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Candiloro, Mauro. "La poésie de Paolo Volponi comme forme complexe de relation." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSES022/document.
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À quelques exceptions près, dans le canon littéraire italien comme dans la réception que lui réserva la critique, la poésie de Volponi occupe une place secondaire par rapport à sa production narrative. Cela apparaît comme une contradiction, car l’auteur se considérait avant tout comme un poète. Une contradiction qui va de pair avec une biographie fort riche, qui fait de Volponi un homme et un écrivain à mi-chemin entre participation et dissidence, entre ordre et désordre. À la lumière de tout ceci, nous nous sommes interrogé sur la place que Volponi attribue à la poésie, à partir des notions mêmes d’ordre et de désordre : depuis les conquêtes scientifiques du début du XXe siècle ces derniers ne sont plus deux concepts en opposition entre eux, mais les deux faces nécessaires de toute organisation naturelle complexe, y compris humaine. Dès lors, nous avons adopté l’interaction complexe entre ordre et désordre comme clef de lecture de la poésie volponienne. Une complexité que nous avons observée au niveau tout d’abord biographique, d’où émergent les schèmes fondamentaux de la poésie de Volponi qu’on retrouve thématisés au fil de ses livres de poésie, à travers lesquels Volponi montre toujours une volonté claire de construction progressive d’un seul et unique Livre. À cette construction contribuent les outils poétiques empruntés par le poète, car ils varient en fonction de l’organisation qu’ils sont appelés à exprimer. Enfin, nous nous sommes penché sur la réflexion que mène Volponi au sujet de la poésie pour en conclure qu’à ses yeux elle n’est pas un genre littéraire, mais une force créatrice chargée de mettre en relation l’homme et la matière et les hommes entre euxDespite a few exceptions, Volponi’s poetry remains in the background as opposed to his narrative production, both in the Italian literary cannon and in the way it was received by critics. This seems to be a contradictory statement because the author considered himself as a poet primarily. This contradiction is inextricably linked to a very rich biography based on a plethora of life experiences and which makes Volponi a man and a writer at a crossroads between participation and dissidence, between order and disorder. I raise thus the question of the status assigned to poetry by Volponi. It was first necessary to redefine the notions of order and disorder to answer it: the scientific achievements of the beginning of the 20th century demonstrated that these two concepts are not antithetic anymore but that they are two necessary sides of any complex natural organization, including the human organization. I chose this complex interaction between order and disorder as a key to reading Volponi’s poetic work. First this complexity is to be found in Volponi’s biography, that shapes the fundamental frameworks of his poetry, frameworks which are then used as topics in each of his poetry books. In these works, the poet always clearly shows his will to elaborate progressively towards the one and only Book. Indeed, the poetic tools resorted to by the poet contribute to this elaboration because they vary according to the organization which they are meant to express. Finally, I tackled the problem of Volponi’s own reflection about poetry which leads him to conclude that poetry is not a literary genre, but a creative strength meant to connect man and matter but also man and man
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Vignali, Elisa <1981>. "L' "opera mondo" di Paolo Volponi fra satira e morale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3094/1/vignali_elisa_tesi.pdf.
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Nella mia tesi di dottorato mi propongo di indagare la metamorfosi del romanzo nella letteratura italiana contemporanea attraverso il lavoro di Paolo Volponi, che può essere descritto come un’«opera mondo», in accordo con la formula critica coniata da Franco Moretti. Volponi intende superare il divario fra l’io e il mondo e ricomporre il corpo come una mediazione umanistica di ragione e sensi. La sua opera può essere definita ‘epica’ perché recupera la tradizione del romanzo cavalleresco e la parodia esercitata su questa tradizione letteraria da Cervantes nel Don Chisciotte. Ma, come l’Ulysses di Joyce, è un’epica «moderna» perché fondata su una totalità disgiunta e sul conflitto dialogico, in una linea che accomuna la moltiplicazione dei punti di vista, propria del romanzo polifonico secondo Bachtin, alla pluralità di prospettive del discorso scientifico. Dopo un primo capitolo teorico, nel secondo e nel terzo capitolo della tesi i romanzi di Volponi vengono studiati in rapporto al filone dell’«epica moderna» e al genere satirico, che ha un suo modello fondativo nell’opera di Giacomo Leopardi. Il quarto capitolo si focalizza sulle ultime raccolte poetiche, che mostrano la tendenza a recuperare il linguaggio formulare e la matrice orale della poesia delle origini, servendosene per rappresentare in funzione contrappuntistica l’universo globale dell’età contemporanea.In my doctoral dissertation I investigate the metamorphosis of the genre of novel in Contemporary Italian Literature analysing Paolo Volponi’s literary works. I borrow the critical category invented by Franco Moretti to describe Volponi’s books as “opera mondo.” Volponi wants to overcome the gap between the self and the world, and compose the body as a humanistic mediation between reason and senses. His work is ‘epic’ because it refers to the tradition of the romance and to its parody in Cervantes’ Don Chisciotte. However, Volponi’s work is a modern epic because, not differently from Joyce’s Ulysses, it is based on disjointed totality and dialogic conflict. Modern epic associates the multiplication of points of view, typical of the polyphonic novel theorized by Bachtin, with the plural perspective of the scientific subject. After a theoretical preface, in the second and third chapters of my dissertation, I study Volponi’s novels in relation to the modern epic and the satiric genre, which has its foundational model in Giacomo Leopardi’s work. The fourth chapter focuses on Volponi’s latest collections of poetry, which recall the matrix of oral origins of poetry and represent in counterpoint the contemporary universe of global age.
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Vignali, Elisa <1981>. "L' "opera mondo" di Paolo Volponi fra satira e morale." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3094/.
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Nella mia tesi di dottorato mi propongo di indagare la metamorfosi del romanzo nella letteratura italiana contemporanea attraverso il lavoro di Paolo Volponi, che può essere descritto come un’«opera mondo», in accordo con la formula critica coniata da Franco Moretti. Volponi intende superare il divario fra l’io e il mondo e ricomporre il corpo come una mediazione umanistica di ragione e sensi. La sua opera può essere definita ‘epica’ perché recupera la tradizione del romanzo cavalleresco e la parodia esercitata su questa tradizione letteraria da Cervantes nel Don Chisciotte. Ma, come l’Ulysses di Joyce, è un’epica «moderna» perché fondata su una totalità disgiunta e sul conflitto dialogico, in una linea che accomuna la moltiplicazione dei punti di vista, propria del romanzo polifonico secondo Bachtin, alla pluralità di prospettive del discorso scientifico. Dopo un primo capitolo teorico, nel secondo e nel terzo capitolo della tesi i romanzi di Volponi vengono studiati in rapporto al filone dell’«epica moderna» e al genere satirico, che ha un suo modello fondativo nell’opera di Giacomo Leopardi. Il quarto capitolo si focalizza sulle ultime raccolte poetiche, che mostrano la tendenza a recuperare il linguaggio formulare e la matrice orale della poesia delle origini, servendosene per rappresentare in funzione contrappuntistica l’universo globale dell’età contemporanea.In my doctoral dissertation I investigate the metamorphosis of the genre of novel in Contemporary Italian Literature analysing Paolo Volponi’s literary works. I borrow the critical category invented by Franco Moretti to describe Volponi’s books as “opera mondo.” Volponi wants to overcome the gap between the self and the world, and compose the body as a humanistic mediation between reason and senses. His work is ‘epic’ because it refers to the tradition of the romance and to its parody in Cervantes’ Don Chisciotte. However, Volponi’s work is a modern epic because, not differently from Joyce’s Ulysses, it is based on disjointed totality and dialogic conflict. Modern epic associates the multiplication of points of view, typical of the polyphonic novel theorized by Bachtin, with the plural perspective of the scientific subject. After a theoretical preface, in the second and third chapters of my dissertation, I study Volponi’s novels in relation to the modern epic and the satiric genre, which has its foundational model in Giacomo Leopardi’s work. The fourth chapter focuses on Volponi’s latest collections of poetry, which recall the matrix of oral origins of poetry and represent in counterpoint the contemporary universe of global age.
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Pomarici, Cesare <1992>. "Memoria e innovazione. Mitologia e letteratura greca nell'opera di Paolo Volponi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9722/1/Paolo%20Volponi%20MEMORIA%20E%20INNOVAZIONE%20Pomarici.pdf.
