Pour voir les autres types de publications sur ce sujet consultez le lien suivant : David.
Thèses sur le sujet « David »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleures thèses pour votre recherche sur le sujet « David ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les thèses sur diverses disciplines et organisez correctement votre bibliographie.
1
Kite-Powell, Rodney. "In Search of David Paul Davis." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000200.
Texte intégral
2
Olson, Ted. "David Davis and the Warrior River Boys: Radically Traditional Bluegrass." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1153.
Texte intégral
3
Mari, Neto Ricardo. "David Nebreda." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/710.
Texte intégralRésumé :
Made available in DSpace on 2016-12-08T16:18:56Z (GMT). No. of bitstreams: 1
121494.pdf: 12442440 bytes, checksum: e832bd3d380ffed957e810dc50901740 (MD5)
Previous issue date: 2014-12-01<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Cette dissertation est un étude consacrée exclusivement à l oeuvre de David Nebreda de Nicolas, artiste né dans la capitale Madrid, le 1 août 1952, dont la production photographique, formé dans sa intégralité par autoportraits est étroitement liée à sa infirmité, à savoir, squizophrénie paranoide. Constitué par deux longs essais cette recherche se concentre, premièrement, dans la relation entre les autoportraits et la squizophrénie de l artiste. De cette façon, basé sur les études autor de la squizophrénie realisée par Ronald Laing, présent dans son livre Le moi divisé, où l auteur fait usage des philosophies existentialiste et phénoménologique pour mieux comprendre la question squizophénique, nous en avons déduit que ce qui David Nebreda reconnaît comme le procès de régénération de sa squizophrénie n est rien d autre qu un procès de disparition par la production d autoportraits, à savoir, Nebreda a par objective disparaître avec le propre corps réfléchi dans les miroir qu il utilise pour la composition de ses photographies, en assurant, de cette manière, la pleine réalisation de son moi, encore, la conservation de sa identité. Dans un deuxième moment, nous avons développé un dialogue presque littéraire entre les autoportraits de l artiste et le concepte du Dehors, de Maurice Blanchot. D accord avec Blanchot, le Dehors est l inconnu, l étranger, l inaccessible qui est l essence de l art, ce qui l artiste désire rattraper par la oeuvre. Par les autoportrait de David Nebreda, reconnué as compléxicité et puissance, nous avons déduit que l artiste est du côté de dehors, autremente dit, il est parti à travers du propre corps, qui est sa oeuvre, dans la recherche d origine et essence de l art. Cependant, se rapporter avec le Dehors est aussi perdre le pouvoir de dire moi, c est donner voix à l impersonnel, c est créer pour soi-même un corps sans organes, un corps que resiste à l organisme et à sa organisation propre du moi que tout veut contrôler. Nebreda, en préciptant au côté de dehors dans la recherche de l essence de l art, il construit pour soi-même un corps sans organes à travers de ses autoportraits, encore, um corps sans organes-oeuvre d art.<br>Esta dissertação é um estudo dedicado, exclusivamente, a obra de David Nebreda de Nicolas, artista nascido na capital Madri, em 1 de agosto de 1952, cuja produção fotográfica, formada em sua totalidade por autorretratos, está intimamente relacionada à sua enfermidade, ou seja, esquizofrenia paranoide. Composta por dois longos ensaios, esta pesquisa se concentra, primeiramente, na relação entre os autorretratos e a esquizofrenia do artista. Desta feita, com base nos estudos acerca da esquizofrenia realizados por Ronald Laing, presentes em seu livro intitulado Le moi divisé, onde o autor lança mão das filosofias existencialista e fenomenológica para melhor compreender a questão esquizofrênica, depreendemos que, aquilo que David Nebreda reconhece como sendo o processo de regeneração de sua esquizofrenia, nada mais é do que um processo de desaparição por meio da produção de autorretratos, ou seja, Nebreda tem por objetivo desaparecer com o corpo próprio refletido nos espelhos que utiliza para a composição de suas fotografais, garantindo, de tal maneira, a plena realização de seu eu, mais ainda, a preservação de sua identidade. Em um segundo momento, fora desenvolvido um diálogo quase literário entre os autorretratos do artista e o conceito do Fora, de Maurice Blanchot. De acordo com Blanchot, o Fora é o desconhecido, o estrangeiro, o inalcançável que é a essência da arte, o que o artista, através da obra, almeja alcançar. A partir dos autorretratos de David Nebreda, reconhecida sua complexidade e potência, deduzimos que está o artista do lado de fora, ou seja, partira através do corpo próprio, que é a sua obra, em busca da origem e essência da arte. Porém, relacionar-se com o Fora é, também, perder o poder de dizer eu, é dar voz ao impessoal, é criar para si um corpo sem órgãos, corpo que resiste ao organismo e a sua organização própria do eu que a tudo quer dominar. Nebreda, ao lançar-se ao lado de fora em busca da essência da arte, constrói para si um corpo sem órgãos por intermédio de seus autorretratos, ou ainda, um corpo sem órgãos-obra de arte.
4
Koloskova, O. A. "David Sarnoff." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40405.
Texte intégralRésumé :
According to a definition, a "self-made man" or "self-made
woman" is a person who was born poor or otherwise disadvantaged,
but who achieved great economic or moral success thanks to their
own hard work and ingenuity rather than to any inherited fortune,
family connections, or other privilege. The biography of David
Sarnoff (1891-1971) – american communicator and businessman,
one of the founders of radio and television broadcasting in the United
States – clearly illustrates the idea of a "self-made man".
5
Delgado, Aqueveque Laura Angelina. "David, Some Davids, and All Davids: Reference, Category Change, and Bearerhood of Real-Life Names." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/565822.
Texte intégralRésumé :
This essay is devoted to the study of proper names. Although the view that sees proper names as referential singular terms is widely considered orthodoxy, there is a growing popularity to the view that proper names are predicates. This is partly because the orthodoxy faces two anomalies that Predicativism can solve: on the one hand, proper names can have multiple bearers. But multiple bearerhood is prima facie a problem to the idea that proper names have just one individual as referent. On the other hand, proper names can have predicative uses. But the view that proper names are singular terms arguably does not have the resources to deal with these uses.
In this dissertation I argue that the Predicate View of proper names is mistaken. In the first part of the thesis, I analyse this view in its main con- tentions and offer several arguments to reject it. This critical exercise provides useful insight into the life of proper names that I incorporate in my own view as follows: I argue that the behaviour of proper names should be understood in light of the wider phenomenon I call category change. Thus, I maintain, with orthodoxy, that proper names are fundamentally referential terms, but I also argue that they also have other uses, including the predicative uses highlighted by the predicativist. I also offer a semantic theory according to which proper names are polyreferential, that is, they are terms that can have more than one referent in a way that is distinct from both plural terms and general terms. This theory resolves the problem of multiple bearerhood and provides a base to account for all other uses of proper names that are not referential, i.e., common noun, adjectival and verbal uses, as semantically derived from the more fundamental referential meaning.
