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1
Bonadio, Gilberto Bettini [UNIFESP]. "O tempo na trilogia de romances do pós-guerra de Beckett." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39280.
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Previous issue date: 2014-04-28<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>A presente pesquisa tem como tema a investigação sobre o problema do tempo na obra
de Samuel Beckett, mais precisamente em seus romances do pós-guerra: Molloy, Malone
morre e O Inominável. A partir do ensaio de Beckett sobre Proust e da filosofia de Bergson,
procuramos analisar de que forma a pesquisa sobre a questão do tempo nos romances em
questão pode nos aproximar do pensamento estético beckettiano, evidenciando, assim, a
forma pela qual os questionamentos de Beckett adquirem expressão artística e como as
imagens e as histórias surgidas em seu universo literário apontam conteúdos filosóficos,
possibilitando uma aproximação no diálogo entre filosofia e literatura<br>This research has as a theme the investigation about the problem of the time in the work of
Samuel Beckett, more precisely in his postwar novels: Molloy, Malone dies and The
Unnamable. From Beckett's essay about Proust and the philosophy of Bergson, we try to
analyze how the research about the question of time in such novels can get us closer to the
Beckettian esthetic thinking, thus showing the way in which the questioning of Beckett
acquire artistic expression and how the images and stories arising in his literary universe point
to philosophical contents, enabling an approach in the dialogue between philosophy and
literature.
2
Capuani, Maria Lucia Damato. "A trilogia de folheto de cordel de Chico de Assis." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122010-095450/.
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Este estudo pretende levantar as influências contidas na trilogia de Folheto de Cordel de Chico de Assis. Para tanto combinou a pesquisa sobre o folheto de cordel de modo geral com o estudo da formação do Teatro de Arena, do Seminário de Dramaturgia (SEMDA) conduzido pelo então diretor do grupo Augusto Boal, ambos em São Paulo e, a fundação do CPC da UNE no Rio de Janeiro. O autor, além de ter passado por todas essas atividades como integrante ativo, escreveu os três textos durante esses período (1954-1964). Foi também levantado o aproveitamento das propostas contidas no teatro épico de Brecht, utilizadas nos dois primeiros textos da trilogia; O Teatamento do Cangaceiro e As Aventuras de Ripió Lacraia e, por fim o levantamento das características do terceiro texto, a comédia de costumes Farsa com Cangaceiro, truco e Padre (Xandú Quaresma), todos esses elementos criaram um referencial possível para a análise da trilogia, que vai dos nomes dos episódios à função da música no trabalho de entrelaçamento das peças.<br>This survey wishes to raise the influences gained in these sustained cheap literature (Cordel) trilogy. In order to produce, it combined a survey on Brazilian cheap (Cordel) literature in general, with the formation of Teatro de Arena and the Drama seminary (SEMDA) conducted by the director of the group Augusto Boal, in São Paulo. And, studying of the settlement of the CPC- da UNE foundation (Popular Cultural Center of National Students Union) in Rio de Janeiro. The author besides passing through all these actions as an active member, created the three plays during this period (1954-!964). At last, the utilization of the purposes enclosed in Brecht epic theatre, in the first two plays; O Testamento do Cangaceiro and As Aventuras de Ripió Lacraia. Also raised the main characteristics of the third play Farsa com Cangaceiro, truco and Padre, (Xandú Quaresma). All these elements created a possible condition to analyze the trilogy, which goes from the name of the episodes to the music function interlacing the work of the plays.
3
Sousa, Daniel Marcolino Claudino de. "A diluição do autor na trilogia de Koker de Abbas Kiarostami." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-20082012-113651/.
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Esta dissertação tem por objetivo a análise estética da Trilogia de Koker, de Abbas Kiarostami, em especial do filme Através das Oliveiras, investigando os efeitos da tematização que o cinema faz de si próprio ao apresentar um filme dentro de outro, intencionalmente quebrando a ficção em prol de uma suposta comunicação mais direta com o espectador, o que gera neste a sensação de diferentes níveis de realidade. Essa discussão passa pelo tema da morte ou diluição da autoria a partir de autores como Derrida, Barthes e Foucault. Lança-se no encalço do Autor moderno, constituído segundo Adorno desde o Dom Quixote, de Cervantes, autor não absoluto, desinformado do destino de seus personagens e que, por isso, inclui no relato romanesco recursos (inclusive a metalinguagem) que passem a evidenciar aspectos de verossimilhança para se fazer crível ao novo leitor. Nessa discussão, emergem questões relacionadas ao fim da narrativa e da arte, a recepção do cinema iraniano, e o embaralhamento dos registros documental e ficcional. Por fim, problematiza as possibilidades de se contar uma história na contemporaneidade.<br>This work aims to build an aesthetic analysis of Koker Trilogy, by Abbas Kiarostami, specially the film Through the Olive Trees. It investigates the effects of meta-language procedures in cinema, when a film inside another one breaks the linear sequence in order to produce a relational aesthetic communication with the spectators. This opens space for the perception of different levels of reality. This discussion is also related to the topic of the death or dissolution of the authorship, as it is understood in the works of Derrida, Foucault and Barthes. By extension, the ideas of end of narrative are also considered in the analysis. In this sense, it looks after the modern author, created, according to Adorno, since Cervantes Don Quixote: the absolute author, who does not know the destiny of his/her characters and, because of it, includes resources (even meta-linguistic) that put in evidence aspects of verisimilitude to make it believable. In this discussion, some questions related to the end of narrative and of art, the reception of Iranian cinema and the puzzlement of documental and fictitious registers appear. At end, it discusses the possibilities of telling a history in contemporaneity.
4
Abouali, Youssef. "La recherche de la vérité dans la trilogie de Yasmina Khadra." Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL012.
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Yasmina Khadra tente dans sa trilogie constituée des Hirondelles de Kaboul, L’Attentat et Les Sirènes de Bagdad de dissiper le malentendu entre Orient et Occident. La voie royale pour ce faire est d’entreprendre une recherche de la vérité, non seulement de ces deux entités ou de l’une d’elles, mais de l’homme en général et du monde tel qu’il est perçu, senti, conçu et intériorisé. Mais comment peut-on adhérer à une telle entreprise en sachant pertinemment la dimension fictionnelle de ces textes ? Toute l’originalité, tout l’intérêt de cette recherche, qui n’est pas seulement menée par l’auteur mais qui devrait aussi se poursuivre dans l’acte de lecture, est justement dans cette conception et cet abord du roman comme lieu dédié à la connaissance du vrai en investissant des formes diverses de savoirs et des puissances humaines en provenance de la raison et de l’imaginaire, du corps et de l’esprit, exprimant la rigueur et la fantaisie, l’ordonnancement et le chaos qui caractérisent l’existence dans toutes ses manifestations<br>In his trilogy The Swallows of Kabul, The Attack, and The Sirens of Baghdad, Yasmina Khadra has tried to settle down the misunderstanding between the East and the West. The royal path for this end is to take up a quest for truth not only for one or both of these entities, but for Man in general and for the whole world as perceived, felt, conceived and internalized. But how can we adhere to such an enterprise in spite of the fictional load of these texts? This framework that lie all the originality and interest of this research Ŕ which is led not only by the author, but should be pursued in the act of reading as well Ŕ is in fact in the conception and perspective of the novel as a locus for knowledge and truth by exploiting a variety of types of knowledge and human strengths evolving from reason and imagination, on body and spirit, expressing rigour and fantasy, order and chaos ; matters which characterize existence in all its various manifestations
5
Larocque, Marie-Claire. "Installation architectonique : trilogie "topophonique"." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1996. http://theses.uqac.ca.
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Hammarlund, Karl. "Den rättsliga betydelsen av triloger i EU:s lagstiftningsprocess : en studie i den institutionella unionsrätten och aktuella händelseutvecklingar." Thesis, Uppsala universitet, Juridiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-299203.
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Triloger har utvecklats till att idag utgöra en viktig del av Europeiska unionens ordinarie lagstiftningsförfarande. Dessa informella förhandlingsmöten mellan unionslagstiftarna, med deltagande av kommissionen, har förändrat den praktiska tillämpningen av fördragens bestämmelser om lagstiftningsförfarandet fastän de inte omnämns i fördragen. Samtidigt som trilogerna har gjort processen mer effektiv har de haft en negativ påverkan på insynen i förfarandet. I denna uppsats studeras hur fenomenet triloger genom åren har uttryckts juridisk i den institutionella unionsrätten. Kritiken mot trilogerna och andra aktuella händelser som möjligen kan förändra trilogernas rättsliga ställning utvärderas.<br>Trilogues have evolved to become an important part of the European Union’s ordinary legislative procedure. These informal negotiating meetings between the Union legislators, with the participation of the Commission, have changed the practical application of the Treaty rules on the legislative procedure without being mentioned in primary law. While the trilogue system has made the process more efficient, it has had a negative impact on the transparency of the process. This paper aims to study how the trilogue phenomenon has been legally expressed in the institutional Union law. The criticism against trilogues and other recent events are also examined in order to assess how these possibly can change the legal status of trilogues.<br>Les trilogues ont connu une évolution en devenant une partie intégrante et importante de la procédure législative ordinaire de l’Union Européenne. Ces réunions de négociations informelles entre les législateurs européens, avec la participation de la Commission, ont modifiées l’application pratique des règles des traités sur la procédure législative sans être mentionnées dans le droit primaire. Bien que les trilogues aient rendu le processus plus efficace, ils ont indéniablement eu un impact négatif sur la transparence de la procédure. Cette thèse vise à reconstruire comment le phénomène des trilogues a été exprimé en termes légaux dans le droit institutionnel de l’Union. Les critiques à l’encontre des trilogues et d’autres actualités sont aussi étudiées afin d’évaluer la façon dont ceux-ci éventuellement peuvent modifier le statut juridique des trilogues.