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Questa ricerca mira a ricostruire l'influenza della letteratura greca sulla formazione e sull'opera letteraria di Paolo Volponi (poesie e romanzi).This research aims to analyze the influence of greek literature through Paolo Volponi's education and literary work (poems and romances).
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Viglino, Sylvie. "La "letteratura d'azienda" les debuts litteraires de ottiero ottieri et paolo volponi." Paris 3, 1999. http://www.theses.fr/1999PA030019.
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Une reflexion sur la categorie de la "letteratura d'azienda" est menee a partir de l'analyse comparee de deux romans, tempi stretti de o. Ottieri et memoriale de p. Volponi, en suivant la demarche de la sociologie de la litterature. Le profil socio-professionnel de ces deux auteurs "olivettiani" et la position qu'ils ont occupee dans le champ litteraire et culturel des annees 50 et 60 sont reconstitues et confrontes dans le but d'eclairer le projet et la strategie que chacun a adoptee pour "percer" en litterature et de comprendre pourquoi, comment et avec quels effets leurs premieres oeuvres ont fait l'objet d'un tel classementThe study of the category of the "letteratura d'azienda" is carried out from the comparative analysis o. Ottieri's tempi stretti and p. Volponi's memoriale, by following the approach of the sociology of literature. The socio-professional profile of these two "olivettiani" authors and the place which they occuped in the cultural and literary field of the fifties and of the sixties are reconstructed and confronted with a view to enlightening their project and the strategy which was adopted by each of them in order to "make a name" in literature and to understanding why, how and with what effects their works were the subject to such a classification
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Bellia, Erica <1991>. "«Sugli scalini di una casa altrui». Soglie, margini, esilio nell’opera di Paolo Volponi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8987.
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La tesi costituisce l’esito di una ricerca condotta sui personaggi dei romanzi di Paolo Volponi e volta a indagarne lo statuto. Presupposto teorico fondamentale è l’accettazione e la presa in carico della natura ambigua, duplice della nozione di personaggio, a cavallo tra letteratura e realtà, tra autonomia del significante e spinta referenziale.
Mediante la categoria di cronotopo, definita da Michail Bachtin, sono individuate nel corpus narrativo preso in esame certe costanti relative alla posizione marginale, liminale, occupata nel tempo e nello spazio del racconto dagli eroi volponiani. Di questo atteggiamento si offre un’interpretazione in termini di esilio intellettuale, con riferimento all’elaborazione teorica di Theodor W. Adorno ed Edward W. Said.
Una volta descritte la ricorsività e la portata di questi aspetti, se ne verifica la tenuta per l’io lirico, ulteriore momento dell’oggettivazione dell’autore. In parallelo, è svolta infatti una riflessione sulla complessa relazione che intercorre tra autore, personaggio e io lirico, letta, ancora con termine bachtiniano, in chiave di “extralocalità”.
Dopo aver proceduto all’analisi dei testi, dunque con metodo induttivo e non per deduzione, si suggerisce che anche per il profilo dell’autore possa valere una rappresentazione in termini di esilio intellettuale. L’ipotesi finale è che sia proprio questo uno degli elementi centrali del marcato autobiografismo che informa l’opera volponiana.
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Cuccaroni, Valerio. "La follia nella narrativa italiana (1960-1980) : I romanzi di Paolo Volponi tra scrittura della nevrosi e sperimentazione." Paris 4, 2007. http://www.theses.fr/2007PA040028.
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Pour comprendre la représentation que les romans et les récits italiens donnent de la folie entre 1960 et 1980, il faut considérer les différentes méthodologies herméneutiques qui se sont développées depuis le 19ème siècle jusqu’aujourd’hui, ainsi que le contexte historique et les structures textuelles. Les années soixante et soixante-dix ont été caractérisées par la diffusion des psycholeptiques et des psychothérapies ainsi que par la critique de la psychiatrie institutionnelle et la crise du système asilaire. Les écrivains italiens se sont confrontés aux poétiques et aux pratiques d’avant-garde. Ils ont été aussi influencés par la méthode psychanalytique. Dans ce contexte, les romans de Paolo Volponi (1924-1994) donnent une des représentations parmi les plus originales et heuristiquement fécondes de la folie. Ils dévoilent les stéréotypes et ils modernisent la vieille métaphore du theatrum mundi, liée à une conception éthique de la folie, répandue à la même époque par la psychiatrie sociale et des savants tels que Erving GoffmanIn order to understand which kind of madness was represented in the Italian novels published from the 60’s to the 80’s, it is necessary to face the several hermeneutical methodologies which have appeared since the 19th century onwards, the historical context and the textual structures. The 60’s and the 70’s were characterized by the diffusion of psychotropic drugs and psychotherapies, by the critic of institutional psychiatry and the overcoming of the asylum system. The Italians writers faced the experimental and avant-garde poetics and praxis. They were also influenced by the psychoanalytical method. In this context, the novels by Paolo Volponi (1924-1994) are the ones that stand out from the works of other coeval Italian authors, giving us one of the most original and heuristically fertile representation of madness. They criticize stereotypes and they modernize the old theatrum mundi metaphor linked with the ethical conception of madness promoted by the social psychiatry and scholars like Erving Goffman
Per comprendere che tipo di follia sia stato rappresentato nelle opere narrative italiane pubblicate fra il 1960 e il 1980 è necessario confrontarsi con le molteplici metodologie ermeneutiche che si sono succedute dall’Ottocento ai giorni nostri, con il contesto storico e le strutture testuali. Gli anni Sessanta e Settanta sono stati caratterizzati, in ambito medico psichiatrico, dalla diffusione degli psicofarmaci e delle psicoterapie, dalla critica della psichiatria istituzionale e dal superamento del sistema manicomiale. Gli scrittori italiani si sono confrontati e scontrati con le poetiche e le pratiche sperimentali e di avanguardia e sono stati influenzati dal metodo psicoanalitico. In questo contesto, i romanzi di Paolo Volponi (1924-1994) risultano quelli che, rispetto agli altri italiani coevi, forniscono una delle rappresentazioni della follia più originali ed euristicamente fertili, svelando gli stereotipi e attualizzando l’antica metafora del theatrum mundi, in consonanza con la concezione etica della follia promossa nello stesso periodo dalla psichiatria sociale e da studiosi come Erving Goffman
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QUINTANS, PAULA SALGADO. "STRUCTURE AND NARRATIVE: THE FORM IN ALFREDO VOLPI." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4748@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA obra de Alfredo Volpi particulariza-se por uma dinâmica da forma que, a partir de um modo quase artesanal de trabalho, alcança a construção moderna do espaço pictórico autônomo. Essa constatação nos levou a uma análise de sua extensa produção, acompanhando as investidas do artista sobre o objeto, sua gradual depuração e sua relativa abstração, o que veio fortalecer suas qualidades estéticas justo pela renovação do código de representação. Em Volpi, o amadurecimento da experiência pessoal e artística suprime contornos e detalhes, e, através da lógica formal moderna, faz emergir a força das relações pictóricas intrínsecas, isto é, a sua própria estrutura.
The works of Alfredo Volpi characterizes itself by a dynamic of the form which, almost from a handiwork way, reaches the autonomous pictorial modern construction of space. This acknowledgement has taken us to an analysis of his wide production, following his attempts on the object, his gradual purification and relative abstraction, which make his esthetical qualities even stronger by the renovation of the representation`s code. In Volpi, the maturity of his personal and artistic experience put down details and contours, and through the modern formal logic, brings up the strength of the intrinsic pictorial relations, that is to say, its own structure.
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Hunziker, Andreas. "Wissenschaft als literarischer Stoff: Fiktion um die deutsche Atomphysik Analysen und Hintergründe zu Jorge Volpis "En busca de Klingsor" /." [S.l.] : [s.n.], 2006. http://www.zb.unibe.ch/download/eldiss/06hunziker_a.pdf.
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Burtin, Tatiana. "Figures de l’avarice et de l’usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L’Avare de Molière." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100136/document.
