitarinė ir politinė anglų filosofo teorija vaizduojama kaip skatinanti socialinį progresą glaudžiai susijusį su intelektualiniu progresu; 2) egalitarizmas (įsitikinimas, kad nesama... [toliau žr. visą tekstą]This paper discusses the encounter of Enlightenment and Romanticism in John Stuart Mill’s philosophy. The majority of authors and Mill’s commentators (especially John Gray) tend to look at it as the theory with principles of Enlightenment. The smaller part of commentators (Nicholas Capaldi, Isaiah Berlin) sees in Mill’s conception also the principles of Romanticism modifying the traditional interpretation of English philosopher. But in fact this not-dominant approach practically is not analysed – it is limited only with brief notices. Therefore this master work is dedicated to attitude that Mill’s philosophy develops both from basic principles of Enlightenment and those of Romanticism. The inconsistency of Mill’s thought could be related with conflict of Enlightenment and Romanticism which, according to Alvydas Jokubaitis, could be named as the encounter of naturalism and expressivism. In conformity with this separation we could clearly see that Mill is characterized by naturalistic orientation (mostly in area of science) and expressivist orientation (in examination of person and partly – of society). There are indicated the essential principles of Enlightenment in Mill’s philosophy: 1) meliorism (the belief that persons, groups of persons, institutions, science, etc. improve and progresses) which denotes that utilitarian and political theory of this philosopher is pictured as stimulating social, as well as closely related intellectual progress; 2) egalitarianism (the belief... [to full text]
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Raus, Maria Angela. "O processo de produção de minisséries históricas: o passado romantizado." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-06072007-112619/.
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O trabalho que apresentamos tem como objeto de estudo a teledramaturgia baseada em acontecimentos históricos. Selecionamos como fonte duas minisséries de cunho histórico: A Muralha e Um Só Coração, produzidas pela TV Globo, e destacamos a autora Maria Adelaide Amaral. O objetivo inicial era comparar as narrativas ficcionais com o conhecimento histórico. Porém, no decorrer da pesquisa encontramos um produto cultural coletivo e industrial que se utiliza de informações históricas para construir uma narrativa ficcional particular. As minisséries históricas foram selecionadas por tratarem a respeito de temas relativos à história da cidade de São Paulo. Ao comparar a ficção com a produção historiográfica, conseguimos identificar algumas das fontes utilizadas e as transformações realizadas. Verificamos que as narrativas ficcionais da teledramaturgia baseadas em acontecimentos históricos se estruturam com a lógica da ficção romanesca, por integrarem a linguagem de um folhetim televisivo. As informações históricas são diluídas no pitoresco, no exótico, no diferente, mas acabam sendo assimiladas pelo público telespectador como imagens da verdade históricaThis dissertation aims to study TV dramas based on historical events. The two selected works for analysis are mini-series dealing with historical narratives: A Muralha and Um Só Coração, produced by Globo Networks - Brazil, also stressing out the work of their author, Maria Adelaide Amaral. The initial goal in this study was a comparison between fictional narratives and historical knowledge. However, developing the subject allowed us to work with a collective cultural and industrial product, which uses the historical information in order to build an unique fictional narrative. These two mini-series based on historical events were selected because they both relate to aspects of the history of São Paulo city. In comparing fiction with the historiographical studies, we were able to identify some of the sources which were used, as well as the transformations that have occurred at the mini-series. We can see that the fictional narratives in television drama, even based in historical events, are structured according to the logic of romantic fiction. The historical information is diluted into the pitoresque, the exotic, the distinctive, but is still understood by the average viewer an image of the historical truth
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Lange, Shara K. "Screening: Banjo Romantika: American Bluegrass Music and the Czech Imagination." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3649.
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Hrubiš, Tomáš. ""Sbohem a řetěz"." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232399.
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Leite, Ana Filipa Rodrigues Moreira. "Estratégias de gestão e de conservação para a paisagem cultural de Sintra, Património Mundial." Master's thesis, ISA, 2013. http://hdl.handle.net/10400.5/6170.
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Mestrado em Arquitectura Paisagista - Instituto Superior de AgronomiaThe Cultural Landscape of Sintra, classified in 1995 by UNESCO as World Heritage Site, is the testimony of a unique symbiosis between Nature and Man. The specific microclimate and lush vegetation gives to Serra de Sintra the bucolic spirit that promoted, since long times, its occupation by different cultures: From Neolithic vestiges to the medieval Suntria; convents and hermitages scattered throughout the solitude of the Sierra, the establishment of the royal court and nobles in their recreational farms, harmoniously arranged amidst the massive granite blocks and the lush vegetation brought from various parts of the world. The Landscape of Sintra was built under artistic and literary influences, being even today considered as a reference of the expression of the Romanticism, which influenced the Europe of the eighteenth and nineteenth centuries. This unit, also integrating the Natural Park of Sintra-Cascais, is characterized as well as a rich area, but highly sensitive. The current urban pressure and constant threats to the preservation of this site, including the forest area, motivated the development of the present research, in order to the pursuit of conservation of this landscape of incomparable value, as well as its maintenance as a classified heritage of UNESCO. As the main objective, we intend to develop a proposal for a new Management Plan for this Cultural Landscape, seeking a coherent development from the standpoint of tourism and economic development. With the design of strategies aiming the protection of the site, by leveraging their capital gains, dissemination and transfer of knowledge to the communities, the maintenance and the perpetuation of cultural identity, the ecological values and the biodiversity of the Sierra will be assured, thus allowing the full experience in this heritage
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Crespi, Giulia. "Tommaso Grossi e la novella romantica nella Milano di primo ottocento : 'La Fuggitiva' e 'Ildegonda' : edizione critica e commento." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12798/.
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The thesis aims to provide an exhaustive study of Tommaso Grossi’s literary background, as well as to identify the linguistic and stylistic peculiarities of his poetry. Acclaimed as one of the most famous authors of the Italian Romantic Age, Grossi (1790-1853) was the first to introduce the vogue of sentimental narratives in historical settings in Italy. This study is the first to provide a critical and commented edition of Grossi’s novelle highlighting the main features of his language and style as well as his literary models. The research stresses the pivotal role of Grossi within early nineteenth-century Italian literature. This is achieved through the philological study and the commentary of the two works that established and made popular the genre of the Romantic novella in Italy: La Fuggitiva (translated from Milanese dialect into Italian by the poet himself in 1816) and Ildegonda (1820). The commentary of Grossi’s novelle shows a deep tension between the innovative content, which fully aligns itself with the Romantic tendencies of the time, and conventional form, which substantially adheres to the Italian poetic tradition. Therefore, his novelle can be regarded as hybrid literary products, which on the one hand fully situate themselves within the Italian narrative poetry tradition, and on the other are significantly influenced by coeval European literature. The commentary also sheds new light on Grossi’s literary sources, identifying Torquato Tasso’s Gerusalemme Liberata as the main model of La Fuggitiva, whereas Ildegonda was mainly inspired by Ludovico Ariosto’s Orlando Furioso. Finally, an in-depth investigation of the gloomy imagery employed by the poet reveals the previously undetected influence of Melchiorre Cesarotti’s Ossian and Vincenzo Monti’s Bassvilliana.
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Puzinienė, Renata. "Lūžio asmenybės: V.Krėvės "Šarūnas" ir "Skirgaila"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100709_100444-18860.
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Darbo tikslas – parodyti ir atskleisti autobiografinį ryšį tarp Vinco Krėvės ir pagrindinių jo dramų personažų – Šarūno ir Skirgailos. Vincas Krėvė – Mickevičius buvo asmenybė, kuriai rūpėjo individas ir jo gyvenimiškųjų vertybių raiška. V. Krėvė pirmasis lietuvių literatūroje pavaizdavo individualią (laisvą, išdidžią, dažnai vienišą ir nesuprastą) asmenybę, suabejojusią visuomeniniais idealais ir susitelkusią į savo problemas. Tokį pasirinkimą lėmė istoriniame procese vis pasikartojantys asmenybės pokyčiai. Rašytoją traukė žmogaus įvairiapusiškumas: meilė ir neapykanta, pasitikėjimas ir nusivylimas, meilė ir kančia, laisvė ir maištas. Šios paralelės labai svarbios ir išryškėja V. Krėvės Šarūne ir Skirgailoje. Darbe aptarti pagrindinių veikėjų charakteriai, jų savybės, akcentuojama autobiografinė V. Krėvės gyvenimo paralelė, aptartos romantizmo ir lūžio (krizės) asmenybės sąvokos. Parodyta, kokią įtaką romantiniam herojaus tipui daro amžinosios (moralinės, romantinės) vertybės, atskleisti prometėjiškumo ir revizionistiškumo raiškos atvejai.The objective of the thesis to demonstrate and reveal autobiographical relation between Vincas Krėvė and key characters of his dramas: Šarūnas and Skirgaila. Vincas Krėvė – Mickevičius was a personality, who cared a lot about an individual and expression of his true-life values. V. Krėvė was the first in Lithuanian literature to depict an individual (free, proud-hearted, often lonely and misunderstood) personality, who questioned social ideas and was immersed into his own problems. Such choice was determined by personality changes that repeat themselves in the historical process. The writer was attracted by versatility of a person: love and hate, trust and despair, love and distress, freedom and rebellion. These parallels are very important and are emphasized in Šarūnas and Skirgaila by V. Krėvė. The thesis discusses nature of key characters, their characteristics, and emphasizes autobiographical parallel with the life of V. Krėvė, as well as disputes the concepts of romanticism and turning-point (crisis) personalities. The influence of the eternal (moral, romantic) values on the type of a romantic hero is revealed, as well as cases of expression of Prometheism and revisionism.
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Taujanskaitė, Aurelija. "Pride and Prejudice by Jane Austen and Bridget Jones’s Diary by Helen Fielding: The Situation of Writing a Novel." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092258-48880.
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The object of the research is Austen’s and Fielding’s situation of writing a novel through their works Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding. Though, these women authors are representatives of the two different epochs of English literature their novels are frequently taken in parallel. In order to carry out the research, the comparative and feminist criticism methods were applied. The comparative methodology was useful in order to analyze the meanings of similarity or distinction in the novels Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding, also, to compare two different contexts for writing two novels.Tyrimo objektas – Džeinės Austen ir Helenos Fielding romano rašymo situacija remiantis jų kūriniais: Austen Puikybė ir prietarai bei Fielding Bridžitos Džouns dienoraštis. Nors autorės yra skirtingų laikotarpių anglų rašytojos, jų kūriniai yra dažnai lyginami.Bakalauro darbe buvo naudojami lyginamosios bei feministinės kritikos metodai. Lyginamasis metodas buvo taikomas ištirti romanų Puikybė ir prietarai ir Bridžitos Džouns dienoraštis panašumo ar savitumo reikšmes, palyginti kūrinių rašymo kontekstus. Kadangi Austen ir Fielding yra moterys rašytojos, feministinės kritikos metodas buvo naudojamas atskleisti moterų literatūros savitumą.