8
Andersson, Therese. "Historieförmedling i Albert Olssons trilogi om Tore Gudmarsson." Thesis, Halmstad University, School of Teacher Education (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2267.
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<p>Den här uppsatsen handlar om historieförmedlingen i den historiska romantrilogin om Tore Gudmarsson som Albert Olsson skrev mellan åren 1939 och 1945. Då den historiska romanen behandlas som en kvarleva kan den sägas berätta någonting både om den tid som skildras och den tid då den skrevs. I analysen studeras hur Olsson skildrar danskt och svenskt, herrar och bönder, manligt och kvinnligt samt lag och rätt i sina romaner. Dessa teman analyseras både mot bakgrund av den verkliga historieskrivningen så som den såg ut 1940 samt författarens verklighet. Min metod, som är lånad från språk- och litteraturvetenskapen, är en kvalitativ textanalys och innehåller begreppen den textinterne läsaren/författaren och den textexterne läsaren/författaren. Efter att ha studerat dessa teman har jag kommit fram till att Olsson delvis måste ha använt sig historieböckerna, eftersom hans historieförmedling ibland stämmer så väl överrens och han även placerat romankaraktärerna i verkliga händelser och pendlar mellan fiktion och verklighet. Man hans historieförmedling säger även någonting om författarens egen tid och paralleller till andra världskriget återfinns i tolkningen.</p>
9
Lacroix, Constance. "Jane Barker et la Trilogie de Galesia : commentaire, annotation et traduction d'une trilogie jacobite." Phd thesis, Université de Valenciennes et du Hainaut-Cambresis, 2013. http://tel.archives-ouvertes.fr/tel-00838505.
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Ce travail a pour fin de mieux faire connaître l'oeuvre de la polygraphe jacobite Jane Barker en France, en offrant une première traduction littéraire ainsi qu'un commentaire d'un cycle de trois récits romanesques : The Amours of Bosvil and Galesia -- également connu sous le titre de Love Intrigues --, A Patch-Work Screen for the Ladies et The Lining of the Patch-Work Screen. Afin de rendre plussensible la spécificité de ces textes, la traduction s'efforce de retrouver une langueaussi proche que possible du français des contemporains de Jane Barker. Après unaperçu de la vie de Jane Barker (1652-1732), puis de sa fortune critique au XXesiècle, le commentaire prolonge le travail de contextualisation historique et idéologique ébauché dans l'appareil de notes parallèle (travail également pré-requispar la traduction) en étudiant successivement chacune des trois œuvres du corpus. A l'aide des hypotextes manuscrits de la trilogie, largement construite sur une oeuvre poétique antérieure vouée à une diffusion manuscrite, il s'attache à esquisser, dans la lignée des études critiques influencées par le nouvel historicisme, les résonances intellectuelles et les implications idéologiques, ainsi que les audaces esthétiques d'une oeuvre longtemps considérée comme alimentaire et comme dominée par la recherche d'une respectabilité propre à l'écrivain femme. Abandonnant l'image posthume de Jane Barker comme fille autoproclamée de la chaste Orinda, il souligne la pluralité du discours Barkerien - méditation, plaidoyer pro-Stuart et injonction, mais aussi interaction de codes romanesques en constitution et d'une idéologie subversive.
10
Höffgen, Thomas [Verfasser]. "Goethes Walpurgisnacht-Trilogie / Thomas Höffgen." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/108045862X/34.
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Teixeira, Pedro Bustamante. "Transcaetano: trilogia cê mais recanto." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1435.
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Previous issue date: 2015-03-27<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Entre os anos de 2006-2013, o compositor Caetano Veloso, depois de mais de quarenta anos de carreira, vive uma nova fase autoral ao se juntar aos jovens da Banda Cê. Nesse período, o artista inverte as expectativas e, ao invés de produzir a geração do seu filho mais velho, o músico, cantor e compositor, Moreno Veloso, se deixa produzir por ela. A tese discute este momento do artista através da análise dos seus três discos com a Banda Cê, Cê, Zii e Zie e Abraçaço, e do disco Recanto da cantora Gal Costa, todo ele de canções inéditas do compositor. Partindo da premissa de que não há como se ler canção sem se considerar o seu aspecto musical, recorre-se na tese a uma série de abordagens, literária, histórica, sociológica, antropológica, musical, para se analisar as canções e os discos desse período que revelam, nesse movimento de troca com uma nova geração, o esforço continuado do artista para estar no mundo em presença. Enfim, conclui-se que para além do monumento Caetano, ressurge, em meio aos jovens da geração de seu filho, Moreno Veloso, o artista que compõe, escreve, canta, pensa, que discute com um pensamento singular, tropicalista, os grandes temas do Brasil na contemporaneidade.<br>Between the years 2006-2013, the composer Caetano Veloso, after a career of more than forty years, is experiencing a new phase as an author after having joined the youth of Cê Band (Banda Cê). During this period, he reversed expectations and, instead of being the inspiration for the young generation of his eldest son, the musician, singer and composer Moreno Veloso, the artist allows himsel to be inspired by it. The thesis discusses this phase of the artist through the analysis of his three latest albums with Banda Cê, intitled Cê, Zii e Zie and Abraçaço, and the album Recanto of the singer Gal Costa, being the last totally composed of unreleased songs of Caetano Veloso. Assuming that there is no way to read a song without considering its musical aspect, the thesis uses a number of approaches – literary, historical, sociological, anthropological, musical – to analyze the songs and albums of this period, which reveal, in this movement of exchange with the new generation, the continued effort of the artist to be a presence in the present world. Finally, it is concluded that, reaching beyond the “monument” Caetano Veloso, the composer rearises among the youth of the generation of his son, Moreno Veloso, as an artist who composes, writes, sings, thinks, discussing with a singular thought, tropicalista, the great themes of contemporaneous Brazil.
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Notargiacomo, Tanay Gonçalves. "Uma trilogia de balanços afetivos." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/122884.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura Brasileira, Florianópolis, 2013.<br>Made available in DSpace on 2014-08-06T17:30:16Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Esta dissertação apresenta uma leitura sobre três obras de literatura de autoria feminina: Azul e Dura, de Beatriz Bracher; Hotel Novo Mundo, de Ivana Arruda Leite e Nada a dizer, de Elvira Vigna. Todas essas produções foram publicadas durante o final da primeira década do século XXI, o que permite realizar uma interpretação sobre o que o contemporâneo fornece às ficções de autoria feminina: a questão do afeto, a memória, os deslocamentos, a transterritorialidade, o segredo, o espaço virtual, o triângulo amoroso. Essas são características pertencentes a um projeto de literatura das honestidades, uma escrita que transparece de forma mais explícita, simples, sublime, as relações sociais, afetivas e amorosas. Torna-se essencial uma retomada histórica, uma revisão dos passos das mulheres, tanto no campo da literatura quanto na própria militância feminista, desde o século XIX, para que as interpretações do contemporâneo sejam abordadas. Pois é a partir do século XIX que visualizamos um crescimento da produção de obras literárias de autoria feminina. Com isso, a pesquisa quer dar visibilidade às três autoras interpretadas, mas também, a partir das mesmas, abrir espaços para novas leituras ficcionais não canonizadas, silenciadas por um mercado editorial marcadamente masculino.<br><br>Abstract : This dissertation presents a reading of three works of female authorship literature´s: Azul e Dura, by Beatriz Bracher; Hotel Novo Mundo, by Ivana Arruda Leite; and Nada a dizer, by Elvira Vigna. All these productions were published during the end of the first decade of this century, which lets us to perform an interpretation of what the contemporary provides for female authorship fictions: the subject of affect, memory, displacement, the transterritoriality, the secret, the virtual space, the love triangle. These traits are belonging to a project of Honestly Literature´s, a literature which transpires, more explicitly, simple and sublime, the social, affective and loving relationships. Becomes essential to have a historic retaking, a review of the steps of women both in the area of the literature as in the feminist militancy, since nineteenth century, to contemporary interpretations were addressed. Because, is from XIX century which we visualize an increase of the production of literary works of feminine authorship. With this, the research wants to give visibility to the three authors interpreted, but also from them open up way for new fictions not canonized, silenced by a publishing market markedly masculine.
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COGOTTI, CARLA MARIA. "Rete simbolica e dinamiche della memoria nella trilogia della guerra civile di Juan Eduardo Zúñiga." Doctoral thesis, Università degli Studi di Cagliari, 2015. http://hdl.handle.net/11584/266810.
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The aim of this PhD thesis is to explore Juan Eduardo Zúñiga’s private and literary path
in order to illustrate the author’s intellectual complexity and especially to offer a critical
analysis of the most significant part of his production, that is the so called “trilogy of the
Spanish Civil War”, which includes the short stories of Largo noviembre de Madrid
(1980), La tierra será un paraíso (1989) and Capital de la gloria (2003). Zúñiga
(Madrid, 1919) is among the most distinguished Spanish contemporary writers but his
work hasn’t been investigated at a profound level yet. The research aims to turn this
initial disadvantage into a challenge, demonstrating how the author’s personal evolution
intertwines with the historical context of the Spanish Civil War firstly and the Francoist
regime secondly through a constant dialog with this period, especially when he recovers
and saves from the oblivion the multiple voices of the Madrilenian intrahistoria, the
real protagonist of the historical changes.
Therefore the trilogy, which is almost an unexplored land, is at the core of the research.