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L’émergence d’un « ‘esprit’ capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l’usure et de l’intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l’époque, et plus particulièrement chez les grands dramaturges qui ont marqué l’imaginaire collectif en mettant en scène des personnages avares. À partir d’un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l’Occident chrétien, l’appréhension nouvelle de l’argent comme objet et comme signe permet de construire une véritable figure moderne de l’avarice. Shylock, Volpone et Harpagon sont suspendus entre un or quasi divin, et l’univers plus ou moins connu de l’argent, qu’ils pensent maîtriser grâce à leur trésor. S’ils s’intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » (Simmel) suscitée par l’économie de l’usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L’analyse finale de ces dénouements permet de comprendre le travail de chaque auteur sur la forme et la fonction du comique, à travers le texte, les genres, ou une esthétique de l’espace. Elle montre que chacun s’attache à valoriser l’apport de son art au public dans une période de crise socio-économiqueThe emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis
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Calderón, Sara. "De l'esthétique de l'ambiguïté dans la fiction de Jorge Volpi." Tours, 2006. http://www.theses.fr/2006TOUR2008.
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Une esthétique de l'ambigu se met en place dans les romans de Jorge Volpi. Elle est caractérisée par la dialectique qui s'établit entre l'extrême organisation des ressources narratives et la multiplication des possibles de lecture, ainsi que par la tendance généralisée de la fiction à attirer dans sa sphère les éléments du réel. L'esthétique de l'ambiguïté est également sous-tendue par trois figures structurantes situées au carrefour du thématique et du fantasmatique : le "cannibale mélancolique", la figure de la castration et celle de l'androgyne. A travers l'étude des voix narratives ainsi que les formes intertextuelles et interdiscursives dans les romans "A pesar del oscuro silencio, El temperamento melancólico, En busca de Klingsor" et "El fin de la locura" il s'agit dans ce travail de voir comment cette utilisation de l'ambigu peut être lue comme forme de révolteThe novels of Jorge Volpi embody an esthetics of ambiguity, characterized by a dialectic relationship between the extreme organization of narrative resources and the multiplicity of possible readings, and by the general tendency of fiction to draw elements of the real world into ints own sphere. The esthetics of ambiguity is also supported by three structural figures located at the crossroads of thematics and fantasy : the "melancholy cannibal", the figure of castration and the figure of androgyny. Through an examination of narrative voices and intertextual and interdiscursive forms in the novels " A pesar del oscuro silencio, El temperamento melancólico, En busca de Klingsor" and "El fin de la locura", this study shows how a use of ambiguity can be reas as a form of revolt
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Chianchiano, Sonia <1988>. "Marisa Volpi Orlandini: critica militante nei decenni Sessanta e Settanta." Doctoral thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/12893.
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La tesi, grazie al reperimento di materiali inediti, rintracciati tra le carte di Marisa Volpi, oltre che in archivi e fondi privati dislocati tra Roma, Firenze, Venezia e Torino, ha preso in esame l’attività critica, pubblicistica e di ricerca della studiosa attorno al contemporaneo, a partire dai primi anni cinquanta, anni di formazione longhiana al fianco di Carla Lonzi, fino a considerare come momento di cesura gli ultimi anni settanta, la consapevolezza della fine delle avanguardie, l’esigenza di un ritorno alla storia e l’avvio dell’esperienza narrativa.
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Anderson, Julie Anne. "The Fox and the Goose: The Pamphlet Wars and Volpone's Animal Metaphors." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7273.
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Ben Jonson wrote Volpone when England's pamphlet wars and the rule of Queen Elizabeth I contributed to an environment in which the <">woman question<"> was forefront in many minds. These social concerns echo in Volpone, resulting in a play that not only deals with vices and greed, but that also, to a limited degree, contributes to the querelle de femmes. The play's numerous animal metaphors create distinctions between characters; among other things, animalistic surnames represent the vices and complexities of humanity, and, more specifically, reverberate with judgments that seem to underscore the injustices of misogynistic pamphleteers. Moreover, Jonson's characters Bonario and Celia represent the ideal images of manhood and womanhood and are armed with various virtues that allow them to overcome trials. Ultimately, when read in the context of the Early Modern pamphlet wars, Volpone's animal metaphors form a conservative defense of women that condemns misogyny and advocates a partnership between virtuous men and women for the sake of moral social order.
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Zehfuß, Peter. "Betrug und Selbstbetrug : Ben Jonsons Komödien "Volpone" und "The alchemist" vor dem Hintergrund der elisabethanisch-jakobäischen Gesellschaft und in ihrer Bedeutung für die Gegenwart /." Regensburg : Roderer, 2001. http://www.gbv.de/dms/bs/toc/32615325x.pdf.
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Ramouche, Marie-Pierre. "Savoir et pouvoir dans "la trilogia del siglo XX de Jorge Volpi." Paris 8, 2009. http://www.theses.fr/2009PA083130.
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La présente recherche étudie les romans de la trilogie de Jorge Volpi ( En busca de Klingsor, El fin de la locura et No será la Tierra) sous l'angle des relations entre le Savoir et le Pouvoir. Nous nous proposons de démontrer que l'auteur mexicain, sous l'influence des travaux de Michel Foucault sur les liens unissant le couple savoir-pouvoir, a bâti une trilogie mettant en relief les rapports étroits et paradoxaux entre ces deux notions qui, tout au long de ces trois romans, s'entrecroisent et s'inversent l'une l'autre jusqu'à converger vers leur exacte antithèse, la folie. Tant dans les conflits opposant " les hommes de savoir " – les scientifiques et les intellectuels – au pouvoir politico-économique que dans les strates les plus intimes de la psyché de l'individu – dans ses rapports aux autres et à soi-même –, ou au cœur même de sa conception et de sa pratique de la littérature, nous avons pu constater que Jorge Volpi revisite les concepts de savoir et de pouvoir par le prisme de la folie : tout au long de cette œuvre, les relations de savoir-pouvoir conduisent à la folie qui est elle-même source d'un autre mode de savoir-pouvoir, à la fois insondable et incontrôlable, pour lequel Volpi semble ressentir une profonde fascinationThis thesis examines the novels that compose Jorge Volpi's trilogy (En busca de Klingsor, El fin de la locura et No será la Tierra) from the perspective of the relationships between Knowledge and Power. The study demonstrates that the Mexican author, under the influence of the works by Michel Foucault on the links unifying the notions of Knowledge and Power, built a trilogy that highlights the close and paradoxical relationships between these two concepts, which intersect and inverse throughout these three novels, until finally converging in their exact antithesis, madness. Whether it be in the conflicts opposing "men of knowledge" — the scientists and the intellectuals — to the politico-economic power, or in the most intimate strata of an individual's psyche — in one's relationships with others and with oneself —, or even at the very heart of his conception of literature and in his own writing, this study reveals that Jorge Volpi revisits the concepts of knowledge and of power through the prism of madness. Throughout his work, the knowledge-power relationships lead to madness which is itself the source of another form of knowledge-power, both unfathomable and uncontrollable, for which Volpi seems to feel a deep fascination
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MAGALHAES, J. S. "SANTOS E MADONAS DE ALFREDO VOLPI: REINVENÇÃO DA TRADIÇÃO OU LIBERDADE EXPERIMENTAL?" Universidade Federal do Espírito Santo, 2015. http://repositorio.ufes.br/handle/10/2135.
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Previous issue date: 2015-08-14EEsta dissertação propõe-se analisar a produção artística de temática religiosa de Alfredo Volpi, considerando contextos periféricos relevantes, como a situação sócio-política da época e o contato direto que o artista teve com os afrescos de mestres pré-renascentistas em sua única viagem à Europa. Santos e madonas foram temas visitados e revisitados por Volpi durante quatro décadas consecutivas, fato este que por si só deixa transparecer inequivocamente o interesse do artista pelo assunto. Considera-se este um dos fatores de maior pertinência a justificar esta pesquisa, dentro de critérios acadêmicos, uma vez que é notório que Volpi não se permitia dedicar-se a investigações estéticas sem consideráveis pretensões. Sendo assim, pode-se deduzir que para o artista havia muito mais coisas em jogo do que simplesmente uma despretensiosa produção de figuras religiosas. Tais personagens surgem em seu repertório no primeiro lustro da década de 1930, a iniciar suas aparições inicialmente como traduções das imagens tradicionais - várias vezes estritamente como cópias encomendadas - continuando a ser produzidas até o final do decênio de 1960. No decorrer dessa trajetória, essas figuras passam a revestir-se de originalidade, chegando à sua última fase engastadas a fachadas, bandeirolas e mastros até desaparecerem totalmente de cena. Este estudo, longe de se apresentar como palavra final e, muito menos, como verdade absoluta, visa buscar fomentar um ambiente propício a novas discussões e chamar a atenção para essa produção artística que, definitivamente, ainda encontra-se bem distante de uma análise à altura de sua importância histórica e cultural. Palavras-chave: Arte. Modernismo. Pintura. Madonas. Volpi.