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Jasmina, Knežević. "Романтизам у српској књижевности из имаголошке перспективе." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2019. https://www.cris.uns.ac.rs/record.jsf?recordId=110869&source=NDLTD&language=en.
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Ауторка је у раду систематизовала и представила слике, представе и стереотипе које су канонизовани песници српског романтизма у својим делима конструисали о Србима и Другима, проблематизовала је и истражила везу и утицај канона на креирање слика и представа и њихову међусобну условљеност.Autorka je u radu sistematizovala i predstavila slike, predstave i stereotipe koje su kanonizovani pesnici srpskog romantizma u svojim delima konstruisali o Srbima i Drugima, problematizovala je i istražila vezu i uticaj kanona na kreiranje slika i predstava i njihovu međusobnu uslovljenost.
In this work, the author systematized and presented the images, notions and stereotypes that the canonized poets of Serbian romanticism have constructed in their works about Serbs and Others, questioning and researching the relationship and the influence of canons on creation of images and notions and their mutual conditionality.
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Bidgood, Lee. "Collaboration, Fieldwork, and Film." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1039.
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Excerpt: I never imagined that I would help produce a documentary film based on my ethnographic fieldwork. Meeting documentary filmmaker Shara Lange during new faculty orientation at the university where we were both newly hired eventually led to our film Banjo Romantika (2013)—a full-length feature based on my research on bluegrass music in the Czech Republic, in which I play a key role as writer, producer, and on-screen character. Taking part in this film project has led me to consider how film enriches relationships with field colleagues, providing new opportunities for teaching and learning. I find that collaborations like ours can reframe and extend ethnomusicological work in productive ways.
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Silva, Maria Consuelo da Costa Oliveira e. "O legado de Georg Groddeck: genuinidade e originalidade." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/15892.
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Previous issue date: 2009-08-28Researches over psychosomatic theme point to various authors. Each one with their own definition of the theme. By consequence there is no consistent definition of it. It is from this point that the author will use Georg Groddeck as a central theme of this dissertation. Groddeck calls the attention on the subject to be easily announced as the father of psychosomatic besides the originality and uniqueness of his theories. The main objective of this paper is to make a deeper reading of Groddecks work, categorizing it, emphasizing his intellectual production, giving it biographic context and enhancing his procedures to understand the historical context of his time. This work aim to subtract the concepts of psychosomatics found on Groddecks work before his contacts with Freud and psycanalisis passing by his biography and writings that approach the first world war. Sources are mainly primary ones
Pesquisas realizadas sobre o conceito Psicossomática apontam para muitos autores. Cada um deles com referencias teóricas próprias. Conseqüência disso é a falta de consistência na busca dessa definição. Com base nesse fato, a autora preferenciará a teoria de Georg Groddeck como tema central desta dissertação. Ele que, em um primeiro contato, já chama a atenção por ser considerado por alguns pesquisadores como o Pai da Psicossomática , também se destaca pela originalidade e genuinidade de sua teoria. O objetivo desta dissertação é realizar uma leitura mais detalhada da obra de Georg Groddeck, categorizá-la, enfatizar sua produção intelectual, situá-la dentro do referencial biográfico e ainda, tentar localizar sua obra dentro de um contexto histórico/teórico: O Romantismo e A Filosofia da Natureza. Com isso, a autora espera subtrair da obra de Georg Groddeck sua conceituação de psicossomática no período anterior aos seus contatos com Freud e com a Psicanálise, percorrendo sua biografia e escritos até data próxima à Primeira Guerra Mundial. A bibliografia estará principalmente centrada em fontes primárias
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Pilarczyk-Palaitis, Anna Ewa, and Anna Pilarczyk-Palaitis. "Regionalistyczne aspekty poezji Juliana Korsaka." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_180611-34338.
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Praca składa się z trzech zasadniczych części. Rozdział I poświęcony jest teorii regionalizmu. Rozdział II rozprawy przybliża sylwetkę Juliana Korsaka. Ze względu na wyjątkowo skąpe informacje dotyczące biografii poety, zdecydowałam się wprowadzić tło historyczne oraz geograficzne, pozwalające lepiej poznać czas i przestrzeń, które ukształtowały twórcę. Do tej części pracy należą dwa załączniki umieszczone na końcu rozprawy – mapka z miejscem urodzenia Korsaka oraz zarys genealogii poety z herbem rodowym. Rozdział III to zasadnicza część pracy, zawierająca analizę utworów pod kątem zawartych w nim treści regionalnych. Ze względu na wielopoziomowość badań nie udało się przyjąć bardziej systematyzującej formy tej części rozprawy. Rozdział ten składa się z pierwszego podrozdziału omawiającego emocjonalny stosunek do kraju ojczystego, drugiego podrozdziału analizującego konkretne przejawy regionalizmu w postaci pojawiających się w utworach nazw topograficznych, nazwisk osób związanych z regionem, symboli i motywów oraz trzeciego podrozdziału, w którym autorka wymienia przykłady regionalizmów językowych występujących w analizowanym materiale.Darbas susideda iš trijų pagrindinių dalių. I skyriuje nagrinėjama regionalizmo teorija. Darbo II skyrius skirtas Julijano Korsako asmenybei. Kadangi yra labai mažai medžiagos susijusios su poeto biografija, nutariau parodyti istorinį bei geografinį foną. Tai padėjo geriau pažinti laikotarpį bei aplinką, kuriuose susiformavo kūrėjas. Prie šios darbo dalies yra du priedai – nedidelis žemėlapis su pažymėta Korsako gimimo vieta bei poeto genealoginė apybraiža su šeimos herbu. III skyrius tai pagrindinė darbo dalis, kurią sudaro kūrinių analizė pagal juose atsispindinčius regioninius motyvus. Šį skyrių sudaro pirmas poskyris, kuriame aptariamas emocinis ryšys su tėvyne, antras poskyris, kuriame analizuojami regionalizmo reiškiniai, atsispindintys veikaluose paminėtuose topografiniuose pavadinimuose, su regionu susijusių žmonių pavardėse, simboliuose ir motyvuose bei trečias poskyris, kuriame minimi nagrinėjamoje medžiagoje pasireiškiantys kalbos regionalizmo pavyzdžiai. Darbo pagrindinis tikslas buvo parodyti Juliano Korsako poezijoje įvairius regionalizmo aspektus. Tikiuosi, kad tai man nors iš dalies pavyko. Norėčiau pažymėti, kad dėl to, kad mažai yra mokslinių darbų mano pasirinkta tema, rašyti magistro darbą buvo sudėtinga, tačiau ilgainiui tyrinėjant temą ji suteikė man didelį pasitenkinimą.
The monograph includes a complex of problems connected with the regionalism character of Julian Korsak poetry. A lot of attention is paid to the problems of literature regionalism theory. The term regionalism is already known from many years, bet its treats intuicionally. There is no unequivocal definicion . The monograph presents types of definitions this problem. The analysis of the regionalism character of Julian Korsak poetry shown, that its exists in many levels of this literature – from the motives, names, symbols or geographic points till the language of poetry. The main part of the monograph deals with the examples of regionalism in poetry of Julian Korsak. It presents their basic types, construction, models and principle of use. The monograph also discusses abaut life of Julian Korsak. Becouse of insufficient sources about his biography, I decided to write about epoch and region of his childhood and adoult life. The main target of this monograph was to show the many perspectives and aspects of regionalism in Julian Korsak‘s poetry, what I hope is success. The absence of documents and other monographs about regionalism and poet‘s biography was a difficulty, bet at the same time it was an source of reserch satisfaction.
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Billon-Grand, Pascal. "La poésie et la « révolution de l’existence quotidienne »." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20053/document.
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Du premier cercle romantique allemand, à la fin du XVIIIème siècle, jusqu’à l’Internationale Situationniste, dans les années 1960, en passant notamment par les groupes futuristes, dadaïstes et surréalistes, la poésie s’est identifiée au projet d’une révolution globale et permanente de l’existence quotidienne. Pendant près de deux siècles, tous ces poètes ont tenté de concilier les mots d’ordre marxiste et rimbaldien « transformer le monde » et « changer la vie ». Ce faisant, ils redéfinirent les formes et les pratiques de la poésie de même que les termes et les enjeux du programme socialiste révolutionnaire du XIXème siècle, définissant ainsi ce que nous appelons un « socialisme du XXème siècle ». Au-delà du domaine classique de l’écriture littéraire, la poésie doit désormais se réaliser en états superbes, en gestes et en comportements inédits, transposant dans le réel et dans les actes tout le potentiel de créativité jusque-là contenu dans le domaine des lettres et de la fiction. Ses principales caractéristiques (autonomie, culture des désirs, créativité et capacité à redynamiser et à repassionner le réel en excédant sans cesse les données sensibles et intellectuelles présentes) définissent un nouvel exercice de la vie, à la fois individuel et social, tandis que sa perception de l’univers, en tant que système dynamique, permet d’envisager un nouveau modèle politique fondé sur les mêmes principes d’autonomie, de créativité et de dynamisme social.Ce présent travail tente de cerner et d’analyser les enjeux et les pratiques liés à un tel projet, jusque dans ses prolongements les plus récents. Nous avons exploité l’histoire des idées en vue d’un seul véritable objectif : appréhender au plus près les enjeux de pratiques à la fois diverses et convergentes, mettre en évidence les apports, la pertinence et les éventuelles limites de leur démarche pour les réinscrire dans ce que nous appelons une « théorie des pratiques » et produire ainsi, au-delà de ces réalisations du passé, les fondements d’une nouvelle théorie pratiqueFrom the first german romantism, at the end of the XVIIIth century, to the International Situationnist, in the 1960’s, through the futurist, the dadaïst and the surrealist avant-gardes, poetry became one with the project of a global and permanent revolution of the everyday life. During almost two centuries, all these poets have tried to reconcile the marxist and the rimbaldian key-words « transform the world » and « change the life ». In doing so, they redetermined the forms and the practices of the poetry, as well as the terms and the stakes of the revolutionnary socialist program, determining what we call a « Twentieth century socialism ». Beyond the classical range of the litterary writing, poetry has now to be realized into new acts and behaviours, transposing all the potential of creativity contained in the letters and the fictions until now. Its main characteristics (autonomy, developement of the desires, creativity and ability to redynamize and to impassion reality) define a new way of life and its perception of the universe as a dynamic system defines a new political model based on the same principles of self-government, creativity and social dynamism.All along this work, we have tried to define and to analyze the stakes and the practices linked to such a project, up to now. We have processed the history of ideas with one purpose : to define the stakes of varied and convergent practices, their contributions and their limitations, in order to incorporate them into what we called a « theory of practices » and to create the basis of a new practical theory for the present times
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Junior, Jonas Alves da Silva. "Doces modinhas pra Iaiá, buliçosos lundus pra Ioiô: poesia romântica e música popular no Brasil do século XIX." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-23082007-135330/.