After a brief but necessary recap of the most relevant events of contemporary Spain and
also Zúñiga’s biographical reconstruction (developed in the first part of the thesis), the
study will focus later on two narrative aspects that define and identify the cycle (in the
second part). Symbolism and Memory, effectively, permeate the trilogy due to their
repetition and interconnection, making the whole organic, systematic and cohesive. The
textus comes up as a real net, a bundle made of recurring “objects-symbol”, characters
and themes. It is also a lieu de mémoire where the construction and the destruction of
memories and identities (both individual and collective) are widespread narrative
operations that show the historical Spanish society opposition between vencedores (the
Nationalists) and vencidos (the Republicans).
Specific short stories from the three volumes have been selected in order to illustrate
and examine how symbols work and also how the dynamics of memory and oblivion
structure the diegesis. The result is a complex panorama made of tradition and
innovation created by Zúñiga to give testimony of the controversial age that he lived, as
citizen and historical witness, in order to transmit and preserve the historical memory
(memoria histórica) of the Spanish Civil War.
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Berggren, Madeleine. "Didaktisk värdegrundspotential i dystopi. : Kvalitativ textanalys av Nordins trilogi." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-80119.
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Mitt syfte med undersökningen är att genomföra en kvalitativ textanalys av Sofia Nordins trilogi för att undersöka dess lämplighet att undervisa om värdegrundsfrågor i årskurs 4–6. Skolinspektionens granskning (2012) finner brister i att integrera värdegrundsuppdraget i ämnet svenska. Bland annat beror det på brister i förståelsen hos lärare kring vilka skönlitterära texter som kan användas och vad i texterna som kan ge möjlighet till undervisning. Undersökningen syftar därför till att finna lämplig text vilket genom arbetet visat sig vara dystopi. Undersökningens kvalitativa textanalys svarar mot frågeställningarna om mörker, demokrati, solidaritet och mänskliga rättigheter för att undersöka möjligheten till undervisning om värdegrunden. Analysens resultat finner goda möjligheter för trilogin att användas som ingång för värdegrundsarbete i årskurs 4–6.<br>The aim of this paper is to make a qualitative text analysis of the trilogy by Sofia Nordin based on its possibility to teach about the fundamental values in school for grade 4-6. The Swedish School inspectorate shows in an examination (2012) that the Swedish primary school are shortcoming in the mission to teach about the fundamental values in the subject swedish. Some causes they mention are the teachers lack of understanding what sort of literature they should use, and what in the literature to use. This study is therefore aiming to find a suitable text which by the work turned out to be a dystopia. By qualitative text analysis the question at issues examines to answer the aim of this paper. They are the darkness, democracy, human rights and solidarity. In the results the paper has found a good potential for the novels to teach about the fundamental values in grade 4-6.
15
Gomes, Mariana Andrade. "A trilogia do riso: riso, transgressão e política na trilogia della vita de Pier Paolo Pasolini." Universidade Federal de Pernambuco, 2013. https://repositorio.ufpe.br/handle/123456789/10829.
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Previous issue date: 2013<br>CAPES<br>Desde suas mais remotas produções estéticas e filosóficas, o homem demonstrou a necessidade e o interesse pelo riso. Ambivalente desde o início, o riso possui o poder de afirmar ou subverter, o que lhe concede um eficaz teor político e ideológico, refletindo metaforicamente a conjuntura na qual se insere. O valor que as sociedades atribuíram ao riso foi se modificando no decorrer do tempo,e suas características seguiram o compasso destas transformações ideológicas, históricas, culturais, sociais e estéticas. É no contexto histórico, cultural e social do riso contemporâneo e em suas ligações como riso coletivo e ritualizado medieval e oriental, evocado pelas obras homônimas que servem de base para o conjunto dos três filmes, que esta dissertação pretende analisar a Trilogia della vita, do cineasta italiano Pier Paolo Pasolini. Portanto, o presente estudo propõe o seguinte problema: como as obras Decameron(1971), The Canterbury Tales (1972) e Arabian Nights (1974) dialogam com a tradição cômica popular, especialmente em suas raízes medievais, servindo como projeto político que problematiza a corrupção dos corpos e das mentes nas circunstâncias do capitalismo tardio moderno.
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Costa, Gilcilene Dias da. "Trilogia antropofágica [a educação como devoração]." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13498.
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L´anthropophagie et le désir : tels sont les concepts autour desquels est tissée la trilogie qui compose le présent travail. Une combinaison d´éléments extemporains les plus dispersés - un mélange de cannibalisme rituel, de souveraineté du désir et d´anarchie couronnée - et qui s´unissent en laissant place au surgissement dans le temps et dans l´espace, d´une forme dévoratrice volontairement créatrice et impérieuse au sein de l´éducation. Une machinerie de la production désirante met en branle un mode de penser l´éducation comme un désir d´apprendre et comme une puissance de connaître. Elle s´oppose à l´apathie de l´apprentissage et à l´inertie du savoir. Une géographie nomade distribue des concepts, des personnages et des situations dans un labyrinthe de forces, d´appétits, de perversions, d´affabulations et de ruses. L´anthropophagie est le principe dévorateur et le leitmotiv de toute la création. Elle fait de ses propres limites un point d´intersection et de déséquilibre constant. La présente étude se nourrit des vestiges laissés par quelques uns de ses intercesseurs: Hobbes et ses travaux concernant le concept d´ « homi hominis lupus »; Nietzsche et ses analyses de la « moralité de l´habitude » ; Artaud et la « cruauté » inscrite dans les corps sans organes ; Agamben et la « sacralité » de la vie comme insigne des processus d´inclusion et d´exclusion de la vie politique ; Deleuze et Guattari et le champ du « désir » en tant que production machinique qui traverse les formations sociales. D´Hélagabal à Vendredi et à Macunaïma, les concepts se mêlent, se défont ou se refont avec une impétuosité dévorante. La trilogie qui suit peut être figurée ainsi : elle est premièrement une incursion dans l´acception primitive du concept d´anthropophagie, vue comme un mal invétéré de la nature humaine ; vient ensuite un usage impérial du mot, qui fait intervenir l´univers des rois et des dieux convertissant la cruauté en anarchie et en perversion ; suit finalement une acception moderne du concept, selon laquelle la dévoration d´Autrui est entendue comme la mise en perspective déformée et contraire à la dévoration de l´Autre considéré comme individu réel de la culture. Dans le teatrum anthropophagicum, la Cruauté se pose entre des forces qui s´entre-dévorent dans la lutte éternelle entre le bien et le mal. Avec rigueur et critique, la scène anthropophagique tupiniquim gagne du relief et de l´irrévérence. Sur elle, ce n´est pas seulement l´Européen et son modèle importé qui sont dévorés, mais aussi les mentors du mouvement et leur ethos de la nouvelle culture dite d´exportation. L´anthropophagie et le désir sont ainsi les points d´articulation d´une pensée où l´éducation, en se trouvant associée à la joie et au désir de recréation, veut éloigner les esprits gravitiques et amers qui voudraient l´empêcher de voler librement.<br>Antropofagia e Desejo. É em torno desses conceitos que se tece a trilogia desta tese. Uma combinação de elementos extemporâneos os mais dispersos (um misto de canibalismo ritual, soberania do desejo e anarquia coroada), que se unem dando margem ao aparecimento, no tempo e no espaço, de uma força devoradora que se quer criadora e imperiosa na educação. Uma maquinaria da produção dese-jante, que põe em funcionamento um modo de pensar a educação como desejo de aprender e potência de saber, contrapondo-se a uma apatia de aprender e inércia de saber. Uma geografia nômade, que distribui conceitos, personagens e situações num labirinto de forças, apetites, perversões, fabulações e ardis. A antropofagia é o princípio devorador e mote de toda a criação. As análises se alimentam dos vestí-gios deixados por alguns de seus intercessores: Hobbes, e suas investidas no concei-to de homi hominis lupus; Nietzsche, e suas análises sobre a moralidade do costu-me; Artaud, e a crueldade que se inscreve nos corpos sem órgãos; Agamben, e a sacralidade da vida como insígnia dos processos de inclusão e exclusão da vida política; Deleuze e Guattari, e o campo do desejo como produção maquínica que atra-vessa as diferentes formações sociais. De Heliogábalo a Sexta-Feira a Macunaíma, os conceitos se mesclam, se desfazem ou se refazem, em ímpeto devorador. A trilo-gia pode ser delineada da seguinte forma: Primeiro, uma incursão no uso primitivo do conceito de antropofagia, como um mal inveterado da natureza humana. Em seguida, um uso imperial do conceito: o universo dos reis e dos deuses que conver-tem a crueldade em anarquia e perversão. Finalmente, um uso moderno do concei-to: a devoração de Outrem, um perspectivismo distorcido, contrário à devoração do Outro, indivíduo real da cultura. No theatrum anthropophagicum, destaque para o Teatro da Crueldade, armado entre forças que se entredevoram na eterna luta entre bem e mal. A cena antropofágica tupiniquim ganha relevo e irreverência, com rigor e crítica; nela, não é apenas o europeu que é devorado com o seu modelo de impor-tação, também os “mentores” do Movimento são devorados com o seu ethos da no-va cultura: cultura da exportação. Antropofagia e desejo são, portanto, os fios con-dutores de um pensar que se volta para a educação com alegria e desejo de recria-ção, procurando espantar os espíritos gravíticos e acabrunhados que a impedem de voar livremente.
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Harpet, Cyrille. "Trilogie du déchet : corps, ville, indutrie." Lyon 3, 1997. http://www.theses.fr/1997LYO31018.