6
Scheuring, David [Verfasser], and David G. [Akademischer Betreuer] Robinson. "Funktionelle Charakterisierung pflanzlicher Endosomen / David Scheuring ; Betreuer: David G. Robinson." Heidelberg : Universitätsbibliothek Heidelberg, 2011. http://d-nb.info/1179229916/34.
Texte intégral
7
Schröder, Gesine. "Johann Nepomuk David." Georg Olms Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A7669.
Texte intégralRésumé :
Johann Nepomuk David (1895–1977) lebte und wirkte von 1934 an für gut ein Jahrzehnt in Leipzig. Untersuchungen seiner Werke aus jenen Jahren und ihrem unmittelbareren zeitlichen Umfeld stehen im Zentrum dieses Bandes. Die Autorinnen und Autoren nehmen je ein Werk bzw. ein Werkkonvolut Davids in den Blick, vorzugsweise solche für öffentlichkeitswirksame Bereiche wie für Orchester und für Chor. Eine Unterhaltung über in den dreißiger Jahren entstandene Männerchöre, eine zeitgeschichtliche Untersuchung und ein Gespräch über das Verhältnis von Werk und öffentlichem Handeln Davids ergänzen die Beiträge.
Der Band verdankt sich einer Initiative der Fachrichtung Komposition/Tonsatz der Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig. In seinem Kern ging er aus Vorträgen hervor, die bei einem halbtägigen Symposium im Wintergarten des Bläserhauses gehalten wurden, das im November 2011 im Rahmen der David-Tage stattfand.
8
Keeler, Rebecca L., Aaron Wachhaus, Bob Cunningham, Tom Barth, Richard Huff, and Michael Howell-Maroney. "David Farmer: Methodologist?" Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/651.
Texte intégral
9
Rollings, Sarah E. "Rudko, David D.:." Thesis, Monterey, California. Naval Postgraduate School, 2003.
Trouver le texte intégralRésumé :
In developing designs for high speed vessels, the engineer must account for the response of the ship in the environment while operating at mission essential speeds. This thesis presents a seakeeping analysis of David Taylor Model Basin's Series 64 models scaled to a 2500-ton displacement using the SHIPMO and MATLAB software. It also discusses the current technology associated with high speed vessels (HSV's) and the relation to the US Navy. Series 64 models provided the benchmark for resistance data. To expand upon this well known series, this research develops seakeeping data trends for scaled-up models. SHIPMO allows the user to specify the ship's characteristics and the environmental conditions such as wave specifications and spectrum. Using the output files from SHIPMO, the MATLAB program designed during this thesis, produced contour plots for the models' response in pitch and heave. Seakeeping trends were observed based on the plots and further compared to calculations of the seakeeping rank, R, a formula originally developed by Nathan Bales. The results of the research can be used by engineers in application to the design of small displacement, high speed ships, both monohulls and multi-hulls.<br>http://hdl.handle.net/10945/1070<br>US Navy (USN) author.
10
Krohmer, Belinda. "David Hume, essayist /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
Texte intégral
11
Jünger, David [Verfasser]. "Jahre der Ungewissheit : Emigrationspläne deutscher Juden 1933–1938 / David Jünger, David Jünger." Göttingen : Vandenhoeck & Ruprecht, 2016. http://www.v-r.de/.
Texte intégral
12
Heinrich, André. "David und Klio historiographische Elemente in der Aufstiegsgeschichte Davids und im Alten Testament." Berlin New York, NY de Gruyter, 2008. http://d-nb.info/997086564/04.
Texte intégral
13
Eckstein, Pia. "König David : eine strukturelle Analyse des Textes aus der hebräischen Bibel und seine Wiederaufnahme im Roman des 20. Jahrhunderts." Bielfeld : Aisthesis Verl, 2000. http://catalogue.bnf.fr/ark:/12148/cb38980832h.
Texte intégral
14
Türp, David [Verfasser]. "Dendronized ions / David Türp." Mainz : Universitätsbibliothek Mainz, 2012. http://d-nb.info/1025995759/34.
Texte intégral
15
Millman, Eric B. "The Stars of David." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1987.
Texte intégralRésumé :
The Stars of David is based on the true story of a woman whose love of baseball stood above all. Set in the midst of the Great Depression, Jackie Austin, disgusted by the chauvinistic expectations of her impoverished father, sets off on her own to play for whatever team that will have her. That team proves to be the barnstorming House of David Baseball Club, an ascetic religious commune struggling to regain past glory after a decade of tragedy and shame. Outsiders and freaks to the rest of the world, these new "Stars" of David must learn to work together on the field in order to prosper in life. Can they succeed in the staunchly traditional, largely racist world of Depression-era Major League Baseball? Or will they, too, be whitewashed by time?
16
Ganteau, Jean-Michel. "David Lodge, romancier catholique." Montpellier 3, 1995. http://www.theses.fr/1995MON30016.
Texte intégralRésumé :
L'evolution de l'oeuvre de david lodge, romancier britannique contemporain, seuble etroitement correspondre aux trois phases du roman catholique moderne definies par le critique americain gene kellogg dans the vital tradition : the catholic novel in a period of convergence (chicago : loyola university press, 1970). Apres une pratique traditionnelle de romancier dit "separatiste" qui se met au service de sa religion et de sa communaute, l'auteur evolue vers une attitude dite "assimilatrice" de revolte contre les valeurs communautaires et religieuses qu'il avait faites siennes pour, dans une troisieme phase dite "interpenetrante", amorcer un retour voile vers ces memes valeurs selon les regles d'une esthetique du detour. Cette etude se fonce en grande partie sur une analyse thematique qui, a travers un releve des motifs et topoi caracteristiques du roman catholique, permet d'etablir le respect scrupuleux d'une norme generique, ou encore la presence de variations qui se greffent sur cette norme. Par ailleurs, outre le respect et la transgression thematiquement representes (morale sexuelle), lodge met en oeuvre des elements de respect ou transgression representants, telles l'antithese comique, parodique, rabaissante ou diairetique, la reflexivite, ou encore la comedie (dansle sens que donnent les britanniques a ce terme). Sa chronique de l'evolution d'une communaute religieuse mele ainsi realisme et transgression de ce mode, et presente une redefinition du roman catholique postmoderne<br>The evolution of david lodge's oeuvre seems to correspond strictly to the three phases of the modern catholic novel as defined by the american critic gene kellogg in the vital tradition : the catholic novel in a period of convergence (chicago : loyola university press. 1970). After a first traditional phase as a "separatist" novelist writing for the exaltation of his religion and community, lodge moves towards an "assimilative" attitude and rebels against the religious and communal values which he had hitherto scrupulously respected, before entering a third "interpenetrative" phase which heralds a return towards the same values according to the rules of an aesthetics of indirection. This work is fundamentally based on a thematic analysis and relies on the study of the motifs and topoi characteristic of the catholic novel as a genre. This approach helps establish lodge's hesitation between scrupulous respect of and variations from the generic decorum of the catholic novel. Moreover, alongside a represented attitude of respect and transgression (as is obvious in his treatment of the theme of sexual morality, for instance), lodge offers a representing treatment of the same notions by resorting to decrowning, parodic and comic antitheses, reflexivity, or even comedy. His chronicle of the evolution of a religious community thus associates realism and experiment, and presents the reader with a redefinition of the postmodern catholic novel
17
Lossouarn, David. "Etude théorique et expérimentale du refroidissement diphasique à pompage capillaire de convertisseurs de puissance à haute densité de flux de chaleur pour la traction ferroviaire." Poitiers, 2007. http://theses.edel.univ-poitiers.fr/theses/2008/Lossouarn-David/2008-Lossouarn-David-These.pdf.