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A dissertação versa sobre as relações entre poesia e música no século XIX, bem como sobre a produção poético-musical resultante dessa união. O argumento central é o de que os poetas românticos foram colher inspiração no medievalismo europeu na só para a construção de uma mitologia nacional (indianismo), mas também para a concepção de uma arte única, pautada por essa aliança entre poesia e música nos moldes trovadorescos. Essa conexão foi além da musicalidade implícita na poética do período. Alguns românticos, tal como os trovadores, buscaram integrar as duas artes a partir de poemas escritos especialmente para serem musicados e apresentados em circunstâncias performáticas. Assim, nasceu, no Brasil, a parceria: um poeta produzindo a letra e um compositor musicando-a. A prática de fundir essas duas manifestações artísticas num todo único iniciada pelos trovadores teve continuidade em alguns poetas românticos, principalmente os que freqüentaram a tipografia do editor Paula Brito, fundador da conhecida Sociedade Petalógica do Rossio Grande. Das reuniões dessa sociedade resultaram diversos poemas musicados em forma de modinha ou lundu, examinados aqui de modo a evidenciar os temas recorrentes, bem como as imagens e metáforas musicais neles presentes. Essa aliança trouxe popularidade e novo alento, tanto para a música popular, quanto para a poesia brasileira que encontrou nessa aliança um meio de difusão que suprisse a carência de um público letrado.This dissertation examines the relations between poetry and music in the nineteenth century, as well as the poetic-musical production which results from this union. The central argument is that romantic poets took inspiration from european medievalism not only for building a national mythology (indianism) but also for the conception of an unique art form, ruled by this alliance between poetry and music in the troubadourish models. This connection went beyond the implicit musicality of that era\'s poetry. Some romantic poets, as troubadours, wanted to integrate both arts from poems specially written to be set to music and presented in performance venues. Thus, the partnership was born in Brazil: poets started to create lyrics and composers set them to music. The practice of blending these two artistic manifestations in only one, initiated by the troubadours, had continuity with some romantic poets, mainly those who attended the editor Paula Brito\'s typography, founder of the well known Sociedade Petalógica do Rossio Grande. From these meetings came several poems set to music in form of modinha or lundu examinated here in order to portray the recurrent themes, as well as images and musical metaphors existing in them. This alliance brought popularity and enthusiasm for the popular music as for the Brazilian poetry, which found in this alliance a way of diffusion that would supply the need of the scholarly public.
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Pereira, Cilene Margarete. "Jogos e Cenas do Casamento : construção e elaboração das personagens e do narrador machadianos em Contos Fluminenses e Historias da Meia Noite." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269940.
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Orientador: Carlos Eduardo Ornelas BerrielTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Em ¿Jogos e Cenas do Casamento¿, nosso objetivo principal é apresentar um estudo detalhado da construção e do modo como Machado de Assis elabora suas personagens e seus narradores em Contos Fluminenses (1870) e Histórias da Meia Noite (1873). Se considerarmos a imagem principal que une as treze narrativas desses livros, veremos que todas ¿ a exceção aparente é ¿Aurora sem dia¿ ¿ são histórias de amor que têm como imagem/tema central o casamento, seja nos preparos que antecedem o contrato ou em seus aspectos cerimoniais, seja na intimidade conjugal dos lares já concebidos. Mais do que isso, há um elo maior entre as histórias, e uma imagem que se afirma como preponderante: o fracasso do casamento. As mocinhas e os heróis machadianos são construídos mediante as dificuldades e os problemas matrimoniais, decorrentes muitas vezes de imposições paternas ou das expectativas (mediadas, sobretudo, pela literatura) e experiências amorosas dos envolvidos. São essas personagens, em última hipótese, que veiculam essas imagens de fracasso e as apresentam ao leitor. Mas nesse processo de captação do amor e do casamento aparece quase sempre um narrador a sussurrar no ouvido do leitor algo acerca da personagem e da imagem amorosa construída por ela. Dessa forma, as imagens e cenas matrimoniais são filtradas (e desestabilizadas) pelas exposições de personagens e narradores, uns a intervirem na concepção amorosa de outros. Por isso, este estudo prioriza não só a caracterização dessas primeiras personagens machadianas, mas também dos narradores desses contos como forma de examinar melhor o modo como ambos constroem essas imagens amorosas e a partir de que outras associações elas nascem e se definem, já que se tratam, na maior parte das vezes, de homens e mulheres inexperientes em relação ao amor e à própria realidade do casamento.
Abstract: In ¿Jogos e Cenas do Casamento¿, our main objective is to introduce a detailed study of the construction and the way Machado de Assis elaborates his characters and narrators in Contos Fluminenses (1870) and Histórias da Meia Noite (1873). If we consider the mainstream image that joins the thirteen narratives of this collectanea, we will see thal all of them ¿ the apparent exception is ¿Aurora sem dia¿ ¿ are love stories that bears as a mainstream image/theme the marriage, either in the preparations that happen before the contract or its ceremonials aspects, either in conjugal intimacy of conceived homes. Moreover, there is a bigger link between the stories and an image that is itself preponderant: the failure of marriage. The ¿machadianos¿ ladies and heroes are constructed the difficulties and matrimonial problems, generated most of the time by father impositions or expectancy (mediated for literature) and love experiences of the involved ones. These characters are in last hypothesis, the ones that take the images of failure and introduce them to reader. But in this process of catching love and marriage, almost always there is a narrator whispering something on the ear¿s reader about the characters and the loving image constructed by the character. In this way, the matrimonial images and scenes are filtered for expositions of the characters and narrators, intervening in the loving conception of each other. Thus, this study prioritizes not only the characterization of the first ¿machadianos¿ characters, but also the tale¿s narrators as a way of examining better how they both construct these loving images and from where other possible associations are born and defined, once they deal, most of the times, with inexperienced men and women in relation to love and the reality of marriage.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
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Zeferino, Mateus. "Aspectos da metodologia de Michael Löwy." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278905.
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Orientador: Marcelo Siqueira RidentiDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O presente trabalho procura analisar alguns aspectos do pensamento sociológico de Michael Löwy, suas principais premissas sociológicas e a sua relação com pensadores como Karl Mannheim e Max Weber. Em relação a Weber, tentaremos analisar a proposta de Löwy a respeito da incorporação do método weberiano de uma forma não eclética, mas dialética. Em um segundo momento, este trabalho também procura analisar o conceito de "afinidades eletivas" na obra de Michael Löwy. O surgimento de tal conceito no âmbito das Ciências Sociais se deu através de Max Weber, sobretudo em "A ética protestante e o espírito do capitalismo". Este é um outro aspecto do pensamento de Weber que Löwy se apropria, e utiliza-o para analisar figuras como "judaísmo libertário" e "teologia da libertação". Porém, afirmamos que o estudo de Löwy acerca da Teologia da Libertação possui alguns aspectos que precisam ser rediscutidos, pois ele dá uma ênfase na "fusão" e "simbiose" entre as duas figuras que estão se relacionando, o marxismo e o cristianismo. Procuramos, com base no pensamento de Antonio Gramsci, argumentar que a ênfase na "fusão'' entre as figuras acaba por travar o movimento dialético e não perceber a necessidade de continuidade do movimento
Abstract: The present work seeks to analyse some aspects in Michael Lowy's sociological thought, its main sociological premises regarding thinkers as Karl Mannheim and Max Weber. Regarding to Weber, we will try to analyse Lowy's proposals about the incorporation of the weberian method on a dialectic instead of the eclectic way. In a second moment, this work also seek to analyse the concept of "elective affinities" in Michael Lowy's works. Such concept arises through Max Weber in the scope of Social Scienses, above all in the "The Protestant Ethic and the Spirit of Capitalism". This is another aspect of Weber's thought wich Lowy has appropriated and utilized to analyse some pictures as the "liberation judaism" and the "liberation theology". However, we states that the Low's studies about Freedom Theology have some aspects that need to be discussed again, because he emphasizes the "fusion" and "simbiosis" between two pictures related to each other: the marxism and the christianism. We seek, based on the Antonio Gramsci thoughts, to argue that the emphasis in the fusion between the pictures end up hindering the dialectic movement, not realizing the needs of such movement to be continued
Mestrado
Teoria Sociológica
Mestre em Sociologia
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Le, Denmat Loïc. "Gérard de Nerval et le platonisme." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030114.
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Cette étude prétend explorer les liens entretenus par l’œuvre et la pensée de Nerval d’une part, et le platonisme d’autre part. On s’attachera à envisager le platonisme autant dans la perspective des idées et représentations caractéristiques de la philosophie de Platon que dans la perspective du déploiement d’une tradition platonicienne protéiforme. L’œuvre de Nerval illustre sous de multiples aspects la continuité reliant le romantisme au platonisme, en matière d’imaginaire comme de conception du monde. La pensée de tradition platonicienne apparaît en effet constamment en filigrane de l’écriture de Nerval. Les paysages métaphysiques se succédant dans l’œuvre, ainsi que les grands champs de l’imaginaire de Nerval en portent le signe. L’auteur a constamment puisé dans l’ensemble du fonds de ce savoir érudit, tantôt philosophique, théologique ou ésotérique, pour nourrir sa propre pensée à la manière d’une immense architecture foisonnante mêlant lieux, temps, figures et motifs en une poésie intime. Cette étude se portera successivement sur des questions liées au rapport de Nerval à l’Histoire, à une série de motifs caractéristiques d’un imaginaire platonicien, et des interactions entre l’activité littéraire et la vie réelleThis study claims to explore the relationships between Nerval's work and thought on one hand, and Platonism on the other. We will consider Platonism both in terms of the distinctive ideas and representations in Plato's philosophy, and evenly so in terms of a platonic tradition that has unfolded in many forms. Nerval's work reveals in abounding ways the continuity linking romanticism to Platonism, both in the realms of the imaginary and in the understanding of the world. Indeed, a platonic mindset constantly appears between the lines of Nerval's writing. The metaphysical landscapes succeeding one another in the oeuvre, along with Nerval's fields of imagination carry its trace. The author has constantly drawn upon the sources of this erudite knowledge, be it philosophical, theological, or esoteric, to nourish his own thought, adding to it as to a rich and immense architecture where places, times, characters and patterns mingle into an intimate poetry. This study will successively address questions bearing to Nerval's relation to History, to a series of motifs characteristic of a platonic imagination, and to interactions between literary activity and life in its reality
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Belieiro, Thiago Granja [UNESP]. "Índios e Poetas: o Instituto Histórico e Geográfico Brasileiro e a invenção do Indianismo Literário 1808- 1860." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/93409.