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Le dechet est analyse en tant que matiere produite par trois systemes differencies: le premier est celui du corps en tant que systeme de production de matieres organiques soumises a des schemes de perception-representation et livrees a certains rites et pratiques. La langue sert en outre de support notable quant aux modes de discrimination des matieres et permet de degager les types de rapport etablis sur le mode de la repulsion ou de la connivence a l'egard du corps et de ses productions. De la l'emergence d'un corps sans cesse soumis a la symbolisation dont la medecine, l'anthropologie, la psychopathologie et l'examen de diverses oeuvres litteraires permet de degager les principes ainsi que les lignes de convergence quant au processus de discrimination et d'abjection de l'excrementiel. Le second systeme investi est celui de la cite humaine a travers l'histoire, lequel nous porte a reinscrire le corps de tout individu au sein d'un corps social et de le connecter a l'ensemble des processus de proscription, de relegation, d'exclusion sur des plans essentiellement d'ordre urbanistique, social, economique et politique. La ville est aussi investie dans ses divers lieux et espaces detritiques que sont les egouts, decharges, depotoirs, bas-fonds, autant de foyers de la repudiation et de l'assimilation a l'infame. Enfin, dans un troisieme temps, les modes de traitement des dechets issus des activites de consommation et de production modernes font l'objet d'une veritable industrie specialisee et instrumentee des techniques les plus eprouvees, s'appuyant sur les donnees des sciences les plus poussees. Le dechet est situe au coeur meme d'un processus de maitrise des flux, de controle de son devenir. Sortant progressivement de sa seule valeur excrementielle pour acceder a un rang materiologique de plus en plus complexe du fait meme de l'etendue des possibilites techniques industrielles, le dechet invite a s'interroger sur les modes de determination, de statut, de conjuration et de traitement avec les enjeux nouveaux que sont la preservation de la sante publique, des milieux de vie et du devenir de l'homme confronte aux masses detritiques exponentielles<br>Garbage is considered as something obtained in three different ways. The first one from the body in terms of organic matter system involving perception-representation patterns and opened onto rituals and practices. Besides language is used as a specific propper as far as ways of discriminating organic elements. It enables us to find out the connections realized in terms of repulsion/attraction towards the body and its parts. It so brings forth the notion of a body all the time seen as a symbolization. For examples, in medecine, anthropology, psychopathology but also in literary works, one can find out principles as well as main converging lines expressed through those sciences in terms of discriminative process of excremential abjection. The second system is that of the city through history. It implies the reinscription of any man's body inside a social body and connects it to all the process involving proscription, exclusion (urbanistically, socially and politically speaking). The town is also involved through its different places and dump spaces as sewers, dumps, garbage, slums, considered as many centers of corruption. Thirdly, means of garbage treatment from consuming activities and industrial production appear as a real specialised activity sector dealing with far ahead techniques. In it, garbage is thought as something taken in the regulation of flow controls in the present and further on the line (just to know what will become of it materially speaking). Then, slowly leaving behind its excremential value to reach a more and more complex materiological level because of technological progress garbage must be thought for its own condition, identification, conjuration and treatment implying a new deal such as social health protection, environment and the future of man
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Schlömp, Tilman. "Gian Francesco Malipieros Musiktheorie-Trilogie L'Orfeide /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb37046721h.
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Johnstone, Patrick Douglas. "Samuel Beckett's Trilogy in context." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498293.
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This thesis examines the relationship between Samuel Beckett's Trilogy - 'Molloy', 'Malone Dies' and 'The Unnamable' - and the contexts in which it was written and has been read. Chapter 1 considers the Trilogy's critical reception, reflecting on its contentious construction as a distinctly Irish set of texts, and the broader contexts in which this takes place. It focuses on the writing of early Beckett critics Vivian Mercier and Hugh Kenner, and of Irish Studies critics in the 1980s and 1990s. Chapter 2 presents close readings of the novels which explore how Beckett's experience of Ireland and his Irish Protestant background inform them in fundamental ways. Their critique of the Irish Free State's attitude to sexuality, and the severe self-scrutiny of the Low Church Protestantism Beckett grew up with, is probed, along with the peculiarly 'Protestant Gothic' shape this takes. The national context moves to France in chapter 3, where the Trilogy is read alongside the contemporary literary theory of Roland Barthes and Maurice Blanchot. Preoccupied with ideas of the neutral and neutrality, their work makes visible the penetration of Cold War political neutralism, pervasive in France at the time, into the theory and practice of literature - the context framing the Trilogy's interpretation here. Finally, the Trilogy's representation of contemporary death is analysed. Medicalized to the point where life can be sustained almost indefinitely, death has been said to have 'disappeared' in the twentieth century. This historically specific distension of dying and 'disappearance' of death is shown to constitute one of the Trilogy's principal concerns. Though the relationship between Beckett's Trilogy and its contexts appears threadbare and is frequently overlooked, this thesis illuminates its breadth, depth and significance, demonstrating that a thorough knowledge of its complex, multifaceted and deeply rooted nature is crucial to our understanding of Beckett's three novels.
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Schroeder, Sally Louise. "Allegory as rhetoric: Faulkner's trilogy." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1416.
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Abderrahim-Laib, Sakina. "L'univers romanesque d'Olivia Manning, étude de ses trilogies : The Balkan trilogy et The Levant trilogy." Paris 4, 1994. http://www.theses.fr/1993PA040233.
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L'univers romanesque d'Olivia Manning est intimement lié à son expérience de la seconde guerre mondiale. Cette étude s'organise autour de la relation entre roman et histoire. Elle s'articule,dans une première partie,autour des romans historiques de Walter Scott et de ceux de deux romanciers contemporains,J. G. Farrell et Paul Scott. La seconde partie de cette thèse s'attache à étudier le couple Pringle placé au centre de 'The Balkan Trilogy'. Dans la troisième partie,'The Levant Trilogy',l'accent est mis sur la situation historique et politique que Olivia Manning recrée avec exactitude mais aussi avec un rare sens de l'humain. La technique narrative utilisée dans les deux trilogies est le sujet da quatrième partie. Les deux trilogies sont dominées par le reagard chargé de scepticisme de la romancière,atténué,cependant par son humour tendre et ironique<br>Olivia Manning's trilogies are closely linked to her personal experience of the Second World War. This study is organized around the relation between History and the novel. .
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Parada, Malin, and Malin Olsson. "Man kan inte styra det man inte kan mäta : en studie om kvalitetsstyrning i grundskolan." Thesis, Södertörns högskola, Institutionen för ekonomi och företagande, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15648.
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Kvalitet är ett svårdefinierbart begrepp som kan tolkas på en mängd olika sätt. Viktigast är att en organisation har klart för sig vad kvalitet innebär för just dem. I en verksamhet är det av stor betydelse att börja med kvalitetsmätning innan kvaliteten kan säkras i verksamheten. Annars finns risken att brister byggs in i systemet vilket kan bli dyrt. Dessutom är det svårt att styra det man inte kan mäta. Kvalitet utgår för det mesta från kunden med avsikten att uppfylla dennes behov. I en skola innebär detta att om en elev och en förälder inte är nöjda med skolan ser de sig med stor säkerhet om efter ett annat alternativ. Att arbeta med kvalitetsstyrning innebär hur en chef arbetar och styr sin verksamhet för att det ska leda till bättre kvalitet. Det finns ett antal teorier kring kvalitet där Joseph M. Juran är ett stort namn inom utbredningen av TQM (Total Quality Management). Syftet med studien är beskriva och analysera kvalitetsstyrningens omfattning, inriktning och konsekvenser i två fristående grundskolor. Vidare är syftet att analysera skillnader och likheter i kvalitetsstyrningen i dessa skolor. Studien har genomförts som en fallstudie där två fristående grundskolor i Stockholms län har studerats. Studien är av kvalitativ karaktär där den empiriska datan är hämtad från totalt åtta intervjuer, två längre intervjuer med de två rektorerna och sex kortare intervjuer med lärare på de fristående grundskolorna Kunskapsskolan och Fryshusets grundskola. Därutöver har litteratur, avhandlingar och vetenskapliga artiklar inom det studerade området granskats. Det som framkommit i studien är att kvalitetsstyrningen sker på olika sätt i de båda skolorna även om styrningen omfattar hela organisationen. Rektorerna arbetar dessutom med kvalitetsstyrning i större omfattning än vad de själva anser sig göra vilket kan bero på komplexiteten i begreppet. Likaså är kvalitetsbegreppet svårdefinierbart vilket uppenbarar sig under intervjuerna med respondenterna. Det viktigaste sättet för skolorna att mäta kvaliteten är genom enkäter vars resultat används i olika stor utsträckning i de olika skolorna.
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Bonotto, André 1985. "Trilogia Qatsi : visões e movimentos de mundo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284052.
