Italian Canzone d'autore and Greek Entechno tragoudi: a comparative overview

‘Canzone d’autore’ is the name that a vast community of Italian music critics, authors, per-formers, producers agreed upon in the mid-1970s, to describe the Italian singer-songwriter genre. Singer-songwriters, who had been missing from Italian popular music – with very few exceptions – until the late 1950s, had become increasingly popular after 1958, and were dubbed ‘cantautori’ in 1960. The term, which propagated to Spain, Catalonia, and Latin Amer-ica, is still in use, but ‘canzone d’autore’ superseded it as a genre label, highlighting the con-nections between authorship and artistic value, implied in the already established notion of ‘Cinéma d’auteur’ from which it was derived.

The expression ‘entechno laiko tragoudi’ (‘art-folk song’) was coined in Greece by Mikis The-odorakis in the 1950s, to describe a new music genre combining the urban-folk musical idi-om with lyrics coming from high-art poetry. Although the origins of the genre are tied to the work of composers like Theodorakis and Hatzidakis who did not perform as singers, from the 1970s onwards entechno became the privileged field of new generations of Greek singer-songwriters. Dropping ‘laiko’ (folk) from its label, entechno expanded its musical influences outside the urban-folk repertory and transformed into the more all-encompassing contempo-rary ‘art song’.

Uma história do design do cartaz português do século XVII ao século XX

Constatada que foi uma lacuna na área da história do design gráfico português, a necessidade deste estudo surgiu naturalmente no sentido, se não de a colmatar pelo menos de a diminuir. Consequentemente, realizou-se a investigação desde o séc. XVII ao séc. XX. O trabalho baseou-se primeiramente na pesquisa de material, quer na Biblioteca Nacional de Portugal, quer na colecção de Madeira Luís em arquivo na Universidade de Aveiro. Foram ainda realizadas entrevistas a designers no sentido de obter um conhecimento maior sobre a prática de projecto, nomeadamente do projecto do cartaz. Foi selecionada uma amostra que se considerou representativa e criou-se uma base de dados no sentido de sistematizar os conteúdos que interessavam ser estudados. Essa amostra foi posteriormente objecto de uma selecção por parte de dez especialistas convidados. Paralelamente, analisaram-se os cartazes dessa selecção do ponto de vista do design utilizando como metodologia a aplicação do modelo triangular (autoria, tecnologia, programa) de Francisco Providência. Concluiu-se que a história do design do cartaz português é resultado de um conjunto de interacções que se prendem com os acontecimentos políticos, económicos, culturais que se devem mesclar com a prática projectual realçando a importância e a intervenção da autoria nesse processo. Importou revelar uma visão interna da disciplina narrada pela autoria. Considerando as hipóteses de investigação e a abordagem metodológica utilizada, foi possível obter uma perspectiva centrada no design sobre a história do design do cartaz português.

A elegia latina em Diogo Bernardes

Tese de mestrado, Estudos Clássicos, Universidade de Lisboa, Faculdade de Letras, 2011

Problemáticas de classificação da obra dramática de Nelson Rodrigues: críticas, reflexões e propostas

Tese de mestrado, Tradição Clássica e Cultura Europeia, Universidade de Lisboa, Faculdade de Letras, 2011

O (in)dizível em Uma aventura secreta do Marquês de Bradomín de Teresa Veiga

A dissertação baseia-se numa leitura do conto “Uma aventura secreta do marquês de Bradomín”. Este texto narrativo destaca questões relacionadas com a ficção contemporânea portuguesa, como a construção da personagem com estatuto de protagonista, oscilando entre ser real e ser ficcional, a autoria feminina, a importância do dizer e do silêncio. A personagem feminina apresenta a sua história partilhada com o marquês de Bradomín e os sentidos mudam em consonância com as condições temporal e discursiva; a simbologia torna-se um acto de ideologia e de interpretação, uma vez que a expressividade humana está para além das palavras, produzindo silêncios enquanto se discursa. A personagem escreve por palavras que ocultam outras, que são apenas aludidas e, como a narradora recorre à memória, o seu texto discursivo pode apresentar-se de forma lacunar, com a desculpa do esquecimento. Neste caso, os sentidos podem ser sempre outros e o (in)dizível persiste.