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belieiro_tg_me_assis.pdf: 531501 bytes, checksum: a7698f420a3d4a5ca77efc3b999e1103 (MD5)Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Esta pesquisa insere-se no campo dos estudos históricos culturais. Assim, a análise histórica é aqui empregada com o objetivo de compreender o fenômeno artístico literário, a saber, o Indianismo Romântico do século XIX. Desse modo, o Indianismo é visto como uma Invenção Histórica, ou seja, é fruto de um trabalho e de um projeto consciente dos escritores no sentido de criação de uma cultura e uma literatura nacional, tendo o índio como figura central. Utilizando-se de preceitos teóricos e metodológicos do sociólogo Pierre Bourdieu, onde a produção artística mantém profundas ligações com o campo político, a pesquisa procura mostrar a ligação do campo literário romântico em formação e o campo político. Assim, vai-se analisar o papel do Instituto Histórico e Geográfico Brasileiro nesse processo de Invenção Histórica. IHGB congregava em seus membros a elite letrada da Corte entre eles, importantes escritores indianistas, tais como Gonçalves Dias e Gonçalves de Magalhães. O Instituto foi responsável ainda por uma vasta produção de conhecimento sobre o índio, sendo essa produção responsável pela configuração de um campo de possíveis estéticos a respeito do indígena através de representações do mesmo. E mais, o IHGB foi o palco principal de uma acalorada contenda sobre a viabilidade de se escrever uma literatura tendo o índio como figura central, mostrando as diferentes tomadas de posição dos intelectuais do período acerca da Literatura Indianista.
This research is within the field of historical and cultural studies. Thus, the historical analysis employed here aims at understanding the literary artistic phenomenon, namely the XIX century Romantic Indianism. In this aspect, Indianism is seen as a historical invention, that is, it arises involuntarily within the European thought and within the Romantism aesthetic precepts, which later became the result of writers’ conscientious work and project in order to create both a national culture and literature, having the Indian as its central figure. By using sociologist Pierre Bourdieu’s theoretical and methodological precepts – in which artistic production is strongly connected with the political field – the research seeks to show the connection between the romantic literary field in formation and the political field. Thus, the role of the Instituto Histórico e Geográfico Brasileiro (Brazil’s Historical and Geographical Institute - IHGB) is analyzed in this historical invention process. The IHGB congregated the literate elite of the Court, among who were important indianist writers such as Gonçalves Dias and Gonçalves de Magalhães. The Institute was also accountable for the vast production of knowledge on the Indian. This production was responsible for shaping the aesthetic possibilities regarding the Indians through the representations of them. Furthermore, the IHGB was the main stage of a fierce argument on the viability of making literature having the Indian as its central figure, showing the different positions the intellectuals of the period held about the Indianist Literature. With this, the research shows that Indianism comprises a historical invention having the IHGB as its main stage.
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Macedo, Rafael Gonzaga de. "Paul Harro-Harring: visualidade melancólica da escravidão no Rio de Janeiro - 1840." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12820.
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Previous issue date: 2014-02-25Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation had as its aim to build a visual history from the images produced by the Teutonic Danish traveler Paul Harro-Harring, who came to Brazil in 1840. Through a series of drawings and watercolor paintings, this traveler and artist portrayed landscapes and scenes from slave-related daily life in Rio de Janeiro. Our research treated such images as a visual source to a certain manner of producing and assigning meaning to the world, building our interpretation and interaction with its images in the core of a historiography tradition named Visual Studies. Visual Studies carry in their theoric outline the term visuality , which refers to the way a certain look will perceive and attribute meaning to the visible. Thus, the Visual Studies address on culture and the visual dimension in every kind of cultural production in a determined historical-cultural context. From these references, it was aimed to establish a relation between the landscape and nature conceptions in the romantic painting with the Rio de Janeiro‟s scenery created by the artist. There was a description and interpretation of images that pictured slave trade scenes and the cultural relationships between the slaves among themselves and with their landlords. To do such a study, it was considered not only the imaginary and the cultural background of the artist, but also the tension of the experience lived by him in 1840‟s Rio de Janeiro. It is concluded that his perception of the world, his political and philosophical conceptions on culture notions, nation and men and also the concrete conditions of the slaves‟ existence feeded his perception and constellated the visuality present in his images
Esta dissertação teve por objetivo construir uma história visual a partir de imagens produzidas pelo viajante teuto-dinamarquês Paul Harro-Harring, que veio ao Brasil em 1840. Por meio de uma série de desenhos e aquarelas esse viajante e artista retratou paisagens e cenas do cotidiano escravagista no Rio de Janeiro. Nossa pesquisa tratou essas imagens como fonte visual para uma dada maneira de produzir e atribuir sentido ao mundo e as diferenças culturais, construindo nossa interpretação e interação com suas imagens no interior de uma tradição historiográfica denominada Estudos Visuais. Os Estudos Visuais carregam, em seu arcabouço teórico, o termo visualidade que se refere à maneira como um determinado olhar vai perceber e atribuir significado ao visível e ao sensível. Assim, os Estudos Visuais, debruçam-se sobre as culturas e a dimensão visual contida em todos os tipos de produções culturais em um determinado contexto histórico-cultural. A partir dessas referências buscou-se estabelecer a relação entre as concepções de paisagem e natureza, no espírito da pintura romântica, com as paisagens do Rio de Janeiro elaboradas pelo artista. Foram descritas e interpretadas as imagens que retratavam cenas do tráfico negreiro e das relações culturais dos escravizados entre si e com os senhores. Para tanto, considerou-se, para além do imaginário e bagagem cultural do artista, a tensão das experiências por ele vividas naquele Rio de Janeiro de 1840. Conclui-se que a sua visão de mundo, suas concepções políticas e filosóficas acerca de noções de cultura, nação e homens, bem como as condições concretas de existência dos escravizados, nutriram o seu olhar e constelaram a visualidade presente em suas imagens
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Lazic, Boris. "La relation du temps et de l’éternité dans l’œuvre poétique de P.P. Njegos." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040188.
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Notre travail a pour but de déterminer la valeur accordée à un motif littéraire et son développement dans le corpus littéraire de l’auteur étudié. La réflexion sur la nature de Dieu représente une première réflexion sur l’être qui va se poursuivre dans l’étude de la nature njegošienne et sa notion de chaos. Cette notion de chaos introduit l’idée d’une possible opposition binaire entre principe de lumière et de chaos, d’ordre et de désordre, de bien et de mal. Notre recherche porte à démontrer, sur la base des textes, l’impossibilité philosophique et théologique d’une double ontologie chez Njegoš. Dieu est à la fois être et devenir. La création dialectale divine œuvre à l’union de l’essence et de l’être. La relation du temps et de l’éternité s’exprime par ce travail d’irradiation lumineuse dont le but final est l’introduction de l’univers à l’harmonie. L’ontologie détermine l’anthropologie, la christologie la nature de la lumière du microcosme, la figure divine celle du poète romantiqueThe aim of this work is to determine the value given to a literary motive & its development in the literary body of the studied author. The study of the nature of God represents the first step in the study of the Being that further develops in the study of Njegoš’s concept of Nature & Chaos. The notion of Chaos introduces the idea of a possible binary opposition between the Principle of Light & Chaos, Order & Disorder, Good & Evil. The purpose of this research is to demonstrate, on the basis of the original author’s body of works, the philosophical & theological impossibility of a Dualistic Ontology. God is altogether being & becoming. The dialectal Divine Creating works on the union of the Essence & the Being. The relation of Time & Eternity is expressed by this work of luminous irradiating whose final aim is to introduce the Universe into Harmony. The Ontology determinates the Anthropology, the Christology the nature of the Ray of the Microcosm, the Figure Divine the Romantic Poet
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Pereira, Danglei de Castro. "Tradição e modernidade em Sousândrade /." São José do Rio Preto : [s.n.], 2003. http://hdl.handle.net/11449/94193.
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Orientador: Susanna BusatoBanca: Marisa Correa Silva
Banca: Aguinaldo José Gonçalves
Resumo: O presente estudo visa a uma maior compreensão do papel de Sousândrade dentro dos limites do Romantismo brasileiro, apontando para o fato de que sua poética, perpassada por um olhar extrinsecamente romântico, não só perpetua o espírito libertário e revolucionário desse movimento, como também nos permite incluir Sousândrade dentro de um Romantismo titânico e, a partir desse romantismo racional, compreendê-lo como um dos precursores da modernidade. Tendo como material de pesquisa o poema O Guesa, demonstraremos a contribuição original desse maranhense, marginalizado por seus contemporâneos justamente porque ultrapassava o limiar da compreensão de seu tempo. Circunscrito cronologicamente na segunda geração do Romantismo brasileiro, Sousândrade distanciou-se da tendência dominante das manifestações românticas, antecipando em muitos aspectos as experiências modernistas. Trata-se, portanto, de uma tentativa de reavaliação desse poeta com vistas a discutir que sua visão lúcida e crítica em relação a uma artificialidade romântica possibilita sua classificação como "precursor do moderno".
Abstract: This study intends to a great comprehension of Sousândrade's role within the limits of the Brazilian Romantism, pointing to the fact that his poetics, passed by an extrinsically romantic look, is not just a way to perpetuate the libertary and revolutionary spirit of this moviment, as well as it allows us to include Sousândrade within a titanic romantism, and, from this rational romantism, to understand him as one of the modernity's precursor. As a research material we have the poem O Guesa, and we will demonstrate the original contribution of this poet, marginalized by his contemporaries just because he surpassed the comprehension's threshold of this epoch. Cronologically circumscribed in the second generation of the Brazilian Romantism, Sousândrade distanced from the dominant tendency of the romantic manifestations, anticipating in many aspects the modernist experiences. This study is a reappraisal tentative of this poet in order to discuss that his critical and lucid view in relation to a romantic artificiality makes possible his classification as a "modern precursor".
Mestre
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Leth, Toke. "C-uppsats: Endnu en bog om kærlighed." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21231.
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Belieiro, Thiago Granja. "Índios e Poetas : o Instituto Histórico e Geográfico Brasileiro e a invenção do Indianismo Literário 1808- 1860 /." Assis : [s.n.], 2007. http://hdl.handle.net/11449/93409.
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Orientador: Antonio Celso FerreiraBanca: Silvia Cristina Martins de Souza e Silva
Banca: Helio Rebello Cardoso Junior
Resumo: Esta pesquisa insere-se no campo dos estudos históricos culturais. Assim, a análise histórica é aqui empregada com o objetivo de compreender o fenômeno artístico literário, a saber, o Indianismo Romântico do século XIX. Desse modo, o Indianismo é visto como uma Invenção Histórica, ou seja, é fruto de um trabalho e de um projeto consciente dos escritores no sentido de criação de uma cultura e uma literatura nacional, tendo o índio como figura central. Utilizando-se de preceitos teóricos e metodológicos do sociólogo Pierre Bourdieu, onde a produção artística mantém profundas ligações com o campo político, a pesquisa procura mostrar a ligação do campo literário romântico em formação e o campo político. Assim, vai-se analisar o papel do Instituto Histórico e Geográfico Brasileiro nesse processo de Invenção Histórica. IHGB congregava em seus membros a elite letrada da Corte entre eles, importantes escritores indianistas, tais como Gonçalves Dias e Gonçalves de Magalhães. O Instituto foi responsável ainda por uma vasta produção de conhecimento sobre o índio, sendo essa produção responsável pela configuração de um campo de possíveis estéticos a respeito do indígena através de representações do mesmo. E mais, o IHGB foi o palco principal de uma acalorada contenda sobre a viabilidade de se escrever uma literatura tendo o índio como figura central, mostrando as diferentes tomadas de posição dos intelectuais do período acerca da Literatura Indianista.