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Minto, Jlenia <1994>. "La raccolta veneziana dell’ingegnere Ernesto Volpi (1845-1898) alla Biblioteca Nazionale Marciana." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14243.
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La tesi propone un percorso di ricerca e di analisi sulla collezione libraria di Ernesto Volpi <1845-1898> ingegnere e bibliofilo veneziano, oggi conservata in buona parte presso la Biblioteca Nazionale Marciana. Partendo da un inquadramento sulla figura di Ernesto Volpi, si analizzano in seguito gli strumenti che permettono un primo accesso conoscitivo della sua biblioteca, ossia i cataloghi e gli inventari presenti, per poi avanzare un esame particolare del materiale, fornendo spunti di riflessione, ipotesi, confronti. Infine, si procede alla ricostruzione dei nuclei di altre biblioteche riunificate nella raccolta Volpi.
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Puente, Brunke José de la. "VOLPINI, Paola. El espacio político del letrado. Juan Bautista Larrea, magistrado y jurista en la monarquía de Felipe IV. Madrid: Universidad Autónoma de Madrid, 2010, 236 pp." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/122040.
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Íñiguez, Edgardo. "L'effondrement d'un monde : une approche de la mélancolie dans les romans de Jorge Volpi." Perpignan, 2013. http://www.theses.fr/2013PERP1228.
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La mélancolie traverse les romans de Jorge Volpi (Mexico, 1968). Elle y devient un sujet de réflexion important et se manifeste sous plusieurs formes appartenant à l’imaginaire occidental, comme l’intelligence tragique, les rapports entre les êtres d’exception et le malaise saturnien, l’acédie ou la lycanthropie. Notre auteur montre une vaste connaissance des paradigmes de la mélancolie, dont il se sert pour exposer les ébranlements des principaux postulats de la modernité en tant que système et pour remettre en question ses principes. En effet, dans ses romans, l’état d’esprit mélancolique découle, en grande partie, des promesses qui n’ont pas été tenues par le discours philosophique de la modernité, notamment en ce qui concerne les projets de raison et d’histoire. L’approche de six romans de Jorge Volpi, à travers les éléments méthodologiques du monde possible, montre que les paradigmes de la mélancolie nous permettent de comprendre certains aspects des problématiques actuelles de l’Occident dans les domaines de la rationalité cartésienne comme moyen d’approcher le réel et la téléologie de l’histoireMelancholy traverses the novels of Jorge Volpi (Mexico City, 1968). In the latter, it became an important subject of reflection and manifested itself in several ways that are part of the Western imaginary as tragic intelligence, relations between beings of exception and the saturnine uneasiness, sloth, or lycanthropy. Our author demonstrates a broad knowledge of the paradigms of melancholy, which he uses to expose the destabilizations of the main assumptions of modernity as a system and to question its principles. Indeed, in his novels, melancholy stems, in large part, of promises that have not been achieved by the philosophical discourse of modernity, especially the one regarding the reason and the history projects. The approach to six novels by Jorge Volpi, through methodological elements of the possible worlds, shows that the paradigms of melancholy allow us to understand certain aspects of the current issues of the West in the areas of Cartesian rationality as a way of approaching reality and teleology of history
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Pires, Carlos Eduardo de Barros Moreira. "Expressão e construção: Alfredo Volpi, João Cabral de Melo Neto e a arte moderna no país." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12112015-163453/.
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Esta tese interpreta, com foco nas obras de Alfredo Volpi e João Cabral de Melo Neto, o processo de modernização e rotinização da arte moderna no Brasil, Os poemas de Cabral e as pinturas de Volpi podem ser analisados como produtos de um novo contexto \"moderno\" para a arte no Brasil da década de 1950 e, ao mesmo tempo, produtores deste mesmo contexto, já que ambos estabelecem nexos importantes para a sua justificativa social, teórica e artística. A pesquisa teve como objetivo contribuir, por meio, principalmente, da leitura crítica de poemas e pinturas, para a reflexão sobre os rumos e contradições da arte moderna no Brasil.This thesis aims to investigate the process of modernization and routinization of modern art in Brazil, focusing on the works of Alfredo Volpi and João Cabral de Melo Neto. Cabral\'s poems and Volpi\'s paintings are seen as products of a new \"modern\" context for the art in Brazil in the 1950s and, at the same time, as producers of this same context, since both establish important nexus for its social, theoretical and artistic justification. This research aims to contribute, mainly by close critical readings of poems and paintings, to the reflection on the development and contradictions of modern art in Brazil.
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Volpin, Giulio [Verfasser], and Dirk [Akademischer Betreuer] Trauner. "Total synthesis and racemization of (-)-sincoracutine and studies towards the total synthesis of herqulines A and B / Giulio Volpin ; Betreuer: Dirk Trauner." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1185394141/34.
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Reinoso, Canelo Sara Herminia. "Deconstrucción y parodia en las novelas En busca de Klingsor y El fin de la locura de Jorge Volpi." Tesis, Universidad de Chile, 2006. http://www.repositorio.uchile.cl/handle/2250/108913.
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El siguiente estudio persigue dar cuenta sobre dinámicas deconstruccionistas que operan en las novelas En busca de Klingsor (1999) y El fin de la locura (2003) del escritor mexicano Jorge Volpi (1968). Tales dinámicas se manifiestan mediante el diálogo paródico que establecen las novelas con determinados acontecimientos históricos y, principalmente, con los discursos de la ciencia y la filosofía vinculados en relación profunda y problemática con dichos sucesos.
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Mori, Eva Kaiser. "Caracterização de pinturas do artista Alfredo Volpi por meio de métodos não destrutivos: espectrofotômetro, EDXRF, MEV e imageamento multiespectral." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/44/44144/tde-17112015-151200/.
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Alfredo Volpi (1896 - 1988) é um dos mais importantes pintores brasileiros contemporâneos. Sua extensa obra foi marcada, principalmente, por composições cromáticas e abstrações geométricas. Foi um artista que dava importância muito grande à técnica e aos materiais, tendo desenvolvido uma maneira própria e sistemática de trabalhar: confeccionava suas próprias telas, tintas e até pigmentos, com terras naturais. Analisou-se ao todo 11 pinturas a têmpera em diversos suportes (tela, aglomerado de madeira e mural), 10 delas realizadas na década de 1950, período em que a obra do artista passou por uma grande transformação, do figurativismo ao abstracionismo e do uso de tintas industriais à base de óleo para a técnica medieval da têmpera. As características de opacidade, saturação cromática e presença material do pigmento sobre a superfície da tela, inerentes a esta técnica pictórica, tornam-se elementos tão importantes em sua obra, quanto o uso da cor na formação do espaço. Foram realizados estudos de cor e composição química dos materiais e levantamentos de informações sobre seus procedimentos técnico-artísticos a partir de métodos analíticos complementares não destrutivos e pesquisa em diversas fontes, pois entende-se que estes elementos são chaves importantes para o entendimento mais profundo de sua obra. O espectrofotômetro foi utilizado para medição da cor com base em curvas espectrais e coordenadas numéricas de referência dentro de um espaço de cor uniforme. Técnicas de imageamento por luz visível, fluorescência visível por radiação ultravioleta e reflectografia de infravermelho próximo foram utilizadas para levantar informações sobre o processo criativo do artista, detectar locais de intervenções de restauro e observar o grau de fluorescência de cada área cromática das pinturas como auxiliar na identificação de pigmentos. A técnica de EDXRF (Espectroscopia de Fluorescência de Raios X por Energia Dispersiva) foi importante para caracterização química dos materiais. O MEV-EDS (Microscópio Eletrônico de Varredura com Espectroscopia por Dispersão de Energia de Raios X) forneceu informações sobre composição química e imagens da superfície dos materiais presentes nas pinturas murais. A partir da integração destas informações pôde-se identificar uma parte da rica paleta deste pintor, documentar as cores das pinturas no presente, identificar ou dar indicações da composição dos pigmentos e da base de preparação das pinturas e iluminar partes da história de cada uma das obras, como presença de esboços feitos à grafite, pinturas anteriores encobertas, pinceladas e maneiras de misturar a tinta e documentar seu estado atual de conservação. As ferramentas utilizadas se mostraram úteis na caracterização das pinturas, revelaram informações inéditas sobre a obra deste artista e levantaram novas indagações. As informações obtidas podem ser o início de um banco de dados sobre sua obra.Painter Alfredo Volpi (1896 - 1988) is one of the most important contemporary Brazilian artists. His extensive work, mostly characterised by chromatic compositions and geometric abstractions, is technically unique. The artist attributed great importance to craft and materials, developing his own systematic way of working. Among the paintings analysed were 11 temperasin various supports (canvas, hardboard panel and mortar). Of the selection, 10 paintings were made around 1950, when the artist\'s work underwent a major transformation, from figuration to abstraction, from the use of industrial oil-based paints to the medieval technique of tempera. This technique, known for its opacity, colour saturation and material presence of pigments on the canvas,became as important as the colour itself in the shaping of the artist\'s new spatial relation. It is understood that these elements are important keys to a deeper understanding of his work, both technically and artistically. The present investigation was carried out making use of non-destructive complementary analytical techniques. The aim was to study the chromatic and chemical composition characteristics of his paintings and gather information on the technical procedures the artist may have used. The spectrophotometer was used to measure the colour based on the spectral curves and numerical reference coordinates within a uniform colour space. Techniques of visual examination with visible light, visible fluorescence by ultraviolet radiation and near-infrared reflectography were used to gather information about the artist\'s creative process. These techniques also helped detect restoration patches and identify pigments. The EDXRF (Energy Dispersive X-Ray Fluorescence) technique was important for chemical characterization of materials, while the SEM-EDS (Scanning Electron Microscope with Energy Dispersive X-Ray Spectroscopy) provided surface images and information on the chemical composition of the material present in the murals. From the integration of these techniques it was possible to identify a part of the rich palette of Volpi´s paintings; to document the present aspects of the colours; to recognize or give indications of pigment and ground compositions and to shed light on parts of each of the works background, such as the presence of graphite sketches, covered earlier paintings and brushstrokes as well as to document the current condition of the works under study. The tools used have proven useful in characterizing the paintings, revealing new information about the work of the artist and raising new questions. The information obtained may be the beginning of a database on his oeuvre.