Texte intégralRésumé :
L'électronique de puissance embarquée assure des fonctions indispensables à la traction électrique. La forte miniaturisation des semi-conducteurs utilisés se manifeste par des densités de flux dissipées en constante augmentation. D’autre part, la fiabilité des systèmes de refroidissement existants est encore perfectible et justifie l’utilisation d’un dispositif à pompage capillaire. Ce mémoire se consacre donc à la caractérisation d'un refroidissement diphasique à pompage capillaire innovant, adapté à de fortes densités de flux et offrant une fiabilité accrue. L’accent est mis sur les transferts de chaleur et de masse pour un fluide diphasique immergé en milieu poreux et soumis à de fortes densités de flux de chaleur. Cette étude expérimentale débouche sur une analyse des données collectées à l’aide d’un modèle nodal doublé de techniques inverses. Cela afin de remonter aux paramètres nécessaires pour associer la surchauffe créée à une densité de flux de chaleur et d’en analyser les variations en fonction des caractéristiques du milieu poreux. La méthode a permis de remonter à des concentrations de l’ordre de 100 W. Cm-2 appliquées sur le milieu poreux. Dans un second temps, la présentation détaillée de la boucle diphasique, utilisant cette configuration d’écoulement, se focalise sur l’originalité de l’architecture utilisée par rapport aux boucles diphasiques usuelles. Des essais sont réalisés en balayant toute une variété de paramètres tels que la densité de flux de chaleur injectée à l’évaporateur ou les pertes de charge générées par la boucle. Les premiers développements apportés à un modèle comportemental permettent d’en analyser quelques régimes transitoires et stationnaires à même de transférer jusqu’à 5,5 kW par évaporateur<br>Onboard power electronics provides essential functions to the electric traction. The strong miniaturization of semiconductors implies ever growing heat flux densities. In addition, the reliability of existing cooling systems is still imperfect and justifies the use of a capillary device pumping. This thesis is therefore dedicated to characterization of an innovative capillary pumped cooling loop, tailored to high flux densities and offering greater reliability. Emphasis is placed on the transfer of heat and mass for a fluid phase immersed in porous media and subjected to high heat densities. This experimental study leads to an analysis of data collected through a nodal model coupled to inverse techniques. This is made in order to retrieve the parameters used to associate overheating to corresponding heat flux density and finally analyze the variations depending on the characteristics of the porous medium. The method made it possible to trace concentrations in the range of 100 W. Cm-2 applied to the porous medium. Secondly, a detailed presentation of the loop phase, using this kind of flow, is focused on the originality of the architecture used in relation to the usual two phase loops. Tests are performed by scanning a variety of parameters such as heat density injected to the evaporator or pressure drop generated by the loop. The early developments brought to a behavioral model helps to analyze some transitory and stationary phases, able to transfer up to 5. 5 kW per evaporator
18
Lossouarn, David Bertin Yves. "Etude théorique et expérimentale du refroidissement diphasique à pompage capillaire de convertisseurs de puissance à haute densité de flux de chaleur pour la traction ferroviaire." Poitiers : I-Médias, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Lossouarn-David/2008-Lossouarn-David-These.pdf.
Texte intégral
19
Schumacher, Alexandra. "David Hockney : Zitate als Bildstrategie /." Berlin : D. Reimer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39220800k.
Texte intégral
20
Claisse, Thomas. "Hume et la mélancolie sceptique : une approche par la dynamique des discours." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30050/document.
Texte intégralRésumé :
Le discours mélancolique de Hume, placé au terme du premier livre de son oeuvre de jeunesse, met en danger la philosophie, en tirant les conclusions nécessaires d'une théorie empiriste de la connaissance : si le monde, et même l'existence toute entière, ne sont que des idées produites par l'imagination, la recherche philosophique, qui place la raison en exergue de toutes les facultés humaines, est alors vaine et dénuée de sens. Cependant, Hume, qui n'a que vingt-huit ans lorsqu'il publie les deux premiers livres du traité, vouera sa vie à la philosophie, et ira jusqu'à s'imaginer marchandant avec Charon un peu plus de temps à vivre pour terminer ses recherches et en voir l'accueil du public. Comment un tel dépassement est-il possible, d'une stupeur mélancolique désespérée à cette passion philosophique qui emplira toute une vie ? D'une mise en danger profonde et sérieuse de toute possibilité de science à un travail sans relâche dans les domaines de la métaphysique, de la morale, de la philosophie politique, de la religion, de l'histoire ? Et ce, qui plus est, sur les principes mêmes qui seront la cause de ce danger ? Nous proposons une lecture nouvelle et critique de cette 'fin de la philosophie' et de son dépassement, par le développement, en interaction avec l'objet d'étude lui-même, d'une conception originale de l'histoire de la philosophie. inspirée par l'articulation du discours de Hume et des problèmes qu'il soulève. Nous construirons, en la mettant directement à l'épreuve dans l'analyse des discours qui en sont l'impulsion première, une pratique efficace de l'histoire des idées. Nous tenterons grâce à celle-ci de répondre à cet enjeu final que Hume lance non seulement à la philosophie, mais aussi à toute entreprise humaine de science : à quoi bon penser et philosopher, si tout objet de connaissance n'est que chimère et simulacre d'un monde que nous ne pouvons que supposer, et qui n'existe peut-être même pas ?<br>The melancholic speech of Hume, placed in the term of the first book of its early work, puts in danger the philosophy, by drawing the necessary conclusions of an empiricist theory of the knowledge
21
Roche, David. "L'imagination malsaine : Russell Banks, Raymond Carver, David Cronenberg, Bret Easton Ellis, David Lynch /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb412407868.