Abstract: This research is within the field of historical and cultural studies. Thus, the historical analysis employed here aims at understanding the literary artistic phenomenon, namely the XIX century Romantic Indianism. In this aspect, Indianism is seen as a historical invention, that is, it arises involuntarily within the European thought and within the Romantism aesthetic precepts, which later became the result of writers' conscientious work and project in order to create both a national culture and literature, having the Indian as its central figure. By using sociologist Pierre Bourdieu's theoretical and methodological precepts - in which artistic production is strongly connected with the political field - the research seeks to show the connection between the romantic literary field in formation and the political field. Thus, the role of the Instituto Histórico e Geográfico Brasileiro (Brazil's Historical and Geographical Institute - IHGB) is analyzed in this historical invention process. The IHGB congregated the literate elite of the Court, among who were important indianist writers such as Gonçalves Dias and Gonçalves de Magalhães. The Institute was also accountable for the vast production of knowledge on the Indian. This production was responsible for shaping the aesthetic possibilities regarding the Indians through the representations of them. Furthermore, the IHGB was the main stage of a fierce argument on the viability of making literature having the Indian as its central figure, showing the different positions the intellectuals of the period held about the Indianist Literature. With this, the research shows that Indianism comprises a historical invention having the IHGB as its main stage.
Mestre
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Meisel, Hélène. "La subsistance subjective. Problématiques romantiques dans l’art conceptuel." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040052.
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Paradoxale et anachronique, l’idée d’un « conceptualisme romantique » apparaît dès 1977 dans un article que Boris Groys consacre aux artistes moscovites imprégnés d’idéalisme russe. Réexaminée, dans les années 2000, par Jörg Heiser et Jan Verwoert, l’hypothèse critique est ensuite élargie à la scène conceptuelle internationale, où subsisteraient certains traits du premier romantisme allemand, comme l’écriture collective, la forme fragmentaire ou l’esprit du Witz. Contre la biographie, la subjectivité et l’expression, l’art conceptuel affiche pourtant, à la fin des années 1960, un anti-romantisme virulent. Défendant une pratique « émotionnellement neutre » où l’idée serait devenue « une machine à faire l’art », le mouvement se fait l’écho de l’antihumanisme des structuralistes et de leur mise à mort de l’auteur. Un existentialisme contrarié persiste pourtant chez certains artistes, continuant d’explorer les concepts de l’identité et de l’intersubjectivité, à l’ère des systèmes capitalistes et des réseaux cybernétiques. C’est à force d’explorations linguistiques que le sujet conceptuel se romantise, redécouvrant, par le biais des incohérences de la logique formelle, du mysticisme des pensées combinatoires et de l’ambiguïté de l’ironie, les bénéfices d’un « langage non gouverné »Paradoxical and anachronistic, the idea of a “romantic conceptualism” first appeared in 1977 in an article by Boris Groys dedicated to Muscovite artists imbued with Russian Idealism. Reexamined in the 2000s by Jörg Heiser and Jan Verwoert, the critical hypothesis was extended to take in the international Conceptual scene, where certain elements of the original German romanticism survived, such as collective writing, the fragmentary form or the Witz spirit. Against biography, subjectivity and expression, at the end of the 1960s Conceptual Art still showed itself to be virulently anti-Romantic. Defending an “emotionally dry” practice in which the idea would become “a machine that makes the art”, the movement echoed the Structuralists’ anti-Humanism as well as their putting to death of the author. Yet a frustrated existentialism persisted among certain artists who continued exploring the concepts of identity and intersubjectivity, in an epoch of capitalist systems and cybernetic networks. It is through linguistic explorations that the conceptual subject romanticises itself, rediscovering, through incoherencies in formal logic, the mysticism of combinational thoughts and from the ambiguity of irony, the benefits of a “non-governed language”
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Martins, Ricardo Andre Ferreira. "Atenienses e fluminenses : a invenção do canone nacional." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269985.
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Orientador: Francisco Foot HardmannTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho tem por objetivo o estudo da formação do cânone dentro do campo literário brasileiro durante o século 19 e sua vinculação política ao projeto de literatura nacional, considerando a literatura como a manifestação mais visível e sintomática de um verdadeiro discurso da nacionalidade entre os primeiros escritores românticos oitocentistas (maranhenses e fluminenses), igualmente no sentido de chegarmos a identificar a própria invenção do cânone literário brasileiro. É nossa intenção apontar as manifestações de nativismo e nacionalidade que perpassou boa parte da literatura do oitocentos, analisando como se porta o campo literário como epifenômeno do campo do poder. Embora tais manifestações ocorram mais em determinados tipos de intelectuais e literatos, pois os grupos citados apresentam traços distintos, ao longo de toda a produção literária brasileira do século 19 podemos contemplar o fio que vai dos primeiros escritos gerados pelos respectivos "grupos" em questão até o fim do oitocentos, quando se encerra, por assim dizer, o período ateniense da literatura maranhense e conclui-se, da mesma maneira, o raio de influência do nacionalismo do grupo fluminense. O presente texto visa, portanto, produzir uma nova descrição do processo de construção da nacionalidade e da civilização, bem como da "construção da ordem", em seus diversos níveis e aspectos sócio-históricos, utilizando o estudo do cânone e de sua gênese como instrumento para detectar a historicidade da formação de nossa história literária, seus processos de seleção e exclusão e suas motivações de ordem ideológica e estrutura discursiva. Deste modo, adotamos também, em paralelo ao estudo das fontes documentais e literárias, o procedimento de uma análise das práticas sociais e artísticas do campo literário durante o oitocentos, tomando por base a visão que o campo literário e o campo do poder (político e econômico) tinham da nacionalidade recém-inventada e como reagiram diante das transformações políticas e sociais que agitaram a vida brasileira do período, cujos reflexos podem ser sintomaticamente percebidos através do cânone em formação. Desta forma, pretende-se suscitar uma discussão em torno do que o campo literário pensava do processo de emancipação do país e qual era o seu projeto de nacionalidade através do cânone. Trata-se, pois, de saber como o campo pensou e forjou os seus próprios valores através do tempo, como edificou os seus mitos, como fixou o seu habitus coletivo, como viu e fez o seu passado, como se portou no seio das práticas sociais e culturais na região e resto do país e, sobretudo, como desenvolveu e formou seu ideal de nação, de cultura e, particularmente, de literatura.
Abstract: This work intends to investigate the formation of the Brazilian literature canon in the 19 century and intends to comprehend how this process is politically entailed to a nationality project. Assured that the literature is the most visible and symptomatic manifestation of nationality speeches among the first romantic's writers (grouped in "maranhenses" and "fluminenses"), this study identify the invention of the brazilian's literary canon itself. Our purpose is identify the manifestations of nativism and nationality that passed trought great part of our 19 century's literature, analyzing the behavior of this literary field as an epiphenomenon of the field of power. Otherwise, these political manifestations may happen differently in each group of intellectuals and writers: following the whole 19 century we can see the developing and decadence of the both groups, while the athenian's period is interrupted in the middle of the 19 century, the fluminense's period will try an overliving among the 19 and 20 centuries. This text wants to produce a new description of the building process of the Brazilian civilization, as well as seeks the "construction of the order" in its various levels and social-historical aspects, taking the investigation of the canon, and it's genesis, as an instrument to detect the historicity of the conformation of our literary history, observing its processes of selection and exclusion, the ideological motivations and the structures of its speeches. In this way, we also study, simultaneously with the literary and historical sources research, the analysis of the social's and artistic's practices that belongs to the 19 century's literary field. We consider that the literary field and the field of power (political and economical) they had the conception of recently created nationality. At the same time, we comprehend the way that this both groups reacted before the social and political transformations that mobilized the Brazilian life in this period: this transformations can be symptomatically conceived when we observe the formation of the canon. In this way, we intend to stimulate a discussion about the meanings of Brazilian's process of emancipation, and about its own project of nationality expressed beyond the canon. The objective is understanding the way that the literary field understood and merged its own values beyond the time, the way that its created its proper myths, how it marked its own collective habitus, how this field watched and constructed its own past, how it carried itself in the middle of the social's and cultural's practices in the north of Brazil (and among all the country). Otherwise, we due to understand how the literary canon constructed its own idea of nation, its own idea of culture, and particularly, of literature.
Doutorado
Historia e Historiografia Literaria
Doutor em Teoria e História Literária
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Santos, Oluemi Aparecido dos. "Nas sendas da revolução: a poesia de Agostinho Neto e Solano Trindade." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-16092009-165545/.
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A presente pesquisa tem por objetivo propor aproximações entre os autores Agostinho Neto (angolano) e Solano Trindade (brasileiro). Realizamos as comparações entre ambos considerando semelhanças literárias e políticas em seus percursos. Ao longo de suas vidas os dois poetas dedicaram-se à literatura e também a causas sociais e raciais. A pesquisa centra-se na análise comparativa entre os textos de Sagrada esperança (1985) de Neto e Cantares ao meu povo (1969) de Trindade. Para embasar nossa pesquisa teremos como foco de comparação pressupostos da Négritude enquanto temática e sua ligação com o romantismo revolucionário e/ou utópico, nas sendas dos estudos levados a efeito por Michael Löwy e Robert Sayre. Ao articularmos suas convergências, acreditamos ser possível constatar que há sobrevivências românticas que se fazem vivas na Negritude, às quais podem ser verificadas nas obras eleitas para a presente pesquisa. O romantismo é aqui pensado como visão de mundo, logo, livre de suas amarras temporais. Ao, visualizarmos ecos deste romantismo presentes na Négritude acreditamos ser possível verificar em que medida as obras de Agostinho Neto e Solano Trindade, pertencem a uma forma de poesia, em que há uma preocupação dos poetas em instigar, pelo verso, a prática revolucionária capaz de gerar transformações.This research has the aim of proposing approaches between the authors Agostinho Neto (Angolan) and Solano Trindade (Brazilian). Literary and political similarities during their life spans were considered while comparisons were being made. Both poets dedicated themselves to literature and, also, to social and political causes during their lives. The research focuses on the comparative analysis between the texts Sagrada Esperança (1985), from Neto, and Trindade\'s Cantares ao meu povo (1961). We are going to adopt the Négritude as a theme and its relation with revolutionary and/or utopian romantism as a focus of comparison in order to found our research, having the studies performed by Michael Löwy and Robert Sayre as a guide. By working the texts\' convergence out, we believe it is possible to notice that there are romantic survivals that are highlighted by the Black Movement, what can be verified in the works selected to this research. Romantism is faced as a \"vision about the world\", so it is free from tieds of time. While vizualizing that echoes from this romantism take part in Négritude, we believe it is possible to verify that the works from Agostinho Neto and Solano Trindade belong to a type of poetry in which the authors, from their verses, are concerned about provoking the revolutionary action that is able to generate tranformations.