Modular Form as a Curatorial Practice

This article discusses a curatorial approach to authorship as a model for thinking about what I describe as an iterative modular poem, a poetic text composed of appropriated segments. As a response to contemporary proliferation of literary and artistic works created by iterative means, i.e. through acts of appropriation, remixing and remediation, the article is an attempt at putting forward ‘the curatorial’ as an emerging paradigm of writing for the twenty-first century. The article approaches established paradigms of authorship, creativity and originality as inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for thinking about instances of iterative creative writing. The argument focuses on Robert Fitterman’s Holocaust Museum (2011) as an example of an iterative modular poem and a text emblematic of such curatorial approach to authorship.

Beyond time and oblivion : Sir Robert Sidney’s autograph manuscript

Dealing with ancient manuscript or old printed texts often constitutes a difficult task, especially to philologists and editors, for two main reasons: the precarious state of preservation of the documents and the uncertainty regarding their origin, authenticity and authorship. These problems are aggravated by spurious versions, due to the publication of truncated works, poorly supervised miscellanies and non-authorised editions. Sir Robert Sidney’s literary text constitutes an exception amidst such vicissitudes, once the original corpus is wholly contained in a notebook exhibiting the organisation and unity conceived by the author himself. Today, there is no evidence that any loose poems, either autograph or copied by amanuenses, were in circulation among members of the Elizabethan court society. The notebook was kept in private collections for four centuries, which probably explains why it was so well preserved. In fact, only in 1984 would P.J. Croft’s fine edition bring the youngest Sidney’s Poems into light. In this work, I approach Croft’s perceptive, accurate philological study that eventually rescued from oblivion a remarkable piece both of the Elizabethan lyric poetry and of the English Renaissance, and, at the same time, look into Robert Sidney’s peculiar, careful and original formatting of his own autograph manuscript.