Texte intégral
22
Eberle, Joerg Ulrich [Verfasser], David [Akademischer Betreuer] Vöhringer, and David [Gutachter] Vöhringer. "Regulation der Mechanismen allergischer Hautentzündungen / Joerg Ulrich Eberle ; Gutachter: David Vöhringer ; Betreuer: David Vöhringer." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2019. http://d-nb.info/1188034421/34.
Texte intégral
23
Wagner, Christina [Verfasser], David A. [Gutachter] Groneberg, and David Anthony [Gutachter] Slattery. "Perinatale Depression – eine szientometrische Analyse / Christina Wagner ; Gutachter: David A. Groneberg, David Anthony Slattery." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2019. http://d-nb.info/119712795X/34.
Texte intégral
24
Collier, Mark David. "Newton of the mind : an examination of Hume's science of human nature /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9935469.
Texte intégral
25
Serra, Pagès Conrad. "Men in David Malouf’s Fiction." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/668922.
Texte intégralRésumé :
The aim of this thesis is to assess David Malouf’s contribution to the field of gender and men studies in his fiction books.
In order to do so, I have proceeded by offering a close reading of each of his novels so as to emphasise those parts of the plot where gender and masculinities are more relevant, and from here engaging in a series of theoretical discourses as I saw convenient in the course of my analysis. We read his largely autobiographical novel Johnno in the tradition of the Bildungsroman. In this tradition, the main characters fulfil themselves when they meet the roles that society expects of them. Therefore, becoming a man or a woman means meeting these expectations. In Johnno, Malouf offers an alternative form of successful socialisation that redeems the main character, Dante as an artist but is also built on personal tragedy.
We use Judith Butler’s studies on the performativity of gender, Hélène Cixous and
Julia Kristeva’s ècriture feminine and their distinction between symbolic and semiotic language, Eve K. Sedgwick and René Girard’s studies on homosocial desire and triangulation, and Simone the Beauvoir and Pierre Bourdieu’s ethnographic research on women and Kabyle society, respectively, to read An Imaginary Life and Harland’s Half Acre. In An Imaginary Life, Malouf fictionalises the life of the poet Ovid in exile. In Rome, Ovid defies patriarchy and the Emperor writing a poetry that is uncivil and gay. In his exile in Tomis, Ovid decides to raise a feral Child against the advice of the women in the village, who end up using their power, based on folklore and superstition, to get rid of them. In Harland’s Half Acre, Malouf creates a male household where women are mostly absent, and a female one where the women are the main actors and men play a secondary role. When the main character of the novel, Frank Harland, finally recovers the family estate for his family’s only descendant, his nephew Gerald, the latter commits suicide. One of Malouf’s main concerns in his writings, the outcome of the novels privilege a spiritual sort of possession over one based on the
values of patriarchy, that is, bloodline succession by right of the first-born male child, hierarchical power relations and ownership: Ovid survives in his poems thanks to the human need for magic and superstition, and so does Frank in his art.
Michael S. Kimmel and R. W. Connell’s studies on men and masculinities, and historical research on Australian identity as it was forged during the colonial period and the World Wars help us read Fly Away Peter, The Great World, Remembering Babylon and The Conversations at Curlow Creek. In Australia, national identity and definitions of manhood are closely tied to frontier and war masculinities. In these novels, Malouf portrays the Australian legend: sceptical of authority, easy-going, egalitarian, larrikin, resourceful, etc. Unfortunately, the legend had a destructive effect on women and the feminine, and that is the reason why we recover from oblivion the important role that women played in the construction of Australia. Edward Said’s research in Culture and Imperialism, Homi Bhabha’s notions of hybridity and mimicry, and Joseph Conrad’s Heart of Darkness provide us valuable tools to analyse class and ethnic issues when we ask ourselves what it means to be a man in Remembering Babylon.
Margaret M. Gullette’s studies on the representation of age bias in literature and Ashton Applewhite’s research against ageism provide the theoretical framework for Ransom, where Malouf tells the story of Priam’s ransom of his son Hector, urging us to wonder what kind of heroism is left to a man in his old age.
Finally, we offer a close reading of the outcome of the novels, where the agents of transformation are always male or involve male characters: Dante and Johnno, the eponymous hero of the novel; the Child in An Imaginary Life; Digger and Vic in The Great World; Gemmy in Remembering Babylon or Priam and Achilles in Ransom. In this way, we hope to better understand and more clearly render the world of men that Malouf portrays in his novels.<br>L’objectiu de la tesi és valorar la contribució de les obres de ficció de David Malouf als estudis de gènere i de masculinitats.
Per tal d’aconseguir-ho, hem dut a terme una lectura fidel de les seves novel·les tot emfasitzant aquells elements de la història on el gènere i les masculinitats són més rellevants, i a partir d’aquí hem emprat una sèrie de teories que consideràvem adients en la nostra anàlisi. Hem llegit la seva novel·la àmpliament autobiogràfica, Johnno en la tradició de la Bildungsroman. En aquesta tradició, els personatges principals es realitzen quan compleixen les expectatives que la societat espera d’ells. Així doncs, fer-se un home o una dona vol dir complir aquestes expectatives. A Johnno, Malouf ens dóna una forma alternativa de socialització exitosa que redimeix al personatge principal, Dante, però que també s’erigeix sobre una tragèdia personal.
Emprem la recerca de Judith Butler sobre la “performativitat” del gènere, l’ècriture feminine d’Hélène Cixous i Julia Kristeva i la distinció que fan entre llenguatge semiòtic i simbòlic, els estudis de Eve K. Sedgwick i René Girard sobre desig homosocial i el triangle amorós, i la recerca etnogràfica de Simone the Beauvoir i Pierre Bourdieu sobre la dona I la societat Kabyle, respectivament, en la nostra anàlisi d’An Imaginary Life i Harland’s Half Acre. A An Imaginary Life, Malouf narra la vida del poeta Ovidi a l’exili. A Roma, Ovidi desafia el patriarcat escrivint una poesia que és impertinent i divertida. Al seu exili a Tomis, Ovidi decideix criar un nen salvatge, contradient el consell de les dones del poble, que acaben utilitzant el seu poder, basat en les tradicions populars i la superstició, per lliurar-se’n. A Harland’s Half Acre, Malouf crea una llar principalment masculina on les dones hi són absents, i una de femenina on les dones porten les rendes de la casa i els homes hi tenen un paper secundari. Quan el personatge principal de la novel·la, Frank Harland, finalment recupera l’herència de la seva família i la vol entregar a l’únic descendent que queda de la família, el seu nebot Gerald, aquest es suïcida. Un dels temes més recurrents a les novel·les de David Malouf, el desenllaç de les novel·les privilegien una possessió de tipus espiritual per damunt d’una possessió basada en els valors del patriarcat, és a dir, la descendència basada en els fills legítims o de sang i els privilegis del fill primogènit, relacions jeràrquiques de poder i la propietat.