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Volpi, Nilva. "Contribuições de teses e dissertações para a formação do professor da educação infantil / Nilva Volpi ; orientação Joana Paulin Romanowski." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2006. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=575.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2006Inclui bibliografia
pesquisa realiza um estado da arte de teses e dissertações que têm por tema educação infantil, defendidas nos Programas de Pós-Graduação em Educação nas Instituições Superiores do Estado do Paraná no período de 1997 a 2004. O objetivo do estudo foi mapea
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Bilodeau, Annik. "The Politics of Cosmopolitanism in Contemporary Spanish American Literature: Elena Poniatowska, Mario Vargas Llosa, and Jorge Volpi Within a Disputed Tradition." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35573.
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This dissertation asserts that the tortuous relationship Spanish American literature had with cosmopolitanism since the Wars of Independence reached a turning point towards the end of the second half of the twentieth century. While the literary production of the nineteenth and most of the twentieth century was centred on the Spanish American nation and the continent, contemporary literature has become increasingly deterritorialized, and has begun to present narrative worlds and discuss issues that transcend this circumscribed universe. The discerning of this articulation of global issues in contemporary literature – which I contend is predicated on the concept of cosmopolitanism – is the primary objective of this investigation.
The five novels examined here are Elena Poniatowska’s La “Flor de Lis” (1988), Mario Vargas Llosa’s El Paraíso en la otra esquina (2003) and El sueño del celta (2010), and Jorge Volpi’s El fin de la locura (2003) and No será la Tierra (2006). This study aims to describe and assess an evolving perspective on the treatment of cosmopolitanism in Spanish America. I trace the shift from the previous generations’ main preoccupation with aesthetic cosmopolitanism, which sought to engage Latin American literary discourse with the Western canon, to what I identify as the current political implication of the concept. To this end, I show that whereas mid-twentieth century authors displaced cosmopolitanism in favour of more politically expedient concepts, authors now plot it in their novels as a means of discussing issues of identity and citizenship in an increasingly globalized world.
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Funes, Rendón Susana. "En busca de Klingsor: Crisis novelada de la modernidad emancipadora." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/327872.
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En la presente tesis doctoral se analiza la novela En busca de Klingsor, del autor mexicano Jorge Volpi, como una ilustración o “novelización” de la crisis de la Modernidad. La investigación se centra en la obra fundacional y paradigmática de su Trilogía del siglo XX por tratarse de la novela más ilustrativa del quiebre, al insertarse en un momento crítico de la Modernidad: la crisis ética que representaron la Segunda Guerra Mundial y la Shoah, paralelamente a la problematización de las certezas epistemológicas que significaron los postulados de la física cuántica; y abordar temas como el cuestionamiento a la verdad y la razón, la relación entre la ciencia y el poder, la utopía científica y del progreso. La hipótesis consiste en que la novela desmonta el concepto de Modernidad como proceso emancipador, al evidenciar, tanto a través de la trama como de los recursos estilísticos, las limitaciones que tiene la ‘razón’ como fundamento ético. A través de la búsqueda de Klingsor, supuestamente el principal científico y criminal del régimen nazi, Volpi va cuestionando distintos aspectos del concepto de Modernidad, evidenciando las limitaciones de la razón, de las formas occidentales de construcción del sujeto cognitivo y de las disposiciones del saber, no sólo para ‘conocer’, sino sobre todo para distinguir el ‘bien’ del ‘mal’.
Para profundizar en su trasfondo como novela de interpretación histórica y filosófica, la investigación presenta un enfoque hermenéutico y de reflexión filosófica, abordando tanto el estudio argumental, de temas, de personajes y de historia, como los aspectos narrativos, en función de su utilidad para explorar la crisis de la Modernidad. Se va más allá del necesario análisis narratológico, para contrastar y articular los planteamientos volpianos –la búsqueda detectivesca truncada, el narrador problematizado, los guiños y quiebres a la novela policial, la novela histórica y el texto divulgativo científico- con los diferentes diagnósticos de este quiebre, haciéndolos dialogar con las disertaciones sobre Modernidad y Postmodernidad, razón, conocimiento, verdad, bien y mal, ciencia y poder, entre otros términos prioritarios. Situando al autor en su contexto, a partir de las propuestas del Grupo del Crack y especialmente de sus ensayos más recientes sobre lo que ha llamado “Los libros de caos”, se contrasta también la poética de Volpi y sus ideas para subvertir la novela decimonónica, con las estrategias de la ficción postmoderna, comprobando que, no obstante los dispositivos utilizados, sus motivaciones no son del todo postmodernas, como lo evidencia la misma pretensión de totalización y resumen de su Trilogía.The present doctoral thesis analyzes the novel En busca de Klingsor (In search of Klingsor), by Mexican author Jorge Volpi, as an illustration or novelization of the crisis of Modernity. The research is centered on the foundational and paradigmatic work of his 20th Century trilogy given that it’s the most illustrative novel of the crisis, addressing a critical moment in Modernity: the ethical crisis that World War II and the Shoah represented, parallel to the problematization of epistemological certainties implied in the premises of quantum physics. It also attends to issues such as the questioning of truth and reason, the relationship between science and power, scientific utopia, and the myth of progress. The hypothesis consists in the novel dismantling the concept of Modernity as an emancipatory process, by evidencing, as much through plot as well as literary devices, the limitations of reason as an ethical foundation. Through the search of Klingsor, the supposed chief scientist and criminal of the Nazi regime, Volpi questions different aspects of the concept of Modernity, showing the limitations of reason, Western forms of cognitive subject construction and the disposition of knowledge, not only to know, but above all, to distinguish good and evil. In order to delve into the background of the work as a novel of historical and philosophical interpretation, this investigation presents a hermeneutical focus and a philosophical reflection, approaching as much a study of its argument, thematic concerns, characters, and history, as the narrative elements of the novel, in accordance with its usefulness for the exploration of the crisis of Modernity. It moves beyond the necessary narratological analysis to contrast and articulate the volpian approaches—the truncated detectivesque search, the problematic narrator, the gestures toward and ruptures with the crime novel, the historical novel and the novel of scientific discovery—with a diagnosis of this rupture, putting them in dialogue with discourses about Modernity and Postmodernity, reason, knowledge, truth, good and evil, science and power, among other critical terms. Situating the author in his context, from the proposals of the Grupo del Crack and especially from his more recent essays about what he has called “Books of chaos,” this investigation contrast Volpi’s poetics and his ideas to subvert the nineteenth-century novel with the strategies of postmodern fiction, confirming that, despite the techniques utilized, his motivations are not entirely postmodern, as the very same totalizing pretensions and summary of his Trilogy make evident.