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Previous issue date: 2009<br>Resumo: Este é um trabalho de análise fílmica da trilogia Qatsi (Koyaanisqatsi, owaqqatsi, aqoyqatsi), dirigida por Godfrey Reggio. É apresentada de início uma bio-filmografia do diretor, indicando sua trajetória e comentando um pouco sobre cada um de seus filmes. A seguir passa-se à análise dos filmes da trilogia, abordando-se primeiro Koyaanisqatsi, quanto aos movimentos de aceleração realizados ao longo das passagens fílmicas, decorrentes principalmente da captação de imagens aceleradas, da movimentação de câmera, e da relação imagem-música. É analisado então Powaqqatsi, discutindo-se um elemento fabulativo que envolve o filme: tanto os povos representados nele, quanto o próprio processo de realização fílmica. Passa-se à análise de Naqoyqatsi, apontando-se a diversidade de materiais visuais utilizados, com o predomínio das imagens técnicas, midiáticas, e virtuais, e sua relação no choque entre dois impulsos contrários, um de caos e o outro de controle. Após essa primeira parte são retomadas as questões principais trabalhadas em cada filme, observando-se a relação de cada uma com os outros filmes - o universo de toda a trilogia. Abre-se com isso o horizonte inicial, relacionando-se então os filmes da trilogia Qatsi com filmes do movimento das sinfonias da cidade, através de relações estéticas, e de algumas relações temáticas. Por fim, expande-se um pouco mais o horizonte do trabalho, identificando-se características dos filmes analisados com elementos oriundos da intersecção dos domínios do cinema documentário com o do cinema experimental, como as constantes fragmentações das narrativas e anamorfoses das imagens. A intersecção desses domínios possibilitaria a existência da estilística fílmica designada como documentário poético, o que se considera ser o caso dos filmes abordados neste trabalho.<br>Abstract: This work is a filmic analysis of the Qatsi trilogy (Koyaanisqatsi, Powaqqatsi, Naqoyqatsi), directed by Godfrey Reggio. Firstly, it is presented a bio-filmography of the director, indicating his trajectory and some comments on each of his films. Then, the analysis of the trilogy takes place, beginning with Koyaanisqatsi and focusing the acceleration movements along the filmic passages, mainly due to the registration of accelerated images, camera movement and music-image relationship. The Powaqqatsi analysis involves the discussion of the fabulative element present in the film: on the people and actions represented as well on the own filmmaking process. During the Naqoyqatsi analysis, it has been pointed out the diversity of visual materials used, in which dominate technical, mediatic and virtual images, and their relation with the shock of two opposite impulses, i.e. chaos and control. Further, the major issues focused in each film are again considered, taking into account their relations with the other films - the universe of the whole trilogy. The opening of the initial horizon occurs relating the films of the Qatsi trilogy with those of the movement of the city symphonies, through aesthetic and some thematic relationships. Finally, it is performed a further expansion of the initial horizon, identifying characteristics of the films analyzed with elements originated from the intersection of the documentary and experimental film domains, like the frequent narratives fragmentation and anamorphic image fluxes. The intersection of these fields would allow the characterization of the filmic stylistics known as poetic documentary, that is considered to be the case of the films here analyzed.<br>Mestrado<br>Mestre em Multimeios
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Das, Soumitro. "La Trilogie de Samuel Beckett : une étude." Paris 7, 1991. http://www.theses.fr/1991PA070047.
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Notre these se veut une interpretation de la trilogie de samuel beckett, une tentative de determiner le sens de l'oeuvre pour le sujet contemporain que nous sommes. Pour mener ce travail, nous avons choisi de nous situer a un lieu, familier et etrange, qu'est le sujet, puisque ce lieu nous offre l'acces a des disciplines differentes telles que l'anthropologie de la religion, la psychanalyse, etc. , et nous permet de faire une reference a la biographie de l'auteur. Nous avons ete amene, ainsi, a relier le texte a des influences primordiales comme le protestantisme, mais aussi de l'enraciner dans une formation subjective susceptible de nous livrer les ressorts psychologiques - dynamiques et economiques qui l'ont agencee de cette maniere specifique. La triologie est, pour nous, uneoeuvre qui decrit les brillantes peripeties et les aussi brillants impasses de la subjectivite parlante, au niveau le plus profond possible, celui de l'inconscient<br>This thesis is an interpretation of the trigoly of samuel beckett, an attempt to determine the meaning of the for a modern reader. To this end, we have chosen to place ourselves in a certain perspective, familiar and strange, which is that of the subject. This allows us to refer to disciplines such as the anthropology of religion, psychoanalysis, etc. , as well as the biography of the author. We have been able, thus, to relate the text to such primordial influences such as protestantism, but also to a subjective formation from which we could derive the psychological factors which have shaped the work in this fashion. The trilogy is, for us, a work which speaks of the speaking subject at the deepest level possible, that of the unconscious
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Bret, Thierry. "Jules Vallès : la violence dans la trilogie /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411386182.
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Calzavara, Rosemari Bendlin. "Jorge Andrade e a trilogia da procura." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2010. http://www.bibliotecadigital.uel.br/document/?code=vtls000154959.
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A proposta nesta tese é particularizar a discussão do texto literário dramático que, sendo manifestação artística, tem uma função social imanente ao seu sentido próprio, como representação de algo visto, vivido ou imaginado. A escrita dramática, que é também uma escrita literária, pertence ao domínio do teatro como encenação e como montagem. Num primeiro momento, o objetivo é fazer um estudo do drama moderno e da tragédia moderna a partir de um terreno historicizado, bem como verificar o papel do ator e do dramaturgo ao longo da história. Na sequência, relacionar na trilogia de peças históricas do dramaturgo Jorge Andrade O Sumidouro, As Confrarias e Pedreira das Almas as procuras que marcam as personagens e que confirmam a correlação das peças com o drama moderno e com a tragédia moderna, tendo em vista que as questões não são excludentes. Na dramaturgia moderna a origem dos acontecimentos reflete-se sobre si mesma, passado e presente representam um objeto saturado de tensões. A dramaturgia de Jorge Andrade se inscreve nestes aspectos e se apresenta como conteúdo que estabelece uma relação dialética entre dois enunciados: o ?enunciado da forma? e o ?enunciado do conteúdo?, conteúdos advindos da vida social e que por si só já têm uma forma peculiar. Na tragédia moderna a tensão se instala entre o homem individualizado e o seu papel social. Daí o resultado trágico originar-se especificamente destas tensões.<br>The proposal of this thesis is to detail the discussion of the dramatic literary text that as an artistic manifestation has a social funcion intrinsic to its own meaning, as the representation of something seen, lived or imagined. Dramatic writing, that is also a literary writing, belongs to the dominion of the theater as do acting and mounting. First, the objective is to study modern drama and modern tragedy from a historicalized standpoint and verify the role of the ator and the playwright in history. Next, to relate in the trilogy of historical plays by the playwright Jorge Andrade O Sumidouro, As Confrarias e Pedreira das Almas the searches that mark the characters and confirm the correlation of the play with modern drama and modern tragedy, bearing in mind that the questions are not mutually exclusive. In modern drama the origin of the events is reflected on oneself, past and present represent an object saturated with tensions. The dramatugy by Jorge Andrade fits in these aspects and is presented as content that establishes a dialetic relationship between two enunciations: `the enunciation of form´ and the `enunciation of content´, contents from social life that by themselves already have a peculiar form. In modern tragedy the tension is installed between the individualized man and his social role. Thus the tragic result originates specifically from these tensions.
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CRUZ, PAULO. "FICÇÃO CIENTÍFICA CONTRA O CIENTIFICISMO: TEOLOGIA E IMAGINAÇÃO MORAL NA TRILOGIA CÓSMICA DE C. S. LEWIS." Universidade Metodista de Sao Paulo, 2016. http://tede.metodista.br/jspui/handle/tede/1602.
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Previous issue date: 2016-03-18<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This paper presents a study on C. S. Lewis’ Space Trilogy — that embraces Out of the Silent Planet, Perelandra, and That Hideous Strength. We analize the theological concepts used by the author, specially the Original Sin doctrine and its relations with the concept of moral imagination, developed by the american thinker Russell Kirk.<br>O presente trabalho apresenta um estudo da obra Triologia Cósmica de C. S. Lewis — composta pelas obras Além do Planeta Silencioso, Perelandra e Essa força medonha —, analisando os conceitos teológicos utilizados pelo autor, sobretudo a doutrina do Pecado Original, e suas relações com o conceito de Imaginação Moral, desenvolvido pelo filósofo americano Russell Kirk.
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Hernández, Bringas Horacio, and Bringas Horacio Hernández. "Comunicación." Tesis de Licenciatura, Universidad Autónoma del Estado de México, 2015. http://hdl.handle.net/20.500.11799/66259.
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El documento que a continuación describimos, traducido en memoria laboral, refleja, el proceso de realización por la que atraviesa una producción documentalista independiente. ¿Cuándo decidimos ser productores independientes? ¿Es fácil producir, siendo independiente? ¿El documental, es lucrativo? ¿Qué importancia tiene un documental histórico en la actualidad? ¿De qué vive un productor independiente? Éstas y algunas otras preguntas trataremos de respondernos durante el desarrollo de tal documento. Sin pretender indicar que ésta, es, la manera correcta para realizar dicho género. El objetivo es informar.
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Kockum, Karl. ""Han" Lars Hård : Maskuliniteter i Jan Fridegårds trilogi om Lars Hård." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-70370.