Emprem els estudis sobre homes i masculinitats de Michael S. Kimmel i R. W. Connell, la recerca històrica de la identitat Australiana tal com es va forjar durant el període colonial i les dues Guerres Mundials en la nostra anàlisi de Fly Away Peter, The Great World, Remembering Babylon i The Conversations at Curlow Creek. A Austràlia, la identitat nacional i les definicions de masculinitat estan estretament lligades a les masculinitats de fronteres i de guerra. En aquestes novel·les, Malouf representa la llegenda del típic Australià: escèptic de l’autoritat, relaxat, igualitari, malparlat, informal, amb recursos, etc. Malauradament, la llegenda va tenir un efecte molt destructiu en les dones i els valors femenins, i per això recuperem de l’oblit l’important paper que van jugar les dones en la construcció d’Austràlia. La recerca d’Edward Said a Culture and Imperialism, les nocions d’hibridització i mimetisme d’Homi Bhabha, i la novel·la Heart of Darkness, de Joseph Conrad, ens proporcionen eines valuoses per la nostra anàlisi de qüestions ètniques i de classe quan ens preguntem què vol dir ser home a Remembering Babylon.
Els estudis de Margaret M. Gullette sobre els prejudicis de la representació de l’edat a la literatura, i la recerca d’Ashton Applewhite contra els prejudicis de l’edat, ens proporcionen el marc teòric de la nostra lectura de Ransom, on Malouf explica la història de Priam, que rescata el cos del seu fill Hèctor de les mans d’Aquil·les, tot preguntant-nos quin tipus d’heroisme li queda a un home quan es fa vell.
Finalment, oferim una lectura atenta de la resolució de les novel·les, on els agents del
canvi són sempre masculins o impliquen personatges masculins. Per exemple, Dante i Johnno, l’heori epònim de la novel·la; el nen salvatge a An Imaginary Life; Digger i Vic a The Great World; Gemmy a Remembering Babylon o Priam i Achilles a Ransom. D’aquesta manera, esperem entendre millor i transmetre més clarament el món dels homes que Malouf ens representa a les seves novel·les.
26
Celik, Sevinc. "An Analysis Of David Lodge." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610968/index.pdf.
Texte intégralRésumé :
The aim of this thesis is to analyse David Lodge&rsquo<br>s campus novels Changing Places: A Tale of Two Campuses (1975) and Small World: An Academic Romance (1984) to see how nihilism is dealt with in the modern academic world by the main characters in the novels. The characters will be examined in the light of Friedrich Nietzsche&rsquo<br>s Thus Spoke Zarathustra: A Book for All and None (1883-85). As the prophet Zarathustra in Thus Spoke Zarathustra is the mouthpiece of Nietzsche himself, this thesis aims at studying Lodge&rsquo<br>s novels in the light of Nietzsche&rsquo<br>s ideas. In this respect, this thesis provides a closer look into Zarathustrian (Nietzschean) concepts of &ldquo<br>will to power&rdquo<br>, &ldquo<br>eternal recurrence&rdquo<br>and &ldquo<br>overman&rdquo<br>, and it reveals to what extent Lodge&rsquo<br>s main characters can achieve a full &ldquo<br>will to power&rdquo<br>, attain a joyful acceptance of &ldquo<br>eternal recurrence&rdquo<br>, and overcome themselves on the way to becoming &ldquo<br>overman&rdquo<br>. With the elaboration of these three concepts, this thesis aims to uncover the ways in which Lodge&rsquo<br>s main characters recover from the negative effects of futility and depression caused by nihilism in the modern world.
27
Goebel, Isabella. "DAVID SALLE - Entwicklung einer Bildsprache." Diss., lmu, 2009. http://nbn-resolving.de/urn:nbn:de:bvb:19-102090.
Texte intégral
28
Kirchenbüchler, David [Verfasser]. "Kraftkopplung in Zellen / David Kirchenbüchler." Bonn : Universitäts- und Landesbibliothek Bonn, 2011. http://d-nb.info/1016180357/34.
Texte intégral
29
Churchman, Nancy Anne. "David Ricardo on public debt." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0003/NQ27893.pdf.
Texte intégral
30
Uzan-Milofsky, Michele Marie. "David Gauthier's contractarian moral theory." Thesis, London School of Economics and Political Science (University of London), 2006. http://etheses.lse.ac.uk/1947/.
Texte intégralRésumé :
Can we derive and internalise moral rules from pure rational agency. If such a project is possible then a contractarian moral theory is conceivable. Restricting the field of morality to social co-operation, David Gauthier is probably the preeminent 20th century champion of such a theory from his Morals by Agreement, published in 1986, to his most recent writings. The purpose of this thesis is present, analyse and argue against his project. The main argument developed is that a pre-conception of morality cripples his rational calculus and that moral rules cannot be internalised through rational calculus alone. In the first part of the thesis, I give full voice to Gauthier. His work from 1963 to 1986 is presented and interpreted. In particular, in the first chapter I describe how, from his Hobbesian background and his research on practical rationality, Gauthier was led to develop a contractarian moral theory. Chapter two is then fully dedicated to developing the core features of Morals by Agreement, providing an interpretation that highlights its main strengths and weaknesses. Gauthier's work has been extensively commented upon since 1986 and Gauthier actively participated in the debates generated by his writings. Although he stopped defending his Morals by Agreement from 1993, he remained faithful to the idea of a contractarian moral theory. In the second part of the thesis, I first review in chapter three the criticisms made of Morals by Agreement as well as Gauthier's responses to them. By 1993, he had abandoned several key points of his theory. However, inspired by his Hobbesian background (chapter six), and within the framework of McClennen's concept of resoluteness (chapter five), Gauthier renewed his attempt to derive co-operation from pure rational agency. Chapter seven is a discussion of this latest attempt.
31
Miret, Olga Nunex. "The films of David Mamet." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273552.