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Tello, Carlos. "Houellebecq et Volpi, romanciers posthumanistes ? : Une lecture de deux romans de Michel Houellebecq, Les particules élémentaires (1998) et La possibilité d'une île (2005), et de la trilogie du XXe siècle de Jorge Volpi, En busca de Klingsor (1999), El fin de la locura (2003), et No será la Tierra (2006) à la lumière du posthumanisme." Thesis, Université de Paris (2019-....), 2019. http://www.theses.fr/2019UNIP7115.
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Les différents discours pouvant être associés au posthumanisme se développent principalement à partir des années 1950, et s’expriment tant au travers d’avancées technoscientifiques que de manifestations artistiques et littéraires, voire de positionnements politiques. Dans ce cadre, la période située entre la fin du XXe et le début du XXIe siècle a été marquée par la parution en 1999 en Allemagne de la conférence Règles pour le parc humain [Regeln für denMenschenpark] de Peter Sloterdijk, qui a relancé en Europe les débats sur les biotechnologies et l’anthropotechnique. En parallèle, les parutions au Mexique et en Espagne de la trilogie du XXe siècle de Jorge Volpi, En busca de Klingsor, 1999 ; El fin de la locura, 2003 et No será la Tierra, 2006, et en France des romans de Michel Houellebecq Les Particules élémentaires, 1998 et La Possibilité d’une île, 2005, portent profondément l’empreinte de cette époque. Ce travail entreprend tout d’abord d’étudier ces cinq romans à la lumière de sujets fondamentaux pour la configuration du posthumanisme au travers des discours critiques et théoriques abordant ce mouvement. Il propose en suite d’analyser en parallèle, d’une part, la perception et représentation de l’histoire, du passé, du présent et de l’avenir chez les romanciers, et d’autre part des moments clés pour la formation et le développement du posthumanisme, de ses sources mythiques et science-fictionnelles aux manifestations de la « contre-culture » étatsunienne. Le posthumanisme est ainsi envisagé non seulement comme un sujet qui sert de médiation entre deux œuvres, mais aussi dans sa dimension épistémologique, une dimension présente dans les romans des deux auteurs et qu’ils permettent de reconsidérerVarious discourses associated with posthumanism have mainly developed from the 1950s, expressed through technoscientific advances as well as through artistic and literary works and even in politics. In this context, the period between the end of the 20th and beginning of the 21st century was defined by the release of the Rules for the Human Park [Regeln für den Menschenpark] by Peter Sloterdijk at a conference in Germany in 1999, whore launched the debate on biotechnology and anthropotechnology in Europe. In parallel, the publications in Mexicoand Spain of Jorge Volpi’s trilogy of the twentieth century, En busca de Klingsor (1999), El fin de la locura (2003) and No será la Tierra (2006), and in France, the novels by Michel Houellebecq, Les Particules élémentaires (1998)and La Possibilité d’une île (2005), bear the imprint of this period. The present work begins by studying these five novels taking into account the fundamental topics of posthumanist configuration through critical and theoretical discourses which address this movement. It then proposes to analyze in parallel, on the one hand, the perception and representation of the history, the past, the present and the future among novelists, and on the other hand key milestones for the creation and development of posthumanism, from its mythical and science-fictional sources to the manifestations of the American "counter-culture". Posthumanism is thus envisaged not only as a subject that serves as a mediation between two works, but also in its epistemological dimension. A dimension present in the novels of both authors, and that they allow to reconsider
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Neuman, Shlomo P. "Comment on “Advective transport in heterogeneous aquifers: Are proxy models predictive?” by A. Fiori, A. Zarlenga, H. Gotovac, I. Jankovic, E. Volpi, V. Cvetkovic, and G. Dagan." AMER GEOPHYSICAL UNION, 2016. http://hdl.handle.net/10150/622506.
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Fiori et al. (2015) examine the predictive capabilities of (among others) two "proxy'' non-Fickian transport models, MRMT (Multi-Rate Mass Transfer) and CTRW (Continuous-Time Random Walk). In particular, they compare proxy model predictions of mean breakthrough curves (BTCs) at a sequence of control planes with near-ergodic BTCs generated through two-and three-dimensional simulations of nonreactive, mean-uniform advective transport in single realizations of stationary, randomly heterogeneous porous media. The authors find fitted proxy model parameters to be nonunique and devoid of clear physical meaning. This notwithstanding, they conclude optimistically that "i. Fitting the proxy models to match the BTC at [one control plane] automatically ensures prediction at downstream control planes [and thus] ii .... the measured BTC can be used directly for prediction, with no need to use models underlain by fitting.'' I show that (a) the authors' findings follow directly from (and thus confirm) theoretical considerations discussed earlier by Neuman and Tartakovsky (2009), which (b) additionally demonstrate that proxy models will lack similar predictive capabilities under more realistic, non-Markovian flow and transport conditions that prevail under flow through nonstationary (e.g., multiscale) media in the presence of boundaries and/or nonuniformly distributed sources, and/or when flow/transport are conditioned on measurements.
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Monteiro, Taís Cabral. "Percursos poéticos." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01062017-095007/.
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A tese Percursos poéticos encontra-se dividida em dois Volumes: Em 4 estudos, as obras e os discursos de quatro artistas visuais recebem um estudo histórico e iconográfico. Já no livro-ensaio, apresento o trabalho plástico pessoal, principalmente em pintura, realizado durante o período de doutorado. No primeiro Volume, foram dedicados dois ensaios aos artistas Alfredo Volpi e Maria Helena Vieira da Silva, no contexto do modernismo. Tal Volume consta também de entrevistas realizadas com Fabio Miguez e Manuel Caeiro, agora no âmbito da arte contemporânea. Analisando os textos históricos e das entrevistas, é notável como a particularidade dos discursos dos artistas permite uma maior aproximação do contexto original no qual se desenvolveram os seus trabalhos. Desse modo, os depoimentos pessoais e práticas pictóricas dos artistas levam a uma interpretação poética de suas obras, tendo as cidades como espaço processual da arte: seus percursos criativos estabelecem relações com a vivência e com suas viagens, em São Paulo e Lisboa, entre outros lugares mencionados.This thesis Poetic Paths is divided into two Volumes: 4 studies encompasses a historic and iconographic study of the works and discourse from four visual artists. The accompanying essay-book showcases the individual work in visual arts, especially in painting, I have been producing during the development of my PhD thesis. The first Volume includes two essays, on artists Alfredo Volpi and Maria Helena Vieira da Silva, set within the modernist context. This Volume also includes interviews with Fabio Miguez and Manuel Caeiro, set within the context of contemporary art. By analyzing the historical texts and interviews, a notable specificity of the artists\' discourses emerges and allows for greater approximation to the original context in which their work was produced. Therefore, the interplay between personal testimonials and the pictorial practices of these artists affords a poetic interpretation of their work, with the city as their procedural space, as their creative paths relates to their experiences and travels, either in Sao Paulo or Lisbon, among other places.
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Desrochers, Stéphanie. "Expériences du Nouveau Monde - étude de la relation entre essai et narrativité dans les recueils «Intérieurs du nouveau monde» de Pierre Nepveu et «El insomnio de Bolivar» de Jorge Volpi." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30442/30442.pdf.
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Dans les années 1980, l’essayiste québécois André Belleau émet l’hypothèse que l’essai, fruit d’un « artiste de la narrativité des idées », n’est autre chose qu’un « récit idéel » dans lequel le contenu idéel et la tension argumentative se substituent respectivement aux personnages et à l’action d’une œuvre narrative. L’idée que l’essai puisse être rapproché du genre narratif est lancée, mais elle reste peu approfondie. Prenant le relais de la réflexion menée par Belleau, ce mémoire propose d’explorer la dimension narrative de l’essai et du recueil d’essais à partir d’Intérieurs du Nouveau Monde, de Pierre Nepveu, et de El insomnio de Bolívar, de Jorge Volpi. Ces deux recueils ont en commun d’opposer l’expérience personnelle des auteurs à un récit collectif ayant structuré le devenir identitaire américain et latino-américain. Mais, plus que cette commune volonté qu’elles ont de questionner un imaginaire construit de l’Amérique et de l’Amérique latine, les œuvres de Pierre Nepveu et Jorge Volpi partagent une semblable ambition : celle de proposer un récit alternatif, qui prête au recueil une progression linéaire, voire narrative. Deux approches théoriques sont convoquées pour mener à bien l’analyse : la sociocritique, dans un premier temps, et la poétique narrative, dans un deuxième temps.