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Uppsatsen syftar till att söka svaren på frågor om vilka maskuliniteter som uppstår i Jan Fridegårds ursprungliga trilogi om Lars Hård samt hur dessa maskuliniteter uppstår, varierar och upprätthålls. Undersökningen utgår från teorier formulerade av bland andra Judith Butler och Raewyn Connell; teorier som vill förklara både genus och kön som sociala konstruktioner. Arbetet bygger vidare på ett forskningsläge om manlighet i litteraturen som främst kan karaktäriseras som internationellt, eftersom den svenska litteraturvetenskapliga manlighetsforskningen ännu är förhållandevis blygsam. Undersökningen kan delas in i tre delar som i tur och ordning behandlar maskuliniteter som uppstår i Lars Hårds relationer till kvinnor, till andra män och till samhällets institutioner. I Lars Hårds relationer till kvinnor söker han främst konstruera sin maskulinitet genom att söka efter en stabil och naturlig femininitet att spegla denna maskulinitet mot; något som i allt väsentligt misslyckas. I hans interagerande med andra män visar sig en maskulinitet präglad av distansering från familjen och de plikter som därmed associeras. Denna maskulinitet uppstår främst i grupper av män; grupper som även präglas av hierarkier och dominans av andra män. Denna maskulinitet skiljer sig från den som uppstår i trilogins manliga vänskapspar, som snarare kännetecknas av omsorg och ömsesidig respekt. I det avsnitt som fokuserar Lars Hårds relationer med samhällets institutioner behandlas först familjen, inom vilken de traditionella könsrollerna tydligt framträder: Lars Hårds mor står för omsorgen och det verklighetsnära, medan fadern ägnar sig åt mer eller mindre verklighetsfrånvänd bildning under lediga stunder. När modern insjuknar tas hennes plikter över av Lars Hård, som i och med detta förefaller uppleva sig befriad från maskuliniteternas tvångsmässiga distansering från den reproduktiva sfären. Därefter fokuseras det främmandeskap Lars Hård känner inför sin kropp, hur han förefaller se på denna kropp i det moderna samhället samt straffsystemets reduktion av hans individ till just en kropp; något han själv gjort sig skyldig till i sin syn på kvinnan. Slutligen tas i undersökningen upp den urtidsman Lars Hård ibland identifierar sig med; hur denna maskulinitet yttrar sig samt hur den skulle kunna sättas i samband med det samhälle som under mellankrigstiden snabbt omvandlades.
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Jubis, Oscar. "The Salta Trilogy of Lucrecia Martel." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/234.
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During the past decade, Lucrecia Martel has emerged as the most respected filmmaker from South America. This thesis is motivated by my conviction that Martel's films are worthy of serious engagement and critical scrutiny. It is also motivated by my curiosity about the seemingly inexhaustible pleasure and edification I derive from them. Martel describes her filmmaking as "cine de autor" (auteur cinema). Indeed, her films evidence a personal involvement in every aspect of filmmaking. This thesis will define and explore the characteristics and conditions of her authorship. This thesis constitutes an expression of the enduring usefulness of auteurist criticism. In this case, this critical approach is entirely appropriate and likely to yield the deepest insights into the films. The introduction to my thesis provides pertinent biographical information and the necessary socio-cultural context to set the stage for an intellectual immersion into her three features to date: The Swamp (2001), The Holy Girl (2004) and The Headless Woman (2008). I propose that these films constitute a trilogy that distills Martel's experience of growing up in the remote province of Salta and critiques the social and cultural forces at play in provincial Latin American life. However, no matter how specific the sense of place the films convey and how grounded they are in subjective experience, they illuminate universal aspects of being a person in the world and contain progressive prescriptions for living from which anyone can benefit. My research into the literature on the films of Lucrecia Martel failed to find any serious and thorough appraisal of Lucrecia Martelâ??s films as a trilogy. While my analysis benefits from familiarity with the available literature, the operative critical approach privileges my direct experience with the audiovisual material provided by the films. Each film will be subjected to a close reading illustrated with images from it. These readings focus sharply on certain sequences I deem crucial to the conveyance of characterization, meaning and ideology. These readings aim to think with the films rather than think against or about them. They explore the themes and issues that arise within the narratives of the films as well as the formal means by which they do.
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Dowley, Nicole-Aine. "Representations of Incarceration in Beckett's Trilogy." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519472.
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Sanchez, Tani Dianca. "Race and the Matrix Movie Trilogy." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/215411.
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Using a close textual and contextual analysis, I trace themes of gender and race in the Matrix trilogy, arguing for the presence of a parallel, embedded filmic narrative, one that neatly aligns with African-American critical traditions affirming subjugated ideologies, knowledges, communities and forms. Decoding the films through the lenses of race, womanist, film studies and cultural studies theories, I explore this signified, covert storyline through phenotypes, casting choices, plot twists, and extra filmic events. In this dissertation project, I argue that their preponderance, consistency, and coherence are evidence of deliberate commentary. I further claim that that the trilogy can be reasonably understood as a historically motivated critique of Whiteness and White supremacy, offering references to American slavery and ideologies, as well as to cross-racial ideological domination and collective, coalitional and revolutionary change. Since long standing racial and gender understandings (along with their attendant domination and oppression) persist, examining popular films with transformed constructions is useful in supporting frameworks for conceptual change.
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Cartwright, Sophie. "Idealising romance : creating the Ephron trilogy." Thesis, University of Nottingham, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518829.
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Scordari, Giulia <1992>. "Femininity in Philip Roth's American Trilogy." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14451.
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La presente tesi è incentrata sul tema della femminilità nell’American Trilogy di Philip Roth. L'introduzione cerca di illustrare il modo in cui Roth mette in discussione le identità femminili come parte di cambiamenti sociali e storici e come manifestazioni dell'identità nazionale americana. Ogni capitolo è dedicato rispettivamente ad uno dei tre romanzi, con una descrizione accurata di tutto ciò che riguarda i personaggi femminili: dagli abiti, ai discorsi, alle condizioni psichiche. Nonostante la quantità di letture critiche che associano la trilogia a una prospettiva misogina, questo studio mira anche a dimostrare che il trattamento della femminilità, come affrontato da Roth, deve essere visto alla luce del suo particolare metodo narrativo e della sua preoccupazione per la mascolinità all'interno dei romanzi , il tutto filtrato attraverso la voce del narratore-personaggio Nathan Zuckerman. Al centro del primo capitolo, quindi, c'è l'analisi di Dawn Dwyer e Meredith Levov, dal momento che entrambe sono ostacoli fondamentali nella lotta del protagonista, Seymour Levov, per realizzare il suo sogno americano. Delphine Roux e Faunia Farley sono al centro del secondo capitolo, mentre l'ultimo è basato sulla moglie di Ira Ringold, Eve Frame, e sulla figliastra di Ira, Sylphid. Inoltre, è anche fornito un confronto tra le sei donne, tutte figure minacciose nella vita dei protagonisti maschili, per quanto riguarda le caratteristiche ricorrenti che le connettono.
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Hauer, Johannes Gerhard. "Musik in der "rheintalischen Trilogie" von Robert Schneider /." kostenfrei, 2007. http://othes.univie.ac.at/186/.
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Bray, Annie J. "L'inscription de l'histoire dans la trilogie d'Hélène Brodeur." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ57091.pdf.
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Ponte, Charles 1976. "Indústria cultural, repetição e totalização na trilogia Pânico." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269972.
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Orientador: Fábio Akcelrud Durão<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-19T00:44:26Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Ao longo do último século, o modus operandi da indústria cultural foi responsável por um movimento de padronização dos artefatos culturais, constituindo um eixo tensional entre repetição e inovação que abarca em todas as artes, mas especialmente no cinema, tendo este uma maior necessidade de retorno dos investimentos feitos para sua realização. Dessa forma, considerando o cinema feito nos Estados Unidos como o principal representante do entretenimento fílmico, é natural que esta homogeneização lhe seja mais intensa, um aspecto convenientemente negligenciado pelas críticas especializadas, posto que estas costumam enfatizar, acertadamente, aqueles filmes de maior complexidade, terminando por iludir os leitores acerca da real porcentagem de filmes com tal qualidade. Assim, o objetivo desta tese é observar a composição de uma dessas obras costumeiramente não contempladas pela crítica, a trilogia de horror Pânico (1996; 1998; 2000), dirgida por Wes Craven, partindo da leitura cerrada de seus principais componentes estruturais - enredo, personagens, espaço e foco narrativo - e comparando-a a outros de seu subgênero, para verificar a existência de uma tensão dialética de aproximação ou distanciamento da estandardização das formas diegéticas e como esses movimentos estão relacionados com as estratégias de comercialização dos produtos. Para isso, este trabalho lança mão de um corpo de teorias de diversas áreas, desde a literatura e o cinema até o grupo de pensadores abarcado pelo epíteto Teoria, mas sempre permeado pelo conceito de indústria cultural de Adorno e Horkheimer (1985) e pelas elaborações posteriores de Adorno (2001) sobre do tema. No corpus, por um lado, a tensão entre a repetição das formas e seu rearranjo ocorre em todos os componentes selecionados, de modo que a trilogia Pânico continua a pertencer ao subgênero slasher em sua composição, ao menos na superfície, apesar de conter uma grande parcela de hibridização de outros gêneros, notadamente a estruturação das duas personagens principais, heroína e monstro, bem como de parte de sua découpage; por outro lado, há uma parcela de inovações atribuídas à trilogia, em especial a presença de uma variada veia metaficcional, uma raridade em todo o gênero horror, mas também a diminuição das cenas violentamente explícitas. Contudo, pode-se confirmar, através da interpretação dos resultados, que as modificações permitidas nunca ameaçam a quebra da quarta parede, ou mesmo a expectativa da plateia em relação aos filmes, de modo que se devem considerar praticamente todas as alterações como controladas para emular uma novidade falaciosa<br>Abstract: Throughout last century, the culture industry's modus operandi was responsible for a standardizing movement in cultural artifacts, constituting a tensional axis between repetition and innovation that embraces all arts, but mainly in film, having the latter a greater need for returns in its production investments. That way, regarding the American cinema as the main representative of filmic entertainment, it is natural that its homogenization is more intense, an aspect conveniently overlooked by specialized critiques, since they tend to emphasize, correctly, those films of higher complexity, ultimately deluding readers about the actual percentage of quality works. Thus, the objective of this dissertation is to observe the composition of one of these usually non critically contemplated ones, the horror trilogy Scream (1996; 1998; 2000), directed by Wes Craven, starting by the close reading of its main structural components - plot, characters, setting and point of view - and comparing it to others pertaining to the same subgenre, in order to verify the existence of a dialectic tension of approximation or distancing to the standardized diegetic forms and how these movements are related to product selling strategies. For doing so, this work makes use of a body of theories from multiple areas, from literature and film studies to the group of thinkers encapsulated under the alias Theory, but always permeated by Adorno and Horkheimer's concept of culture industry (1985), and by Adorno's further elaborations on the theme (2001). In the corpus, on the one hand the tension between formal repetition and its rearrangement occurs in all selected components, so that the trilogy remains as a member of the slasher subgenre, at least in its surface, despite containing a great amount of hybridization, notably by the structuring of its main characters, heroin and monster, as well as part of its découpage; on the other hand, there is a number of innovations attributed to the trilogy, especially the presence of a varied metafictional vein, rare in all of the horror genre, but also the lessening of violently graphic scenes. However, it can be confirmed, through the interpretation of results, that the allowed modifications never threaten the breaking of the fourth wall, or even the audience expectations for the films, in a way that practically all alterations should be considered as controlled to emulate a fallacious novelty<br>Doutorado<br>Literatura e Outras Produções Culturais<br>Doutor em Teoria e História Literária
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SOUZA, Flávia de Castro. "Trilogia da morte: o imaginário em Lygia Bojunga." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2437.