Texte intégralRésumé :
David Mamet's work as a dramatist has been studied in depth and been subject of great critical interest. But Mamet is a varied and prolific author who has worked in other fields, including poetry, novels, children's books and plays, and films. He started his career in cinema as a screenwriter but since 1987 he has written and directed eight films in a variety of genres and topics, from confidence men to adaptations of Terence Rattigan's plays. In contrast with his theatrical oeuvre, Mamet's work on film has received little systematic attention, and when analysed has always been compared to his plays. With my thesis I intend to redress the balance by studying his films, not only in the context of his work for the stage, but also in that of the film genre tradition. Although many of the themes he treats in his cinema are common to his plays also, his choice of classical filmic genres to express them creates a tension that questions both the themes and the generic conventions. I base my thesis on an auteurist concept, using interviews with the author, his own essays, and other works as complementary texts to the films (especially his theoretical writing on acting and directing films). My Inain emphasis is placed on close readings of certain scenes to illustrate Mamet's approach to genre, gender, his characteristic use of language, his favourite themes, his direction of actors, and his development of his own cinematic style. I also place the movies in the cinematic tradition by comparing them to other films of the same genre, or by directors who share similarities with Mamet (like Quentin Tarantino, Alfred Hitchcock, or Preston Sturges). Mamet is not a dramatist who sometimes makes movies, but a dramatist/filmmaker and I hope my thesis contributes to a more complete understanding of his career
32
Fernandes, Caio Aguilar. "David Cronenberg : extremos da visibilidade." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284228.
Texte intégralRésumé :
Orientador: Lucia Nagib<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-03T15:40:02Z (GMT). No. of bitstreams: 1
Fernandes_CaioAguilar_M.pdf: 5517469 bytes, checksum: 8e69ad0e2cb08f4054be2c7f1e195212 (MD5)
Previous issue date: 2001<br>Resumo: O presente trabalho analisa cinco filmes escritos e dirigidos pelo cineasta canadense David Cronenberg: Calafrios (Shivers, Canadá, 1975); Enraivecida, na fúria do sexo (Rabid, Canadá, 1976); Os filhos do medo (The Brood, Canadá, 1979); Scanners, sua mente pode destruir (Scanners, Canadá, 1980) e Videodrome, a síndrome do vídeo (Videodrome, Canadá, 1982). Segundo entendemos, esses filmes concentram as principais obsessões do diretor, delineando seus traços autorais: o corpo humano como espaço de manifestação do horror, a ciência como instrumento de modificação/destruição e a intensa visibilidade dada à essas mesmas mutações corporais. Isto significa pensar a poética ou política da carne em Cronenberg: os deslocamentos dos órgãos humanos ao longo do corpo, o mito de Frankenstein atualizado e os limites do visível apresentados em sua obra. Nesse sentido, o cinema de Cronenberg ultrapassa as limitações do filme de gênero em função de sua organicidade imagética e temática, a qual articula de forma coerente o horror, suas causas e formas de manifestação. Ao mesmo tempo, seus filmes podem também ser interpretados como uma metáfora da própria condição pós-moderna<br>Abstract: Not informed.<br>Mestrado<br>Mestre em Multimeios
33
Bracchi, Daniela Nery. "A fotografia em David Lachapelle." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5178.
Texte intégralRésumé :
Made available in DSpace on 2016-04-26T18:17:46Z (GMT). No. of bitstreams: 1
Daniela Nery Bracchi.pdf: 7548477 bytes, checksum: 52564dc22aec9a7d6d3d591195cb26b1 (MD5)
Previous issue date: 2009-04-07<br>This study aims to examine critically the use of the photography system as a means towards the construction of discourses and a worldview summoned by an enunciator. The analysis' corpus is made up by David Lachapelle's (in the character of the enunciation actor) snapshots collected in his first book, Lachapelle Land (1996). This analysis is based on the discursive semiotics' framework; on Greimas' studies about meaning construction; on sociosemiotics; on plastic semiotics and Jean-Marie Floch's postulations about plasticity's role on signification building; on enhancements of semiotics theory as a theory of social interaction formulated by Landowski and Ana Claudia de Oliveira's contributions about sensible expression as global enunciation that proposes the discursive field of experience between enunciator and enunciatee. The content on the snapshots is considered taking into account the constructions of the enunciator given by means of semantic-syntactic employed as a way to evidence an axiologic system. The shaping elements of the expression level (eidetic, topologic, chromatic e materic) are the plastic resources chosen by the enunciator the sense effect of which is make visible a discourse about the world weavered using the photographic expression system and its sensible exploitation. The enunciative connection is constructed on photography having as discursive basis intertextuality and allowing to infer the enunciator's character by means of the discursive tools employed on the construction of Lachapelle's intertextual enunciation. The enunciatee is summoned to bring forth an interpretative making. It requires knowledge of other artistic works cited on the snapshot and take into considerations the sensible procedures used by the enunciator. Through these cognitive and sensible competences, the enunciator invites the enunciatee to process the collaborative sense construction<br>O presente estudo analisa o uso do sistema da fotografia como meio para a construção de
discursos e de uma visão de mundo colocadas em ação por um enunciador que se destaca por várias
especificidades que serão trabalhadas. O corpus de análise é constituído pelas fotografias de David
Lachapelle (figura do ator da enunciação instalado) que foram publicadas em seu primeiro livro,
intitulado Lachapelle Land, no ano de 1996. O arcabouço teórico é o da semiótica discursiva: os
estudos de Greimas sobre a construção de sentido; a semiótica plástica com as postulações de Jean-
Marie Floch sobre o papel da plasticidade na formação da significação; a sociossemiótica, suas
ampliações enquanto teoria da interação social que Landowski formaliza e as contribuições de Ana
Claudia de Oliveira sobre a expressão sensível enquanto enunciação global que propõe o campo
discursivo como o lugar de vivenciar experiências entre enunciador e enunciatário. O conteúdo
veiculado pelas fotografias é examinado levando-se em conta a construção do enunciador dada por
meio de procedimentos sintático-semânticos empregados de modo a evidenciar seu sistema axiológico.
Os formantes do plano da expressão (topológicos, eidéticos, cromáticos e matéricos) constituem-se
como recursos plásticos escolhidos pelo enunciador cujo efeito de sentido é tornar sensível um discurso
sobre o mundo explorado pelo uso do sistema de expressão fotográfico. A construção enunciativa e
seus recursos de instalação têm por base discursiva a intertextualidade, sendo possível depreender a
figura do enunciador e do enunciatário. Com esse recurso, o enunciatário é chamado a produzir um
i
fazer interpretativo, que exige o seu reconhecer as outras obras artísticas inseridas na fotografia e levar
em conta os procedimentos sensíveis elaborados pelo enunciador. Com essas competências cognitivas e
sensíveis é que, pela interação discursiva, o enunciador faz com que o enunciatário processe a
construção colaborativa do sentido e a fotografia se afirme enquanto meio comunicativo propositivo de
novas visões de mundo
34
Mayo, Robert Alexander Lewis. "David Foster Wallace and dysphoria." Thesis, University of Bristol, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.752736.