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Desrochers, Stéphanie. "Expériences du Nouveau Monde : étude de la relation entre essai et narrativité dans les recueils Intérieurs du nouveau monde de Pierre Nepveu et El insomnio de Bolívar de Jorge Volpi." Master's thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/24866.
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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2013-2014.Dans les années 1980, l’essayiste québécois André Belleau émet l’hypothèse que l’essai, fruit d’un « artiste de la narrativité des idées », n’est autre chose qu’un « récit idéel » dans lequel le contenu idéel et la tension argumentative se substituent respectivement aux personnages et à l’action d’une œuvre narrative. L’idée que l’essai puisse être rapproché du genre narratif est lancée, mais elle reste peu approfondie. Prenant le relais de la réflexion menée par Belleau, ce mémoire propose d’explorer la dimension narrative de l’essai et du recueil d’essais à partir d’Intérieurs du Nouveau Monde, de Pierre Nepveu, et de El insomnio de Bolívar, de Jorge Volpi. Ces deux recueils ont en commun d’opposer l’expérience personnelle des auteurs à un récit collectif ayant structuré le devenir identitaire américain et latino-américain. Mais, plus que cette commune volonté qu’elles ont de questionner un imaginaire construit de l’Amérique et de l’Amérique latine, les œuvres de Pierre Nepveu et Jorge Volpi partagent une semblable ambition : celle de proposer un récit alternatif, qui prête au recueil une progression linéaire, voire narrative. Deux approches théoriques sont convoquées pour mener à bien l’analyse : la sociocritique, dans un premier temps, et la poétique narrative, dans un deuxième temps.
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Hall, Kenneth. "Technology and the Grail in Fringe, In Search of Klingsor and Other Nazi Scientist Tales." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7809.
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Hoffmann, Ana Maria Pimenta. "A arte brasileira na II Bienal do Museu de Arte Moderna de São Paulo : o premio melhor pintor nacional e o debate em torno da abstração." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279117.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-01T15:43:16Z (GMT). No. of bitstreams: 1 Hoffmann_AnaMariaPimenta_M.pdf: 8036773 bytes, checksum: 6ef556ac298f130c7bd956edaa979b66 (MD5) Previous issue date: 2002
Resumo: Esta Dissertação focaliza a H Bienal do Museu de Arte Moderna de São Paulo que representa um alto momento da cultura brasileira, onde ao lado de outros eventos comemorativos do IV Centenário da cidade de São Paulo, possibilitou trazer ao público brasileiro e internacional uma ampla e bela exposição, com retrospectivas históricas e a ocorrência de uma acalorada competição para uma distribuição inédita de prêmios, onde destaca-se a divisão do prêmio de Melhor Pintor Nacional. Este estudo destaca o amplo debate sobre arte abstrata ocorrido naquela ocasião. A presença de críticos internacionais de arte no Júri de Premiação, de representantes nacionais neste Júri, bem como de outros atuantes na imprensa possibilitaram o contraponto, dentro de um grupo bem diverso e ativo. Este debate é recuperado neste estudo, através de entrevistas de época, bem como de comentários da imprensa naquele momento. Para contextualizar este debate a nível nacional, são recuperados os antecedentes que engrandeceram o cenário das artes plásticas no Brasil, destacando-se o Salão de Maio organizado por Flávio de Carvalho em 1938, a criação em São Paulo do Museu de Arte de São Paulo (Masp), em 1947, e o Museu de Arte Moderna de São Paulo (MAM-SP) em 1948 e a efervescência dos debates sobre a evolução da arte no pais associados a estes eventos
Abstract: The 2nd Biennial at the Museu de Arte Moderna in São Paulo represents a very bright moment for Brazilian culture. At the occasion, several other events celebrated the 4th Centennial of the city of São Paulo. The 2nd Biennial presented a very fine collection, with several retrospective exhibitions and a much disputed contest for a series of new awards, being Best National Painter" the most remarkable. The 2nd Biennial had several important antecedents, events that richly improved the arts scene in Brazil. Among them, the 'Salão de Maio1, organized in 1938 by Flávio de Carvalho, and the foundation of both Museu de Arte de São Paulo (MASP) in 1947 and the Museu de Arte Moderna de São Paulo (MAM-SP), in 1948. Several international art critics, important Brazilian critics and writers with strong presence in the newspapers composed the Award Jury. Thus, the jury was a very distinct and diversified group, which generated considerable impact on the press coverage. The critical debate ensued by the 2nd Biennial is therefore an important aspect of the present study
Mestrado
Mestre em História
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Bernal, Rodríguez Alejandra. "Allegory and the Transnational Affective Field in the Contemporary Mexican Novel (1993-2013)." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39702.
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This thesis identifies continuities and disruptions within the tradition of literary allegory in Latin America and critically revisits the category of “national allegory” (Jameson 1986) in order to articulate an interpretative model suited to contemporary “transnational allegorical fiction”. Based on the analysis of seven Mexican novels that register the transition of neoliberalism from the political-economic order to a form of biopolitical control (Althusser, Foucault, Žižek), I identify the emergence of what I call a “transnational affective field”: a symbolic horizon, alternative to the nation, where the prospective function of foundational romances (Sommer) and the retrospective function of mourning akin to postdictatorial fiction (Avelar), converge. This ideological device negotiates power relations, facilitates the transfer of local/global meaning, promotes intercultural empathy and compromise, and denounces mechanisms of exclusion; thereby, reconfiguring the affective and political functions of allegory in Latin American fiction.
Part One discusses critical approaches to allegorical fiction in both Latin American and World literatures. Part Two compares the representation of the binomial nation/world in three historiographic metafictions by Carmen Boullosa, Francisco Rebolledo and J.E. Pacheco through recent approaches in post-/de-colonial and memory studies. Part Three examines the depiction of the nation as simulacrum and the figuration of postmodern subjectivities in Jorge Volpi and Juan Villoro from a poststructuralist perspective. It also contends that Álvaro Enrigue’s and Valeria Luiselli’s novels are representative of an emergent meta-allegorical imagination that, in an ironic reversal of allegory (de Man), simultaneously constructs it as a mechanism of ideological control as well as a conscious strategy to resist commodification and symbolic violence (Bourdieu) in the contemporary world.
The analysis demonstrates the vitality of Mexican transnational allegorical fiction as a socio-political and affective counter-hegemonic discourse that also functions as an effective strategy of recognition in the international literary field.
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Falco, Antonella, Castro Giuseppe Lo, Gaetano Roberto De, and Margherita Ganeri. "Donnarumma all'assalto e Memoriale: una lettura critica." Thesis, 2011. http://hdl.handle.net/10955/913.
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Pellegrino, Giulia. "Una sorta di familiarità con la fine del mondo: Alvaro, Morselli, Volponi, Cassola e l’utopia in Italia nel Novecento." Doctoral thesis, 2020. http://hdl.handle.net/11562/1017752.