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Cunha, Maria de Lourdes da Conceição. "A mulher fatal e O que fazem mulheres: a representação da figura feminina na narrativa camiliana." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2371.
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Previous issue date: 2010-02-25The romantic novel, characterized by plots full of love affairs ended up in great passions which culminated in happy endings or the maintenance of lover´s faithfulness through death, was in the 19th century one of the main forms of fun disseminated by feuilletons . It´s of that romantic fiction that this research is constituted based on the study of the novels O que fazem mulheres and A mulher fatal by Camilo Castelo Branco. Through female characters in love, involved by men who had dominated them, the romantic author determined punishments, sadness, betrayals and abandonment resulting from the female figure´s dependency, obedience or lack of autonomy. Thus, the main aim of this work is show the different formations of the female characters and their fates, controlled by the behaviorist rule which was attributed to them, assessing the results of passivity or the reaction before destiny which was determined by male hands.
O romance romântico, caracterizado por enredos repletos de aventuras amorosas convertidas em grandes paixões que culminavam em finais felizes ou manutenção da fidelidade dos amantes por meio da morte, foi, no século XIX, uma das principais formas de diversão difundidos por meio dos folhetins. É dessa ficção romântica que se constitui esta pesquisa pautada no estudo dos romances O que fazem mulheres e A mulher fatal de Camilo Castelo Branco. Por meio de personagens femininas apaixonadas e envolvidas pelos homens que as dominavam, o autor romântico imputou castigos, tristezas, traições e abandonos, resultantes da situação de dependência, servilismo ou falta de autonomia da figura feminina. Desse modo, o objetivo principal deste trabalho é pontuar as diferentes construções das personagens femininas e de seus destinos, comandados pela norma comportamental que a elas era determinada, avaliando os resultados da passividade ou da reação frente ao destino que lhe era determinado pelas mãos masculinas.
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Topínková, Anita. "Noc ve mlýně." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232420.
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Buonafina, Maria Tereza. "\"As ultime lettere di Jacopo Ortis\', de Ugo Foscolo : análise acompanhada de tradução comentada e anotada." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-13082007-151702/.
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Ugo Foscolo (1778-1827), poeta neoclássico italiano, é considerado uma figura de relevo na Literatura Italiana e universal. Apesar disso, é muito pouco conhecido dos leitores de língua portuguesa. Foi precursor da prosa moderna italiana com um romance epistolar de caráter pré-romântico, Ultime lettere di Jacopo Ortis, nunca traduzido para o português. O intuito desta dissertação é apresentar o autor ao público brasileiro, por meio desse romance. O trabalho conta com uma análise da obra, acompanhada de uma seleção de cartas traduzidas, comentadas e anotadas, levando em conta os aspectos históricos, literários, estilísticos e temáticos. No capítulo 1, tratamos da vida e obra do autor; em seguida, das Ultime lettere: seu conteúdo e crítica; no capítulo 2, das características do romance epistolar, do seu aspecto formal, dos temas que aparecem no romance, das obras e autores que o influenciaram, e que nele são mencionados; no capítulo 3, do trabalho e das idéias de Foscolo a respeito de tradução; dos critérios adotados nesta dissertação para a escolha e tradução das cartas que se encontram no final do volume. O critério para a tradução das cartas levou em conta idéias sugeridas pelo próprio Foscolo e discutidas no capítulo 3; recorreu-se também a várias edições da obra em italiano, a traduções para o inglês e espanhol, a dicionários especializados e à leitura de autores brasileiros e portugueses contemporâneos de Foscolo, com o objetivo de se produzir um texto que refletisse a linguagem da época. A tradução vem acompanhada de notas que visam esclarecer ao leitor alusões históricas e literárias e problemas textuais do romanceUgo Foscolo (1778-1827), Italian classical poet, is considered to be an important name in both Italian and universal literature. Nevertheless he is almost unknown to the readers in Portuguese language. He was the precursor of modern Italian prose due to his epistolary novel Ultime lettere di Jacopo Ortis (Last Letters of Jacopo Ortis), a Pre-Romantic work never translated into Portuguese. The aim of this dissertation is to present, through this novel, the author to the Brazilian reader. It includes an analysis of the novel, followed by a selection of commented and annotated translated letters, considering their historical, literary, stylistics and thematic aspects. In the first chapter we discuss first the author´s life and work, and then Last Letters: its contents and the critics about it. In the second chapter we discuss the characteristic of the epistolary novel, its formal aspects, the themes inside the novel, the works and the authors that influenced it - and are mentioned in it. In the third chapter, we discuss Foscolo´s works and ideas on translation, the criterion adopted here to chose and translate the letters in the end of the volume. Our translation criterion is based on Foscolo´s ideas discussed in the third chapter. We also consulted several editions of the work in Italian, its English and Spanish translations and specialized dictionaries. We have read several Brazilian and Portuguese writers who lived in the same time as Foscolo with the aim of producing a text reflecting the language of Foscolo´s time. Following the translation there are notes explaining historical and literary allusions or textual difficulties of the novel
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Pereira, Danglei de Castro [UNESP]. "Tradição e modernidade em Sousândrade." Universidade Estadual Paulista (UNESP), 2003. http://hdl.handle.net/11449/94193.
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pereira_dc_me_sjrp.pdf: 570653 bytes, checksum: 35005aeaa90a1503ee44163e08ca7899 (MD5)O presente estudo visa a uma maior compreensão do papel de Sousândrade dentro dos limites do Romantismo brasileiro, apontando para o fato de que sua poética, perpassada por um olhar extrinsecamente romântico, não só perpetua o espírito libertário e revolucionário desse movimento, como também nos permite incluir Sousândrade dentro de um Romantismo titânico e, a partir desse romantismo racional, compreendê-lo como um dos precursores da modernidade. Tendo como material de pesquisa o poema O Guesa, demonstraremos a contribuição original desse maranhense, marginalizado por seus contemporâneos justamente porque ultrapassava o limiar da compreensão de seu tempo. Circunscrito cronologicamente na segunda geração do Romantismo brasileiro, Sousândrade distanciou-se da tendência dominante das manifestações românticas, antecipando em muitos aspectos as experiências modernistas. Trata-se, portanto, de uma tentativa de reavaliação desse poeta com vistas a discutir que sua visão lúcida e crítica em relação a uma artificialidade romântica possibilita sua classificação como precursor do moderno.
This study intends to a great comprehension of Sousândrade's role within the limits of the Brazilian Romantism, pointing to the fact that his poetics, passed by an extrinsically romantic look, is not just a way to perpetuate the libertary and revolutionary spirit of this moviment, as well as it allows us to include Sousândrade within a titanic romantism, and, from this rational romantism, to understand him as one of the modernity's precursor. As a research material we have the poem O Guesa, and we will demonstrate the original contribution of this poet, marginalized by his contemporaries just because he surpassed the comprehension's threshold of this epoch. Cronologically circumscribed in the second generation of the Brazilian Romantism, Sousândrade distanced from the dominant tendency of the romantic manifestations, anticipating in many aspects the modernist experiences. This study is a reappraisal tentative of this poet in order to discuss that his critical and lucid view in relation to a romantic artificiality makes possible his classification as a modern precursor.
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Roques, Christian. "(Re)construire la communauté. La réception du romantisme politique sous la République de Weimar." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040175.
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La présente thèse procède à une analyse archéologique des discours sur le « romantisme politique » sous la République de Weimar pour mettre en évidence que ce paradigme constitue un idéologème fondamental de l’univers intellectuel et politique de l’époque. Par le recours à une conception de la « réception » qui met entre parenthèses la fonction « auteur » il s’agit d’analyser les stratégies discursives qui se structurent autour du paradigme « romantique » entre 1918 et 1933. A partir de l’étude d’un corpus d’auteurs pour qui la référence romantique est centrale (Sigmund Rubinstein, Carl Schmitt, Hans Freyer, Othmar Spann, Karl Mannheim, Wilhelm von Schramm, Paul Tillich) ainsi que des réseaux sociaux qui s’organisent autour d’eux, il est possible d’affirmer l’existence d’une sensibilité « romantique » centrale au monde weimarien, qui transcende les oppositions politiques traditionnellement conçues comme imperméables (gauche/droite, conservateur/progressiste, nationaliste/universaliste, etc.) et qui se construit dans l’opposition fondamentale à l’individualisme matérialiste du libéralisme capitalisteThis PhD thesis offers an archeological analysis of the discourses on « political romanticism » in the Weimar Republic. It shall endeavour to analyze the discursive patterns which revolved around the « romantic » paradigm between 1918 and 1933 by resorting to a concept of « reception » which minimizes the importance of the « author ». By studying the works of thinkers who explicitly refer to « political romanticism » (Sigmund Rubinstein, Carl Schmitt, Hans Freyer, Othmar Spann, Karl Mannheim, Wilhelm von Schramm, Paul Tillich) and the social networks they belong to one may assert the existence of a romantic « sensibility » which is at the core of the intellectual universe of the Weimar Republic, transcends political differences traditionally considered as essential (left/right, conservative/progressive, nationalist/universalist etc.) and is fundamentally opposed to the materialist individualism of capitalist liberalism
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ANSELMO, ANNA. "La "poetica dell'incontrollabilità": l'Endymion di Keats, la lingua e i periodici romantici." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/935.
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"Endymion" è il traît d'union tra i juvenilia di Keats ("Poems", 1817) e i suoi lavori più conosciuti ("Lamia, Isabella ... and other Poems"). Per sua natura, è un'opera di transizione e quindi concede allo studioso un punto di vista privilegiato sullo sviluppo della poetica e della lingua di Keats. Inoltre, l'"Endymion" è l'opera keatsiana più aspramente contestata dalla critica romantica. Gli studiosi moderni hanno analizzato il problema alla luce di considerazioni socio-politiche, il mio lavoro mira invece ad un'analisi più strettamente linguistica. Ricostruisco il contesto linguistico del diciottesimo e diciannovesimo secolo al fine di spiegare il disagio dei recensori nei confronti di "Endymion". Sostengo che il prescrittivismo del Settecento nasce da una profonda ansia relativa alla lingua, causata dalle teorie di Locke. L'atteggiamento prescrittivista influenza la critica romantica e i critici di Keats in particolare, più di quanto potessero fare considerazioni di natura politica. Analizzo le peculiarità linguistiche e strutturali di "Endymion" al fine di provare che Keats elabora una 'poetica dell'incontrollabilità', una serie di strategie stilistiche e testuali, che violano le convenzioni linguistiche e narrative e che vengono quindi percepite come destabilizzanti e stranianti."Endymion" is the traît d’union between Keats’s juvenilia ("Poems", 1817)and his better known, and, conventionally, ’mature’ works ("Lamia, Is- abella ... and other Poems", 1820). By its nature, it is a transitional work, and thus gives the scholar special insight into the development of Keats’s poetics and idiom. Moreover, "Endymion" is the Keatsian work which most irritated and provoked contemporary critics; the two pieces of venomous invective it received in the periodical press of the time have become the stuff of scholarly legend. Recent scholarly work has analysed the language of "Endymion" in socio-political terms; my work focuses on more strictly linguistic concerns. I reconstruct the linguistic context of the eighteenth and early nineteenth centuries in order to explain the reviewers’ unease with regard to "Endymion". I maintain that eighteenth-century prescriptivism arose from a deep-seated anxiety regarding language, Lockian in origin, and that the ensuing desire to stabilize and therefore control language informed Romantic criticism in general, and the criticism of Keats’s work in particular, more fundamentally than politics could or did. I analyse the imaginative and linguistic markers of "Endymion" in order to prove that Keats had elaborated a “poetics of uncontrollability”, a series of textual and stylistic strategies, which violated linguistic and narrative standards and were therefore perceived as unsettling.