Texte intégral
35
Rocha, Marco Miguel. "O espólio da família David." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/24444.
Texte intégralRésumé :
Ao longo dos tempos da história do homem, os arquivos valorizaram os poderes do Estado e a história científica era constituída sobre os documentos que a legitimavam como ciência.
O património documental é, nos nossos dias, uma das preocupações mais acentuadas, quando se referem questões de salvaguarda patrimonial. Falar de património documental é falar de documentos oficiais e não oficiais, de registos e cartas, é todo o suporte em papel que permite guardar a memória de uma qualquer atividade.
A documentação é tudo aquilo que é registado pela população humana e que pode servir de testemunho para a história do ser humano num determinado contexto sociocultural.
É de extrema importância salvaguardar estes registos, pois através desta documentação é possível apurar factos, conhecer realidades e observar as alterações nas dinâmicas sociais existentes numa determinada fase da história.
A Câmara Municipal de Évora (CME), através do Núcleo de Documentação (ND) é uma das entidades que zela pela conservação desse património, tentando reunir no seu interior a totalidade de documentação que se encontrava, até a sua criação em 1987, dispersa por diferentes serviços da autarquia.
É sua premissa inicial prestar informação especializada sobre toda e qualquer questão associada ao Património Documental existente, disponibilizando também todos os seus recursos para a inventariação documental, para a conservação de documentação específica e sua posterior disponibilização ao público. Desde a criação deste núcleo foram vários os espólios doados, sendo todos eles tratados, segundo os pressupostos acima referidos.
O espólio do Arq.º Raul David e do Eng.º Celestino David foi doado pelos seus herdeiros à CME, no dia 30 de novembro de 2016, no âmbito das comemorações do trigésimo aniversario da elevação de Évora a cidade património mundial, sendo entregue ao ND para a sua guarda, inventariação, conservação, criação de uma base de dados e disponibilização dessa mesma base para consulta ao público em geral. O espólio destes dois ilustres eborenses é composto por cerca de 1110 unidades, entre processos e plantas, neles se podendo encontrar a marca das alterações arquitetónicas que ocorreram durante mais de 50 anos na arquitetura do distrito de Évora, ou ainda a introdução de alguns modelos de construção inovadores, graças às novas tecnologias que despontam no séc. XX; ABSTRACT: Throughout the history of man, the archives valued the powers of the state and scientific history was constructed on the documents that legitimized it as science.
Documentary heritage is one of the most serious concerns of our times, when it comes to safeguarding patrimonial issues. To speak of documentary heritage is to speak of official and unofficial documents, records and letters are all the paper support that allows storing the memory of any activity.
Documentation is everything that is recorded by the human population and that can serve, as a testimony to the history of the human being in a particular sociocultural context.
It is extremely important to safeguard these records, since through this documentation it is possible to ascertain facts, to know realities and to observe the changes in the social dynamics existing in a certain phase of history.
The Municipality of Évora (CME), through the Documentation Nucleus (ND) is one of the entities, that ensures the preservation of this heritage, trying to gather in its archives all the documentation that was, until its creation in 1987, dispersed by different services of the municipality.
It is them initial premise, to provide specialized information on any and all issues associated with the existing Documentary Heritage, also making available all of its resources for documentary inventory, for the preservation of specific documentation and its subsequent availability to the public. Since the creation of this nucleus (ND), several donated spoils have been treated, all of which are treated according to the aforementioned assumptions.
The estate of Arq. Raul David and Eng. Celestino David was donated by his heirs to the CME, on November 30, 2016, as part of the commemorations of the thirtieth anniversary of the elevation of Évora to world heritage city. He was handed over to the ND for his custody, inventory, conservation, creation of a database to be used by the general public.
The collection of these two illustrious Eborenses is composed of about 1110 units, between processes and plants, in which is possible to find the mark of the architectural changes, that occurred during more than 50 years in the architecture of the Évora´s district, or the introduction of some models of construction, thanks to the new technologies that emerged in the XX century.
36
Klasson, David. "Masteressä David Klasson Kungl. Konsthögskolan." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-341.
Texte intégral
37
Drugeon, Marianne. "David Edgar : un théâtre politique." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30036.
Texte intégralRésumé :
David Edgar, dramaturge anglais né en 1948, est un auteur engagé ; son théâtre est politique. Cette étude tente de faire la lumière sur les notions complexes et parfois contradictoires de création artistique et d'engagement politique, au regard du parcours spécifique d'un auteur représentatif de sa génération. David Edgar a commencé à écrire pour le théâtre dans la mouvance de 1968, inscrivant son œuvre au sein du courant alternatif de l'agit-prop. Très prolifique, il est l'auteur d'une trentaine de pièces qui n'ont jamais été publiées, mais dont nous étudions les manuscrits. Bientôt reconnu, il abandonne le Fringe Theatre pour se lancer dans une collaboration fructueuse avec les grands théâtres londoniens, en particulier la Royal Shakespeare Company, tout en continuant à travailler avec des troupes itinérantes. Son œuvre offre donc de multiples facettes et conduit à un questionnement fécond : quelle est la mission d'un écivain engagé dans le monde contemporain ? Quel public vise-t-il ? Ses créations sont-elles littéraires, artistiques ou pamphlétaires ? Peut-on parler de compromission dès lors que ses créations sont intégrées au courant dominant ?Au croisement de l'étude littéraire, de la recherche dramatique, et de l'histoire contemporaine de la Grande-Bretagne et du monde, ce travail reflète les difficultés rencontrées, les victoires remportées et les échecs consommés d'un théâtre politique<br>David Edgar was born in 1948 in Birmingham England, and decided to write for the theatre in the wake of the events of 1968. He is a committed playwright, and his theatre is political. He started writing agitprop plays for the Fringe theatre, and is the author of more than thirty plays which have never been published. He then became famous and began working with mainstream theatre companies such as the Royal Shakespeare Company in London. This study examines the difficulties encountered by a committed writer who tries to be both successful and disturbing, and who wants to spread a political message through an audience as wide as possible. At the crossroads of such disciplines as theatre studies and contemporary history, this research gives an insight into the particular and representative career of a political playwright
38
Jackson, Paul. "The operas of David Pérez /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb371220232.
Texte intégral
39
Dalleu, Estelle. "David Lynch, cinéaste de l'oralité." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC006.