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Previous issue date: 2009-10-01<br>Cette recherche a comme l‟objectif etudier la representation de la mort e de la violence dans les livres O meu amigo pintor, 1987, Nós três, 1987, e O abraço, 1995, de l‟écrivainne gagnante de prix infantile et juvénil Lygia Bojunga. Elle propose d‟analyser sous la théorie des structures anthropologuiques de l‟imaginaire, formulée (posée) pour l‟anthropologue Gilbert Durand, et sous la lumiére des études du sociologue Michel Maffesoli et du philosophe Georges Bataille sur la violence. La recherche observe entre les livres qui appartenance au corpus de cette dissertation qui a une approximation graduel des personnages avec les types de violence qui occasionnent (provoquent) la mort, dû aux moyens (recours) litteraires utilizées dans la composition des textes, dû aux choisis des images symbolique et dû aux strtégies narratives des rêves. La recherche est partager (se partage) en quatre chapitres. Dans le premier, elle mettre devant l‟aspect de la théorie du imaginaire et de la violence, en cherchant d‟associer (adhérer) les trois structures de l‟imaginaire de Durand régime diurne, régime nocturne mystique et nocturne synthétique aux verse de la violence et à la manière comme les personages protagonists regardent la mort. Dans les chapitres suivants, il fait l‟herméneutique symbolique de chaque un des livres qui sont réuni au-dessous du nom de trilogie de la mort, cela où le seconde chapitre sur O meu amigo pintor, le troisième sur Nós três et le quatrième sur O abraço. Ces analyses suivent l‟ordre chronologique de publication e obéissent aussi la proposition de gradation de la complexité et de la intensité de la violence e d‟augmentation de l‟angoisse des personnages dû à l‟approximation avec la realité mortel<br>O presente trabalho tem como objetivo estudar a representação da morte e da violência nos livros O meu amigo pintor, de 1987, Nós três, de 1987, e O abraço, de 1995, da premiada autora infanto-juvenil Lygia Bojunga. Propõe analisá-los sob o viés da teoria das estruturas do imaginário, formulada pelo antropólogo Gilbert Durand, e sob a luz dos estudos do sociólogo Michel Maffesoli e do filósofo Georges Bataille acerca da violência. Observa-se entre os livros pertencentes ao corpus desta dissertação que existe uma aproximação gradativa das personagens com os tipos de violência que levam à morte, graças aos recursos literários utilizados na composição dos textos, às escolhas das imagens simbólicas e às estratégias narrativas dos sonhos. Esta dissertação é dividida em quatro capítulos. No primeiro, apresentam-se aspectos da teoria do imaginário e da violência, buscando associar as três estruturas do imaginário de Durand diurno, noturno místico e noturno sintético às vertentes da violência e ao modo como as personagens protagonistas encaram a morte. Nos capítulos seguintes, faz-se uma hermenêutica simbólica de cada um dos livros reunidos sob o nome de trilogia da morte, sendo o segundo capítulo sobre O meu amigo pintor, o terceiro sobre Nós três e o quarto sobre O abraço. Essas análises seguem a ordem cronológica de publicação e obedecem também a proposta de gradação da complexidade e da intensidade da violência e do aumento da angústia das personagens devido à aproximação com a realidade mortal
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Cordeiro, José Luis. "El desafío latinoamericano: la trilogía de la competitividad." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/114782.
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Dusová, Tereza. "Lars von Trier a jeho (nejen Americká) trilogie." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96895.
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The theses is dedicated to the film trilogies of Lars von Trier and the changes in his attitude towards the film-making. There is an obvious fascination with the visual aspect of the film and the visual expressivity in the beginning of his career. On the other end stands a fascination with the story and it´s charecters. Main chapters are on Trier´s conceptual attitude towards the film-making, the topics he´s interested in, the type of Trier´s main character, the way Trier works with the story, the filming methods he uses, and about his films in whole. The main part presents the incomplete American Trilogy: films Dogville and Manderlay.
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Illouz, Charles. "Les fils du lézard : trilogie matrimoniale en Mélanésie." Paris, EPHE, 1989. http://www.theses.fr/1989EPHE5006.
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L'analyse de la mythologie de Mare (iles loyauté) portant sur un corpus d'une centaine de récits, a permis a l'auteur d'observer la construction d'un vaste dispositif symbolique : les êtres du monde marin y sont opposés aux êtres du monde aérien et se trouvent impliqués dans une négociation de "chair" dont les êtres du monde rampant "mitoyen" offrent la médiation. C'est au travers de ces trois grandes catégories formant la base d'une véritable rhétorique mythologique qu'est appréhendée la place prise par les concepts de nom, d'enveloppe et de cannibalisme. Les mythes apparaissent alors comme autant de discours portant sur la quête matrimoniale et la stratégie des alliances<br>The analysis of the Mare mythology (Loyalty islands), supported by a body of a one hundred stories, has enabled the author to observe that there is a huge symbolic operation taking place: the sea world creatures are opposed to the air world creatures, and are involved in a sort of "flesh" negotiation whose creatures of the creeping world offer the go-between. It is through these three main categories which shape the basis of a real mythological rhetoric, that the place taken by the concepts of name, envelope, cannibalism is apprehended. The myths, then, seem to have many discourses focused on the matrimonial quest and the strategy of alliances
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Saleh, Nada. "Les didascalies dans la trilogie espagnole de Beaumarchais." Toulouse 2, 2003. http://www.theses.fr/2003TOU20035.
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Les didascalies sont souvent considérées comme une partie marginale du texte dramatique. La dialectique entre texte et représentation, autrement dit entre le pouvoir du dramaturge et celui du metteur en scène a toujours suscité une polémique assez intéressante. Les didascalies étant la partie du texte qui véhicule la mise en scène imaginée par l'auteur, l'objectif de cette recherche est de montrer, à travers l'exemple de Beaumarchais, que celles-ci revêtent une importance primordiale en fonction de l'époque, des conditions de la vie théâtrale, mais aussi des auteurs. Leur place et leur portée sont indéniables dans la trilogie espagnole du grand auteur dramatique du XVIIIe siècle. Elles sont le reflet du conflit de préséance entre le dramaturge, fondateur de la Société des Auteurs dramatiques, et les comédiens ou responsables de l'effectuation scénique avant l'invention de la mise en scène. L'étude du contexte historique et esthétique s'impose pour montrer les influences qu'a subies Beaumarchais et qui ont mené à l'introduction d'une écriture didascalique originale<br>Didascalies are often considered as a marginal part of the dramatic text. The dialectics between the text and representations, in other words, between the ability of the playwright and that of the producer, has always aroused a fairly interesting polemic. Didascalies, being that part of the text that conveys the staging imagined by the author, the object of this research is to show, through the example of Beaumarchais, that these might have a primordial importance regarding the period, the requisites of theatrical life and also the authors. Their place and their scope are undeniable in the Spanish Trilogy of this great author of the XVIIIth century. They are the reflection of the conflict of precedence between the dramatist, promoter of the Society of Dramatic Authors, and the comedians or responsibles of the scenic execution before the invention of staging. The study of the historical and aesthetic context is essential to show the influences that Beaumarchais had to come under and which have led to the introduction of a genuine didascalic writing
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Penet-Astbury, Helen. "La trilogie de Beckett au croisement des frontières." Paris 7, 2002. http://www.theses.fr/2002PA070015.
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La première trilogie de Beckett se situe à un moment charnière de son oeuvre. Elle marque à la fois ce qui aurait pu être le début de sa carrière d'écrivain francophone, mais ce qui est en fait le début de sa carrière d'écrivain bilingue. A la fois première oeuvre de langue française et première oeuvre auto-traduite, la trilogie occupe une place idéale pour aborder la problématique du croisement des frontières. S'il n'y a pas que la frontière entre l'anglais et le français qui est franchie ici, le choix d'une langue étrangère semble conditionner l'évolution intérieure de l'oeuvre et l'amener à se situer à d'autres frontières : une frontière psychique et une frontière linguistique (à l'intérieur de la première langue de composition, le français). Les personnages qui peuplent l'univers beckettien ne sont pas encore des être "finis". Leur psychisme est à une étape intermédiaire entre le vide qui précède la vie et la pleine vie psychique de l'individu. La première partie de la thèse est consacrée à une lecture de la trilogie à la lumière des travaux de Didier Anzieu sur cette frontière psychique, franchie, d'après lui, au moment de la constitution du Moi-peau. Cette lecture révèle la défaillance chez ces personnages des huit fonctions qu'il attribue à cette structure intermédiaire du psychisme. A l'instar du psychisme des narrateurs, le langage de la trilogie apparaît comme une étape intermédiaire du langage. .<br>Beckett's first prose trilogy comes at a critical point in his oeuvre. It marks both what might have been the start of a career as a French language writer, but what was actually the start of his career as a bilingual writer. Both first work in French and self-translated work, the trilogy is ideally placed to approach the issue of crossing of borders. If the border between English and French is not the only one crossed here, it seems that the subsequent evolution of the oeuvre depends on the choice of a foreign language and that this choice brings it to occupy other borderline situations : a psychological border, and a linguistic border (within the language of initial composition, French). The characters who inhabit the Beckettian universe are not "complete" beings yet. Their psyche is at an intermediate stage between the void which precedes life and full psychic life of an individual. .