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Attia, Sandie. "Signes et traces dans l’œuvre poétique de Günter Eich (1907-1972)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040155.
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L’étude porte sur les catégories "signes" (Zeichen) et "traces" (Spuren) dans l’œuvre poétique et les déclarations poétologiques de Günter Eich (1907-1972). Signes naturels, linguistiques, traces biographiques et intertextuelles, relevé de stigmates historiques (Spurensicherung) imprègnent l’œuvre sous forme d’images poétiques et de concepts poétologiques. Complémentaires ou opposés, ils éclairent le parcours complexe du poète, du déchiffrement des signes naturels au souhait tardif de "ne pas laisser de traces", de la collecte de traces au tracé de l’écriture (et à son effacement) dans des textes lus comme des palimpsestes d’écrits antérieurs. A partir de documents d’archives inédits (manuscrits, correspondances, notes), de bibliothèques d’auteurs et d’entretiens avec des proches du poète, le rôle des signes et des traces dans les relations entre écriture poétique et réalité exogène est examiné en croisant processus d’écriture (méthodes de critique génétique) et réception des textes, celle-ci orientant à son tour les tracés poétiques ultérieurs. Le travail montre les interactions entre lecture et écriture du monde, le traitement des signes et traces étant à la fois un acte de déchiffrement et l’esquisse d’un nouveau balisage poétique (Zeichen-Setzung) du langage et du réel. Cette nouvelle approche de l'évolution de la poétique et de la poésie de Günter Eich éclaire le rapport problématique du poète au réel, à la tradition lyrique et à l’histoire de son temps en situant son œuvre au confluent de problématiques romantiques anciennes et d’une nouvelle fonction de la poésie née de la situation historiqueThis study probes into the categories of “signs” (Zeichen) and “traces” (Spuren) in Günter Eich's poetic œuvre and poetological statements. Natural and linguistic signs, biographical and intertextual traces, accounts of historical stigmas (Spurensicherung) permeate his work through poetic images and poetological concepts. Whether complementary or antagonistic, they shed light on the poet's complex progress, from the deciphering of natural signs to his late desire to “leave no trace”, from the collecting of traces to the traces of writing (and its erasure) within texts that are read as the palimpsests of former writings. Relying on unpublished archives (manuscripts, correspondences, notes), on authors' private collections and on interviews of the poet's relatives and friends, we show how signs and traces shape out the relationships between poetic writing and the outer reality through a cross-study of writing processes (using genetic criticism) and the reception of texts (which, in turn, shapes out future poetic tracings). This study shows the interactions between the reading and the writing of the world, the treatment of signs and traces being both an act of deciphering and the sketching out of a new poetic marking out (Zeichen-Setzung) of language and of the real world. This new approach of the evolution of Günter Eich's poetics and poetry accounts for the poet's problematic relation to reality, to the lyrical tradition and to contemporary history by situating his work at the junction of ancient romantic issues and of a new function of poetry born from the historical context
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Perrais, Agnès. "Lyrisme et politique en cinéma : Duras, Garrel, Godard, années 1970-1980." Thesis, Université de Lorraine, 2017. http://www.theses.fr/2017LORR0338/document.
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Cette étude traite de l’articulation en cinéma de la ressource lyrique et de l’approche politique du réel. Pour aborder sous un angle plus spécifique la question du « cinéma de poésie », elle propose une relecture de la théorisation littéraire du lyrisme, dans la perspective d’une critique de la polarisation autour de la notion de subjectivité. À partir d’une étude des imbrications entre poétique et enjeux politiques chez Hölderlin, Rimbaud et les surréalistes, elle propose la notion de « lyrisme objectif » pour questionner la façon dont les films peuvent s’émanciper du modèle discursif utilisé par le cinéma militant, tout en tentant de proposer une pensée critique du politique à partir de leurs formes sensibles. À travers l’analyse d’un corpus de films de Marguerite Duras, Philippe Garrel et Jean-Luc Godard, réalisés dans l’après-1968 à un moment de reflux des luttes, nous montrons comment leurs héritages poétiques influencent la figuration du politique, à partir d’un geste commun de mise en retrait de la narration au profit d’une logique de sensation. Nous proposons ainsi de voir comment chez Marguerite Duras, à partir d’une pensée radicale de la négativité, la mobilisation d’une parole lyrique prend en charge un enjeu de subjectivation politique. Par ailleurs, si la résurgence d’un héritage romantique et du versant hermétique du surréalisme chez Philippe Garrel reconduit une approche expérientielle du politique, la reprise de la théorie surréaliste de l’image comme rapport et des principes rimbaldiens de décentrement du sujet entraine chez Jean-Luc Godard une dialectisation du lyrisme, qui articule une positivité sensible à une critique objectivanteThis dissertation articulates the concept of lyricism and a political approach of the real in cinema. In order to study more specifically the issues of « poetry cinema », it proposes a reading of the literary theory of lyricism through a critique of the conceptual polarization of subjectivity. Starting with a study of the interdependence of poetics and politics in Hölderlin, Rimbaud and the Surrealists’ works, I put forward the notion of « objective lyricism » to understand how film can move away from the discursive paradigm of activism and forge a critical evaluation of political issues by way of their esthetics. By analyzing a number of films by Marguerite Duras, Philippe Garrel et Jean-Luc Godard, all made in the years just after 1968, when activism receded, I show how their formal legacies influenced the depiction of politics by withdrawing the narrative structure to the profit of a logic of sensation. Furthermore, I intend to demonstrate how in Marguerite Duras’ films political subjectivation is achieved by a lyrical voice rooted in a radical thinking of negativity. If the resurgence of a romantic legacy and of the cryptic side of surrealism in Philippe Garrel’s films lead to an experiential approach of politics, the re-actualization of the surrealist theory of the image-as-interaction and Rimbaud’s principles of the subject’s decentering push Jean-Luc Godard to a dialectization of lyricism, articulating a sensitive positivity to an objectifying critique
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Ferreira, Geraldo da Aparecida. "\'Memórias Póstumas de Brás Cubas\' e \'Coração, Cabeça e Estômago\' - Machado de Assis e Camilo Castelo Branco: leitores e críticos do romantismo." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-25022008-104648/.
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O presente trabalho tem como objetivo principal analisar as posturas de Camilo Castelo Branco e Machado de Assis como leitores e como críticos do Romantismo que, de certa forma, colocaram em xeque a aplicação rígida das teorias e doutrinas vigentes para a crítica oitocentista como o naturalismo, o positivismo, o racionalismo e os ideais românticos. Realizamos este trabalho partindo do estudo das obras Coracão, Cabeça e Estômago, de Camilo Castelo Branco, e Memórias Póstumas de Brás Cubas, de Machado de Assis. Buscamos demonstrar aproximações e similaridades presentes nas duas obras, destacando textos críticos que apontaram tais semelhanças para apresentarmos algumas idéias que desenvolvemos ao longo da pesquisa. Como substrato teórico para o trabalho, utilizamos os livros Introdução ao estudo da novela camiliana, de Jacinto do Prado Coelho e Um mestre na periferia do capitalismo, de Roberto Schwarz.This work aims to analyse the postures of Camilo Castelo Branco and Machado de Assis as readeres and critics of Romantism, questioning the strict application of prevailing theories and doctrines estabilished by 19th century critics like naturalism, positivism, rationalism and romantics models. We started from the studies of Coração, Cabeça e Estômago, by Camilo and Memórias Póstumas de Brás Cubas, by Machado. We try to evidence approaches and similarities between those books, detaching studies that appointed those common aspects in order to discuss some ideas that we develop during our research. We used like theoretical subsidies, Introdução ao estudo da novela camiliana, by Jacinto do Prado Coelho and Um mestre na periferia do capitalismo, by Roberto Schwarz.
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Kekus, Filip. "Nerval fantaisiste." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040173.
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La postérité a considéré de manière privilégiée l’œuvre de Gérard de Nerval comme celle d’un poète sinon fou, du moins irrémédiablement mélancolique, en faisant peu de cas de son inspiration fantaisiste. Bien que parfois évoquée, cette facette de l’œuvre n’a à ce jour jamais fait l’objet d’une synthèse d’envergure. C’est à cette lacune quelque peu surprenante que notre étude ambitionne de répondre. Remettre à l’honneur la fantaisie de l’auteur des « Chimères » et d’Aurélia ne revient nullement à nier la folie nervalienne, mais plutôt à penser cette dernière en relation avec une fantaisie investie des aspirations romantiques les plus hautes, à remettre en question des traditions de lecture qui ont conclu à un isolement de l’œuvre au détriment d’une volonté de lucidité sans cesse réaffirmée par l’écrivain. Interroger la fantaisie nervalienne, c’est interroger les enjeux esthétiques, socio-politiques et éthiques d’une œuvre empreinte d’un enjouement fantasque qui s’est toujours voulue en prise directe sur l’actualité et soucieuse de refonder une communication littéraire alors en criseThe works of Gérard de Nerval have mainly been regarded as the output of an irremediably melancholic, if not insane poet. However strongly established by his contemporaries, his fanciful inspiration, though occasionally mentioned, has never been subjected to thorough investigation. The ambition of this study is to rectify this rather intriguing omission. Delving into the fancy of the author of « Les Chimères » and of Aurélia, rather than denying Nerval’s madness, consists in assessing its connection with a fancy expressive of the highest romantic aspirations, as well as challenging customary interpretations that concluded in the isolation of an author’s writings, in spite of his own repeated assertions of lucidity. Probing Nerval’s fancy amounts to questioning the aesthetic, socio-political and ethical stakes of works imbued with whimsical cheerfulness, always bent on facing reality and eager to re-establish a literary communication that was then going through a critical period
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Bertrand, Mathilde. "Pour un tombeau du poète : prose et poésie dans l'oeuvre de Jules Barbey d'Aurevilly." Paris 3, 2008. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=mbdMS01.