Texte intégralRésumé :
L'oralité a une existence visuelle et sonore récurrente chez David Lynch. Fil conducteur de la relation entre le son et l'image, elle constitue probablement le point nodal de la plastique cinématographique de cet artiste américain, au point qu'il en fait un trait identitaire, un thème obsédant de sa création cinématographique. Issu du latin ōs, ōris, le terme d'oralité permet d'aborder tout ce qui est lié à la bouche, point de contact entre l'intérieur corporel et l'environnement extérieur. L'oralité tient à une mécanique anatomique humaine mais ne se limite pas à la production sonore — elle ne concerne pas que les organes de la parole et l'aspect fonctionnel de la communication. Elle est aussi motif visuel, représentée par son autre lieu stratégique : le visage (terme également issu du latin ōs, ōris). Il y aurait donc une oralité visuelle/visible et une oralité sonore/audible. Ce travail d'exploration de l'oralité chez David Lynch prend la forme d'un parcours anatomique et organique qui mène de la bouche à l'oreille ; de la représentation visuelle et de l'émission sonore jusqu’à sa perception/réception. Et ce qui importe en définitive c'est d'observer de quelle manière l'oralité se manifeste et envisage un ensemble créatif qui opère une rencontre entre les arts du spectacle, les arts visuels et le matériau sonore<br>Orality has a sound and visual recurrent existence in the work of David Lynch. It is the main thread in the relation between the sound and the image and probably constitutes the nodal point in the cinematic aesthetic of this American artist; so much so that he makes it an identity trait, an obsessive theme of his cinematographic creation. Coming from the Latin os, oris, the term orality allows to treat everything related to the mouth, the point of contact between the interior of the body and the external environment. Orality pertains to a human anatomical mechanism, but it is not limited to sound production - it is not only concerned with speech and the functional aspect of communication. It is also a visual motif represented by its other strategic location: the face (a term also derived from Latin os, oris). There is thus a visual/visible orality and a sound/audible orality. The exploration into orality in David Lynch's work takes the form of an anatomical and an organic journey leading from the mouth to the ear; from visual representation and sound matter to its perception/reception. What is important in the final count is to observe how orality manifests itself and envisages a creative whole which produces an encounter between the performance arts, the visual arts, and the sound material
40
Albieri, Sara. "David Hume : filosofo e historiador." reponame:Repositório Institucional da UFSC, 1993. http://repositorio.ufsc.br/xmlui/handle/123456789/75870.
Texte intégral
41
Ku, Cha-Yong. "Weisheit in der Thronfolgegeschichte Davids : eine literarkritische und literaturwissenschaftliche Untersuchung der Weisheitsdarstellung unter besonderer Berücksichtigung ihrer Ironisierung /." Kamen : Hartmut Spenner, 2009. http://d-nb.info/996643966/04.
Texte intégral
42
Miura, Yuzuru. "David and Jesus : the portrayal of David in Luke-Acts in the light of early Judaism." Thesis, University of Aberdeen, 2005. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU205743.
Texte intégralRésumé :
This study is an analysis of the figure of David in the Lukan corpus. In Luke's writings the life of David is closely associated with that of Jesus; therefore, for a complete analysis of Luke's use of the figure of David (Lk 1-2; 3; 6; 18; 20; Acts 1-2; 4; 7; and 15), we need to consider the portrayal of David and his typological relationship, as well as his genealogical relationship, with the Messiah, Jesus. In the first part of the thesis, we seek to grasp the Jewish perceptions of the picture of David. The thesis examines David in the OT (ch. 2), in the OT Apocrypha and Pseudepigrapha (ch3), in the Qumran MSS (ch4), in the writings of Philo and Josephus (ch.5), and in early rabbinic thought (ch. 6), and concludes with a synthesis of the portraits of David in the OT and early Judaism (ch. 7). In the second part of the thesis, we analyze Luke's use of the figure of David in the light of the first-century Jewish perceptions of David. The thesis examines David in Acts (ch. 8) and in Luke's Gospel (ch. 9) and then proceeds to a conclusion (ch. 10). Our final goals are three. First, we summarize Luke's understanding of the picture of David according to the nine categories that we identify in the first-century Jewish perceptions of David. Second, we uncover the overall function of Luke's efficient and well-organized use of the figure of David in this narrative to legitimize Jesus as the Davidic Messiah. Finally, we point out several new aspects that arise from our stress upon the typological character of Davidic messianism in Luke's writings and lead to an understanding of the relationship between David and Jesus that previous Lukan Davidic studies have not emphasized.
43
Adam, Klaus-Peter. "Saul und David in der judäischen Geschichtsschreibung : Studien zu 1 Samuel 16 - 2 Samuel 5 /." Tübingen : Mohr Siebeck, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2897436&prov=M&dok_var=1&dok_ext=htm.
Texte intégral
44
Jansohn, Christa. "Zitat und Anspielung im Frühwerk von D. H. Lawrence /." Münster : Lit Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb35709548t.
Texte intégral
45
Fusfield, William David. "Walden's "Conclusion" : Henry David Thoreau's transcendental synthesis of the classical peroration and early-romantic "Combinational Writing" /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/8223.
Texte intégral
46
Heinke, Jörg. "Die Konstruktion des Fremden in den Romanen von David Malouf /." Würzburg : Königshausen & Neumann, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2689707&prov=M&dok_var=1&dok_ext=htm.
Texte intégral
47
Schrembs, Peter. "David Friedrich Strauss. Der "alte und der neue Glaube" in der zeitgenössischen Kritik /." Locarno : [P. Schrembs], 1987. http://catalogue.bnf.fr/ark:/12148/cb34940616b.
Texte intégral
48
Kauer, Ute. "Didaktische Intention und Romankonzeption bei D. H. Lawrence /." Heidelberg : Winter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35617081t.
Texte intégral
49
Di, Filippo Giulia. "Tradurre poesia: Tenebra di David Castillo." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10722/.
Texte intégralRésumé :
Proposta di traduzione della prima parte della raccolta di poesie "Tenebra" dell'autore catalano David Castillo. L'elaborato, oltre al commento alla traduzione, propone un'analisi sulla metodologia di traduzione di componimenti poetici: chi può tradurre poesia? Il talento traduttivo può prescindere da quello poetico? Cosa distingue un traduttore da un poeta? Tradurre poesia è un'operazione difficile; più di tutto, è una sfida, non facile da vincere. Quale sia la vittoria, poi, è tutto da vedere. E del resto, se tradurre fosse facile, non sarebbe poi così bello.
50
Gibney, David Clark. "Thesis report of David Clark Gibney." Online version of thesis, 1989. http://hdl.handle.net/1850/11512.
Texte intégral