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Il pensiero utopico, attitudine e completamento della mente umana soprattutto a partire dall’età moderna, ha visto una significativa trasformazione nel corso del XX secolo. Questa nuova fase è caratterizzata dall’opposizione tra un’utopia problematica, che sembrava dapprima aver raggiunto una soddisfacente espressione socio-politica, e una progressiva delusione che porta all’affermazione della distopia come nuovo genere letterario. Sebbene la distopia possa essere considerata a lungo come la narrazione della modernità, gli ultimi decenni hanno mostrato come essa possa essere superata. Di fatto la coscienza collettiva, priva di qualsiasi residuo delle utopie passate, depotenzia il valore rivoluzionario della distopia, tanto più quando le ansie millenarie che la fondavano rischiano di materializzarsi: la distruzione della vita, del pianeta e della civiltà ha già superato il peggio possibile prefigurato dalla distopia. A partire da tale quadro, questa tesi di dottorato analizza come la letteratura italiana ha affrontato il passaggio dalla distopia al genere apocalittico attraverso quattro autori novecenteschi: Corrado Alvaro e la sua distopia dispotica; il mondo solipsistico di Guido Morselli; la critica alla fabbrica e al capitalismo di Paolo Volponi; la terra desolata descritta dall’ultimo Carlo Cassola. È importante notare che la cultura italiana del Novecento non era molto incline ad accettare ed accogliere la forma letteraria distopica e i suoi sottogeneri come, ad esempio, l’ucronia. Proprio questa resistenza rende interessante tracciare un’ipotetica evoluzione, non solo legata alla storia italiana ma anche alle trasformazioni del pensiero occidentale. La ricerca condotta considera le relazioni tra utopia e distopia nei quattro autori esaminati come radicate nella loro biografia, caratterizzate da diverse strategie di straniamento e centrata su due figure ricorrenti, lo straniero e il reduce. L’esito è un peculiare approccio alla persistenza e al fallimento dell’utopia da un lato, e all’emergere della distopia dall’altro, fino all’apocalisse come rappresentazione estrema e allo stesso tempo svuotamento del genere distopico.Utopian thinking as complement of human mind, especially in Modern Age, reached a major landmark in the 20th century. This period was characterised by the opposition between a problematic Utopia, which seemed at first to have found a perfect socio-political expression, and a progressive discontent whose result was the affirmation of Dystopia as a new literary genre. Although Dystopia can be considered for a long time as the narration of modernity, the last decades have shown how it can be outdated. Actually, collective consciousness, void of any fragment of past utopias, deprives Dystopia of its revolutionary value. Futhermore, nowadays the millenary anxieties at the basis of Dystopia risk to materialize: the actual destruction of human life, planet and civilization has already overcome the ‘worst possible’ of Dystopia. Departing from such overview, this Ph.D thesis analyses how Italian literature faced the turn from Dystopia to the advent of the Apocalyptic genre through four writers in the 20th century: Corrado Alvaro and his ‘despotic dystopia’; Guido Morselli’s solipsistic world; Paolo Volponi’s critique of factory and capitalism; and the “waste land” described by the last Carlo Cassola. Notably, Italian culture at the time was not very prone to accept and implement the dystopian literary form and its various sub-genres (such as Uchronia). Therefore, it is interesting to trace a hypothetical evolution that not only is deeply rooted in national history but also reflects current developments throughout Western thinking. The research carried out takes in consideration the relationships between utopia and dystopia in the four writers as rooted in the authors’s biography, characterized by different modalities of estrangement and centred on the recurrent figures of the stranger and the homecomer. The result is a peculiar approach to the persistence and failure of utopia on the one hand and the emergence of dystopia on the other, to the point of Apocalypse as extreme representation of the genre and its concurrent weakening.
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Burtin, Tatiana. "Figures de l'avarice et de l'usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L'Avare de Molière." Thèse, 2011. http://hdl.handle.net/1866/6178.
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L'émergence d'un « 'esprit' capitaliste » (Weber) en Angleterre et en France au tournant des XVIe-XVIIe siècles a favorisé la reconfiguration des rapports entre avaritia et cupiditas, qui déterminent tout le champ sémantique de l'usure et de l'intérêt. Cette thèse postule que cette évolution est sensible dans la comédie française et anglaise de l'époque, plus particulièrement chez les dramaturges qui ont marqué l'imaginaire collectif en mettant en scène des personnages avares. À partir d'un type comique issu à la fois du théâtre antique et du canon religieux bien établi dans l'Occident chrétien, l'appréhension nouvelle de l'argent comme objet et comme signe permet de construire une véritable figure moderne de l'avarice.
Les protagonistes de chaque pièce, Shylock, Volpone (Mosca) et Harpagon, sont suspendus entre un or quasi divin, et l'univers plus ou moins connu de l'argent, medium en passe de devenir l'équivalent universel de tout bien, qu'ils pensent maîtriser grâce à leur trésor. S'ils s'intègrent parfaitement à la fluidité moderne des échanges économiques, culturels et sociaux, ils participent aussi à leur dévalorisation, par une activité et un discours proprement usuraires. Leur entourage tente de soumettre cette « labilité » des valeurs (Simmel) suscitée par l'économie de l'usurier-avare à un nouvel ordre, cosmique, éthique ou politique. Le conflit se résout devant la justice, instance discriminatoire externe et prétexte à la mise en abyme du jugement social. L'analyse des dénouements permet dès lors de comprendre le travail de chaque auteur sur la forme et la fonction de la comédie, à travers le texte, les genres, ou une esthétique de l'espace. Elle montre que chacun s'attache à valoriser l'apport de son art au public, dans une période de crise socio-économique.The emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice. Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis.
Réalisé en cotutelle avec l'Université de Paris Ouest Nanterre La Défense
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"El ensayo de Jorge Volpi: El México de los años ‘68 y ‘94." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.38623.
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abstract: In the mid-1990’s, in Mexico, a group of novelists emerged during a public appearance at a literary venture aimed to go against predominant forms of aesthetics, canon, groups or literary ‘mafias’ prevalent during that time period. The group of five young writers called themselves “El grupo crack,” (The crack group). They brought with them the crack manifesto (1996) where each member of the group wrote to plea for a renovation of the novel with the assurance of having literary works that would challenge the reader as much as the literary status quo. Along with the manifesto, each one of them presented a novel. A few years after the presentation, the members of the group received many literary prices and accolades, inside and out of academic circles.
One of the primary objectives of this work is to expose the poetic proposal of the literary grupo crack as it relates to previous movements, groups, and literary trends. Among the five writers of the group, Jorge Volpi has shown a significant growth in his literary corpus in a very short period of time. Aside from the great recognition he has received for his novel En busca de Klingsor (1999), (In search of Klingsor), Volpi has been a motive of study, mostly, for his narrative, leaving behind his essays. There are two collections of political-cultural essays that are well hidden in the early Jorge Volpi bibliography. The first one is titled La imaginación y el poder. Una historia intelectual de 1968 (1998), (Imagination and Power. An Intellectual history of 1968), and the second, La guerra y las palabras. Una historia intelectual de 1994 (2004), (War and Words. An intellectual history of 1994). Both works have been ignored in the bibliography of the grupo crack.
To analyze both works it was necessary to contextualize Mexican history of the years 1968 and 1994, respectively. The analysis shows the interaction and coexistence between the intellectual class and the Mexican political class in an authoritarian regime, same symbiosis that Vargas Llosa would once refer to as “the perfect dictatorship.”Dissertation/Thesis
Doctoral Dissertation Spanish 2015
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"Narrativas no-convencionales en cuentistas hispanoamericanos contemporáneos: Iván Thays, Jorge Volpi, Ricardo Chávez Castañeda y Héctor Libertella." Doctoral diss., 2015. http://hdl.handle.net/2286/R.I.30045.
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abstract: Narrativas no-convencionales en cuentistas hispanoamericanos contemporáneos: Iván Thays (Perú), Jorge Volpi y Ricardo Chávez Castañeda (México) y Héctor Libertella (Argentina) se centra en cuentos contemporáneos de autores de diferentes tradiciones nacionales dentro de un marco de tiempo veinticinco años, que convergen en la práctica de las narrativas no-convencionales. Defino narrativa no-convencional como un efecto narrativo controlado e intencional que implícita o explícitamente cuestiona procedimientos o convenciones generalmente catalogados como "realismo" y por lo tanto se desvía de él. Este estudio establece conexiones, afinidades y potenciales diferencias entre los textos del corpus seleccionado, y se enfoca en los procesos por medio de los cuales las narrativas no convencionales se desvían en mayor o menor grado del "realismo".
El marco teórico que utilizo se compone de dos enfoques. Me centro, por un lado, en una área muy reciente de estudios definida como narrativas no naturales, que abarca teorías narratológicas que exponen extrañamiento y experimentación en una variedad de textos literarios y permiten el análisis de la representación del espacio-tiempo de manera innovadora. Por el otro lado, me baso en teorías epistemológicas, complementadas con un enfoque fenomenológico desarrollado por Darío Villanueva, según la cual el lector es capaz de crear una simulación intencional de realismo/antirrealismo interactuando, reconociendo y comparando los sistemas de referencia o esquemas con otros marcos a los que ha tenido acceso anteriormente. Todos los textos despliegan un conjunto de prácticas narratológicas para crear o destruir la ilusión de realismo. Además de poner de relieve la narrativa no-convencional, la disertación enfatiza la narrativa antimimética como uno de los géneros menos explorados dentro de la tradición hispanoamericana.Dissertation/Thesis
Doctoral Dissertation Spanish 2015
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Zavala, Oswaldo. "Literature to infinity: a Borgesian genealogy of contemporary Mexican narrative." Thesis, 2006. http://hdl.handle.net/2152/3012.
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