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Kim, Dong-Yoon. "L'éthique d'Alexandre Dumas dans la trilogie des mousquetaires." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10029.
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Notre recherche a pour but de jeter un jour nouveau, sur le plan ethique, dans la trilogie des mousquetaires d'alexandre dumas (les trois mousquetaires, vingt ans apres, le vicomte de bragelonne). Elle est essentiellement axee sur quatre points. Primo, montrer l'importance particuliere de la transhistoricite des valeurs morales qui se sont accreditees au cours des siecles. Secundo, definir comment les trois courants moraux (heroique chevaleresque, romantique) ont donne naissance a l'ethique des mousquetaires de dumas. Tertio, decrire la naissance, l'apogee, le declin du "quatuor" a propos duquel le mythique est indissociablement lie a l'ethique. Quarto, mettre enfin l'accent sur l'historicisation des personnages qui s'impregnent profressivement des elements ideologiques du dux-septieme et du dix-neuvieme siecles<br>This research is aimed at throwing new light, from the ethical point of view, on alexandre dumas' trilogy (the three musketeers, twenty years after, the viscount of bragelonne). It is based essentially on four points. Firstly, to show the special importance of the historical transfer of moral values acquired over the centuries. Secondly, to define how the three moral currents (heroic, chivalric, romantic) gave birth to the ethics of dumas' musketeers. Thirdly, to describe the birth, the apogee, the decline of the "quatuor", to which the myth is inevitably associated with the ethics. Fourthly, to place the accent on the history-making of the persons involved who gradually were impregnated with ideological elements ofg the seventeeth and nineteenth centuries
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Bret, Thierry. "La violence dans la Trilogie de Jules Vallès." Nice, 2006. http://www.theses.fr/2006NICE2007.
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Le romancier Jules Vallès (1832-1885) n’est pas un théoricien, et moins encore un théoricien de la violence. À la différence de ce qu’elle fut pour Blanqui ou pour Engels, la violence n’a pas été pour lui un moyen au service de fins économiques ou politiques. De sa « vie violente », pour parler comme Pasolini, il a fait un roman, entre remémoration et recréation. Pour Jacques Vingtras, double fictionnel de l'auteur dans L’Enfant (1879), Le Bachelier (1881) et L’Insurgé (1886), le problème n'est pas de réfléchir la violence, d'en examiner « à froid » les atteintes ou d'en rationaliser le recours, mais de la conjurer. Vingtras est un iconoclaste et une plume redoutée. À ce double titre, il est la cible de la violence d’État. Mémorialiste fictif, il témoigne à la fois des violences institutionnelles dont il fut la victime et des violences libératrices auxquelles il participa - passant du détachement ironique à l'adhésion lyrique. Vingtras a reçu la violence en héritage. Faisant valoir son droit d'inventaire, il s'est revendiqué fils de ses seules œuvres. Mais sa révolte individuelle a fini par s'absorber dans un mouvement insurrectionnel – la Commune de Paris. Porte-parole d'un peuple en Révolution, c'est alors au maelström des violences civiles qu'il lui a fallu faire face<br>The novelist Jules Vallès (1832-1885) is not a theorist, much less a theorist of violence. In contrast to what it was for a Blanqui or an Engels, violence was not, for Vallès, a means to a political or an economic end. Rather, out of what Pasolini would have called his "violent life", he made a novel that is part recollection, part re-creation. For Jacques Vingtras, the fictional double of the author in L'Enfant (1879), Le Bachelier (1881) and L'Insurgé (1886), the problem is not to reflect – nor, indeed, to reflect upon – violence, not to coldly examine its bloody aftermath or rationalize it as a recourse, but, rather, to conjure it up. Vingtras is an iconoclast and wields a wicked pen. For both of these reasons, he is the target of State violence. As a fictional chronicler, he bears witness to both the institutionalized violence of which he was a victim and the liberating acts of violence in which he participated – moving from ironic detachment to lyrical adherence. Vingtras received violence as his heritage. By exercising his right of inventory, he staked his claim as heir to his own works. But in the end, his individual revolt was absorbed into an insurrectional movement – the Paris Commune. As spokesman for a people in Revolution, it is finally the maelstrom of civil unrest that he was forced to confront
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Wichert, Michael Patrick. "Erzählte Fremdheitserfahrung Studien zu Alfred Döblins 'Amazonas'-Trilogie /." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10547324.
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MORAIS, João Batista Martins de. "Transtextualidade e erotismo na trilogia de Hilda Hilst." Universidade Federal de Pernambuco, 2007. https://repositorio.ufpe.br/handle/123456789/7765.
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Previous issue date: 2007<br>Salvo algumas exceções, a trilogia erótica da escritora brasileira Hilda
Hilst ― composta pelas obras O caderno rosa de Lori Lamby, Contos d escárnio: textos
grotescos e Diário de um sedutor ― freqüentemente é considerada como algo
destacado em sua produção literária e de menor alcance estético por sua estreita
aproximação com aspectos da pornografia. O objetivo deste trabalho é mapear as
perspectivas estéticas da trilogia através da investigação de seu discurso,
linguagem e estrutura, como também demonstrar que a autora não abandona as
profundas questões da existência que sempre constituíram o foco de seu legado
literário, quais sejam: Deus, a morte, a arte literária e as relações humanas.
Algumas das principais fontes teóricas usadas para desenvolver uma análise das
obras foram encontradas no pensamento de Georges Bataille a respeito do
erotismo, nas considerações de Mikhail Bakhtin a respeito dos discursos, nas
discussões de Luiz Costa Lima sobre a ficção e na teoria de Gérard Genette sobre a
estrutura dos textos literários
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Persson, Henrik. "Seldonplanen : En studie av determinism och upplysningsidéer i Isaac Asimovs Stiftelse-trilogi." Thesis, Mittuniversitetet, Institutionen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-13309.
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Elhousny, Nadja. ""I believe it." : En luthersk-teologisk analys av Veronica Roths Divergent-trilogi." Thesis, Uppsala universitet, Teologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-255544.
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The aim of this essay is to examine what happens when Veronica Roths Divergent-trilogy is read with a lutheran theological pre-understanding. Using reader-response theory and lutheran theology written for and in a post-modern context, three lutheran figures of thought are presented as one way of understanding the trilogy. The conclusion is that it is possible to reveal lutheran ideas concerning justification, guilt, forgiveness, mercy and self-sacrificing love in the Divergent-story.<br>Denna uppsats undersöker Veronica Roths Divergent-trilogi ur ett luthersk-teologiskt perspektiv. Metoden som används är en text- och läsarcentrerad metod. Med hjälp av post-modern luthertolkning till största delen hämtad från projektet Luthersk teologi och etik - i ett efterkristet samhälle så byggs tre tankefigurer upp; människan och det onda, människan och det goda samt människan och vägen till frihet. Dessa tankefigurer läggs som ett raster över trilogin. Resultatet av denna process visar att det i berättelsen är möjligt att synliggöra lutherska tankefigurer rörande rättfärdiggörelse, skuld, en självutgivande kärlek, förlåtelse och nåd.
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Covas, Iara Maia. "Eduardo Kac: uma poética da criação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-07122009-125630/.
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Esta dissertação aborda a poética do artista multimídia Eduardo Kac, conhecido internacionalmente por suas obras inovadoras e polêmicas e pela atuação como professor, crítico e pesquisador de modalidades artísticas contemporâneas que envolvem o uso das novas tecnologias, incluindo algumas criadas por ele mesmo, como é o caso da holopoesia, da arte da telepresença e biotelemática e da arte transgênica. Consideramos a idéia da criação presente nos trabalhos, principalmente as relações entre esta e uma concepção mística de linguagem, baseada em conceitos e técnicas da Cabala judaica. A partir das obras de arte transgênica que compõem sua Trilogia da Criação: Gênesis (1999), GFP-Bunny (2000) e O Oitavo Dia (2001), buscamos iluminar as referências e procedimentos criativos que conectam o corpo de conhecimento bastante antigo e tradicional (a Cabala) com a reflexão sobre a criação e suas relações com a linguagem, na tradição cabalística e na arte contemporânea<br>This dissertation approaches the poetics of the multimedia artist Eduardo Kac, internationally known for his innovative and controversial works and for his performance as a professor, critic and researcher of contemporary artistic modalities that involve the use of new technologies, including some that were developed by himself, such as the holopoetry, the telepresence and biotelematic art and the transgenic art. We consider that the idea of creation in his works, mainly the relationship between this creation and a mystical conception of language, is based on concepts and techniques of the Jewish Kabbalah. By analyzing the transgenic art works that compose the Creation Trilogy: Genesis (1999), GFPBunny (2000) e The Eighth Day (2001), we intend to highlight the references and creative procedures that connect the ancient and traditional structure of knowledge (the Kabbalah) with the analysis of creation and its relationship with language in the kabbalistic tradition and contemporary art.