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Au-delà du paradoxe qu’il pourrait y avoir à interroger les catégories esthétiques de la prose et de la poésie chez un auteur dont l’œuvre est en majeure partie romanesque et critique et dont les poèmes, rares et confidentiels, demeurent assez généralement méconnus, cette étude entend réfléchir au sens de l’échec poétique par lequel Barbey entre en littérature. Son œuvre s’édifie en effet sur une démission originelle. Ni mage ni prophète, comme ses contemporains de la première génération romantique, le romancier semble porter le deuil du poète messianique qu’il n’est pas, malgré son catholicisme farouche. Ses romans peuvent se lire comme une récriture prosaïque et profane, pastiche douloureux ou parodie impie, du grand rêve d’épopée métaphysique qui anima les poètes de la première moitié du siècle, un tombeau du poète et de la poésie. Comme tels, ils ont partie liée avec le genre du poème en prose dont l’auteur des Rhythmes oubliés fut l’un des précurseurs désenchantésBeyond the paradox that there could be in analysing the aesthetic categories of prose and poetry of an author whose work is mainly novels as well as critical analysis, and whose poems, rare and confidential, remain fairly unknown, this study intends to look at the meaning of the original poetic failure by which Barbey entered into literature. His work, indeed, stems from his inaugural resignation. Neither magician nor prophet like his contemporaries of the first romantic generation, the novelist seems to wear the grief of the messianic poet that he is not, despite his fierce catholicism. His novels can be read as a prosaic and profane rewriting, grieving pastiche or irreligious parody, of the great dream of a metaphysical epic which animated the poets of the first half of the century, a tomb of poet and poetry. As such, they are intertwined with the genre of the prose poem of which the author of Rhythmes oubliés was one of the disenchanted precursors
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CUCCI', GAIA. "A ROLLER-COASTER RIDE: NON NORMATIVE EXPERIENCES AND ROMANTIC COMPETENCE IN ADOLESCENT ROMANTIC RELATIONSHIPS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39100.
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Sebbene lo sviluppo di relazioni sentimentali sia un esperienza normativa dell’adolescenza, diversi fattori di rischio connessi ad essa possono sfociare in problemi per l’adattamento e la salute dell’adolescente. L’esperienza sentimentale in adolescenza non può essere considerata come un percorso lineare, ma dovrebbe essere studiata come un percorso dove diversi di fattori interagiscono l’un l’altro, comportando esiti diversi in base a variabili individuali e contestuali. Inoltre, lo sviluppo di relazioni sentimentali è un processo “in divenire”, pertanto possono emergere e coesistere aspetti di incoerenza.
La tesi parte da queste riflessioni, considerando aspetti normativi e atipici dell’esperienza sentimentale in adolescenza. Il lavoro è diviso in due studi principali. Il primo tratta di due esperienze non normative: l’Adolescent Dating Violence (capitolo I) e il Sexting (capitolo II), con l’obiettivo di identificarne i fattori associati. Il secondo studio si focalizza sul costrutto di Competenza Romantica. Il modello skill-based di Competenza Romantica può fornire una cornice teorica utile per la concettualizzazione e la valutazione dell’esperienza romantica considerandone la complessità. Inoltre, una misura specifica di tale costrutto viene descritta e valutata (capitoli III e IV). Infine l’associazione tra Competenza Romantica, Adolescent Dating Violence e Sexting viene indagata preliminarmente (capitolo V).Despite the development of romantic relationships is a normative experience of adolescence, several risk factors connected to the this experience may lead to problems for adolescents’ adjustment and health. The adolescent romantic experience cannot be considered as a linear way, rather it should be studied as a path where an interplay of factors leads to several different outcomes basing on personal and contextual characteristics. Also, the development of the romantic experience is an “in-progress path”, thus inconsistencies may emerge and coexist. The dissertation starts from this reflection, considering both normative and non-normative aspects of the adolescent romantic experience. The work is divided in two main studies. The first one, is focused on two non-normative experiences: Adolescent Dating Violence (chapter I) and Sexting (chapter II). The main aim is to identify factors that can be associated to those phenomena. The second study deals with the construct of Romantic competence and a specific measure to assess it is evaluated. The skill-based model of Romantic competence is a theoretical framework useful to both conceptualize and evaluate the romantic experience considering its complexity (chapter III and IV). Finally the association between Romantic competence, Adolescent Dating Violence and Sexting is preliminarily explored (chapter V).
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Fischbach, Sophie. "L’humanisation dans l’œuvre de Jules Supervielle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040125.
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Dans « En songeant à un art poétique », Jules Supervielle définit sa poésie comme une entreprise d’humanisation. Quelle acception convient-Il de donner à ce terme, et en quoi se révèle-T-Il pertinent pour aborder l’œuvre de l’écrivain ? C’est à cette question que tente de répondre cette thèse, en cherchant à déterminer le sens qu’il convient de donner à l’humanisation à partir du double héritage de l’humanisme de la Renaissance et de l’humanitarisme romantique, et en s’appuyant sur des manuscrits et des correspondances en partie inédits. Dans une première partie, l’étude de la théorisation de l’humanisation chez Supervielle nous amène à mener une réflexion ressortissant de l’histoire des idées et de l’histoire littéraire, en nous penchant sur l’idée de la littérature développée par l’écrivain, et en analysant le rôle joué par Jean Paulhan et par René Étiemble dans l’apparition de cette idée. La seconde partie analyse la genèse diachronique de l’humanisation, au sein d’un essai de géographie poétique qui se focalise sur le tournant que constituent les années 1920 et 1930. La troisième partie est consacrée à l’étude de la genèse synchronique, considérant l’apparition de l’humanisation dans les divers états d’un texte, en poésie, en prose et au théâtre. L’étude de l’humanisation dans l’œuvre de Jules Supervielle permet ainsi de préciser le paysage littéraire et l’interpénétration des idées de la littérature qui se développent dans la première moitié du XXe siècle, en marge du surréalismeIn « En songeant à un art poétique », Jules Supervielle defines his poetry as an attempt at humanization. How should this term be understood, and how does it enlighten Supervielle’s work ? In order to answer this question, this dissertation sets out to define the meaning of humanization through the lens of the double legacy of the humanism of the Renaissance and the humanitarianism of Romanticism, and in the light of partly unpublished manuscripts and letters. In the first part, this dissertation studies how Supervielle theorizes humanization. It leads to an analysis of a history of ideas and of literature, in order to define Supervielle’s conception of literature and in order to assess Jean Paulhan’s and René Étiemble’s roles in this theorization. The second part is a chronological study of humanization that takes the form of an essay of poetic geography. It focuses particularly on the work of the 1920’s and 1930’s. The third part is a genetic one : we study how humanization appears in the different states of a poem, a prose and a drama. The Study of humanization in Supervielle’s works enables us to have a better understanding of the literary landscape and of the entanglement of literary ideas in the first half of the twentieth century, in the margins of Surrealism
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Leão, Flavia Regina Oliveira. "A diferenciada construção da personagem em Eça de Queiroz & Trindade Coelho: singularidades de uma rapariga loura e Manuel Maçores." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/14824.
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This dissertative work promotes a stylistic-literary approach between two short stories from the Portuguese Literature, from the nineteenth century Singularidades de uma rapariga loura, by Eça de Queiroz, and Manuel Maçores, by Trindade Coelho through the comparative description of the construction of their characters. As they are transitory and transitive between two realities, the romantic and the realistic, we have defined our objectives which consists of differentiating the treatement that is dedicated to them, based on the ficcional techniques used by their respective narrators in their ficccional projects: the manking and the unmasking. In particular, we analyse the role of the transformation of the indirect speech into the direct one, and the lexical choice as a complementary technique, keeping in mind that this analysis led us to the reading of alternatives in the critical space of the relation narrator and character. In the first chapter, studies of Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin and Jean Starobinski, among others, assisted us in presenting the narrator-character discursive play, in Singularidades de uma rapariga loura, short story that keeps in itself the complexity of the structure between being and seeming in the ficcional context in discursive revelation. In the second chapter, we resort to Segolin s contemporary studies, in order to prove the autonomy that the character achieves by means of narrating technique, in Manuel Maçores, a handmade work which revealed the transitivity of the character from Romantism to Realism, by using the critical space in the narrative setting. In the third chapter, with theoretical supporters as Lukács and Barthes, we deal with the differentiation of the language in the composition of the Portuguese realistic short story that favored the drawing of a parallel between the transitive characters in Singularidades de uma rapariga loura and Manuel Maçores. We conclude, therefore, that the operational variations occured in the narrator-character s distance provoke a diversion in the characters voices in a perspective that takes the tale to the platform of a potential educational novel, under a methodological dominance in the act of permutation, which we believe that contributes to a higher level of social singularity of the Portuguese short story in a historical moment of transformation
Este trabalho dissertativo promove uma aproximação estilístico-literária entre dois contos da Literatura Portuguesa, do século XIX Singularidades de uma rapariga loura, de Eça de Queiroz, e Manuel Maçores, de Trindade Coelho , através da descrição comparativa da construção de suas personagens. Sabendo-as transitórias e transitivas entre duas realidades, a romântica e a realista, definimos nosso objetivo que consiste em diferenciar o tratamento que lhes é dedicado, a partir das técnicas ficcionais utilizadas pelos respectivos narradores em seus projetos ficcionais: o mascaramento e o desvelamento. Em particular, analisamos o papel da transformação do discurso indireto em discurso direto, e a escolha lexical como técnica complementar, sabendo que essa análise nos conduziu à leitura de alternativas no espaço crítico da relação narrador e personagem. No primeiro capítulo, estudos de Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin e Jean Starobinski, entre outros, auxiliaram-nos na apresentação do jogo discursivo narrador-personagem, em Singularidades de uma rapariga loura, conto que reserva em si a complexidade da estruturação entre o ser e o parecer no contexto ficcional em revelação discursiva. No segundo capítulo, recorremos aos estudos contemporâneos de Segolin, para comprovar a autonomia que a personagem logra por meio da técnica do narrar, em Manuel Maçores, trabalho artesanal esse que nos revelou a transitividade da personagem do romantismo para o realismo, pela via do espaço crítico no cenário narrativo. No terceiro capítulo, com suportes teóricos como Lukács e Barthes, lidamos com a diferenciação da linguagem na composição do conto realista português, o que nos favoreceu o traçado de um paralelo entre as personagens transitivas em Singularidades de uma rapariga loura e Manuel Maçores. Concluímos, portanto, que as variações operacionais ocorridas no distanciamento narrador-personagem provocam desvios nas vozes das personagens em uma perspectiva que lança o conto para o estrado de um possível romance de formação, sob uma dominante metodológica em ato de permuta, e que julgamos contribuir para um maior grau de singularização social do conto português em histórico momento de transformação