Kierkegaard : the temporality of becoming a self

Introduction In Difference and Repetition, Deleuze compares and contrasts Kierkegaard's and Nietzsche's ideas of repetition. He argues that neither of them really give a representation of repetition. Repetition for them is a sort of selective task: the way in which they determine what is ethical and eternal. With Nietzsche, it is a theater of un belie f. ..... Nietzsche's leading idea is to found the repetition in the etemal return at once on the death of God and the dissolution of the self But it is a quite different alliance in the theater of faith: Kierkegaard dreams of alliance between a God and a self rediscovered. I Repetition plays a theatrical role in their thinking. It allows them to dramatically stage the interplay of various personnae. Deleuze does give a positive account ofKierkegaard's "repetition"; however, he does not think that Kierkegaard works out a philosophical model, or a representation of what repetition is. It is true that in the book Repetition, Constantin Constantius does not clearly and fully work out the concept of repetition, but in Sickness Unto Death, Kierkegaard gives a full explanation of the self and its temporality which can be connected with repetition. When Sickness Unto Death is interpreted according to key passages from Repetition and The Concept of Anxiety, a clear philosophical concept of repetition can be established. In my opinion, Kierkegaard's philosophy is about the task of becoming a self, and I will be attempting to show that he does have a model of the temporality of self-becoming. In Sickness Unto Death, Kierkegaard explains his notions of despair with reference to sin, self, self-becoming, faith, and repetition. Despair is a sickness of the spirit, of the self, and accordingly can take three forms: in despair not to be conscious of having a self (not despair in the strict sense); in despair not to will to be oneself; in despair to will to be oneself2 In relation to this definition, he defines a self as "a relation that relates itself to itself and in relating itself to itself relates to another.''3 Thus, a person is a threefold relationship, and any break in that relationship is despair. Despair takes three forms corresponding to the three aspects of a self s relation to itself Kierkegaard says that a selfis like a house with a basement, a first floor, and a second floor.4 This model of the house, and the concept of the stages on life's way that it illustrates, is central to Kierkegaard's philosophy. This thesis will show how he unpacks this model in many of his writings with different concepts being developed in different texts. His method is to work with the same model in different ways throughout his authorship. He assigns many of the texts to different pseudonyms, but in this thesis we will treat the model and the related concepts as being Kierkegaard's and not only the pseudonyms. This is justified as our thesis will show this modelremains the same throughout Kierkegaard's work, though it is treated in different ways by different pseudonyms. According to Kierkegaard, many people live in only the basement for their entire lives, that is, as aesthetes ("in despair not to be conscious of having a self'). They live in despair of not being conscious of having a self They live in a merely horizontal relation. They want to get what they desire. When they go to the first floor, so to speak, they reflect on themselves and only then do they begin to get a self In this stage, one acquires an ideology of the required and overcomes the strict commands of the desired. The ethical is primarily an obedience to the required whereas the aesthetic is an obedience to desire. In his work Fear and Trembling (Copenhagen: 1843), Johannes de Silentio makes several observations concerning this point. In this book, the author several times allows the desired ideality of esthetics to be shipwrecked on the required ideality of ethics, in order through these collisions to bring to light the religious ideality as the ideality that precisely is the ideality of actuality, and therefore just as desirable as that of esthetics and not as impossible as the ideality of ethics. This is accomplished in such a way that the religious ideality breaks forth in the dialectical leap and in the positive mood - "Behold all things have become new" as well as in the negative mood that is the passion of the absurd to which the concept "repetition" corresponds.s Here one begins to become responsible because one seeks the required ideality; however, the required ideality and the desired ideality become inadequate to the ethical individual. Neither of them satisfy him ("in despair not to will to be oneself'). Then he moves up to the second floor: that is, the mystical region, or the sphere of religiousness (A) ("despair to will to be oneself). Kiericegaard's model of a house, which is connected with the above definition ofdespair, shows us how the self arises through these various stages, and shows the stages of despair as well. On the second floor, we become mystics, or Knights of Infinite Resignation. We are still in despair because we despair ofthe basement and the first floor, however, we can be fiill, free persons only ifwe live on all the floors at the same time. This is a sort of paradoxical fourth stage consisting of all three floors; this is the sphere of true religiousness (religiousness (B)). It is distinguished from religiousness (A) because we can go back and live on all the floors. It is not that there are four floors, but in the fourth stage, we live paradoxically on three at once. Kierkegaard uses this house analogy in order to explain how we become a self through these stages, and to show the various stages of despair. Consequently, I will be explaining self-becoming in relation to despair. It will also be necessary to explain it in relation to faith, for faith is precisely the overcoming of despair. After explaining the becoming of the self in relation to despair and faith, I will then explain its temporality and thereby its repetition. What Kierkegaard calls a formula, Deleuze calls a representation. Unfortunately, Deleuze does not acknowledge Kierkegaard's formula for repetition. As we shall see, Kierkegaard clearly gives a formula for despair, faith, and selfbecoming. When viewed properly, these formulae yield a formula for repetition because when one hasfaith, the basement, firstfloor, and secondfloor become new as one becomes oneself The self is not bound in the eternity ofthe first floor (ethical) or the temporality of the basement (aesthete). I shall now examine the two forms of conscious despair in such a way as to point out also a rise in the consciousness of the nature of despair and in the consciousness that one's state is despair, or, what amounts to the same thing and is the salient point, a rise in the consciousness of the self The opposite to being in despair is to have faith. Therefore, the formula set forth above, which describes a state in which there is not despair at all, is entirely correct, and this formula is also the formula for faMi in ^elating itself to itself and in willing to be itself, the self rests transparently in the power that established it.

Giving voice to lifelong learning in professional nursing practice

The purpose of this phenomenological study was to uncover the meaning of lifelong learning to nurses in an Academic Health Care setting. Six female pediatric nurses were interviewed and audiotaped in response to 2 main questions of interpretation and engagement in lifelong learning with respect to their nursing practice. Four additional probing questions elicited responses of further qualities and characteristics of the meaning of lifelong learning. The emergent themes uncovered the characteristics and nature of the journey of lifelong learning. The themes evolved into parallel characteristics developing into the concepts of personal empowerment and occupational authorship. The personal empowerment concept involved processes whereby the participants overcame or removed barriers to engage in personal lifelong learning. Participants utilized personal power and internal motivators to sustain their engagement in lifelong learning. The occupational authorship concept involved participants controlling their exploration into lifelong learning through collaboration and recognition of occupational demands to be met as a professional. The remaining themes revealed a seasoning journey. This journey entailed a process of mastery through the themes of engagement discord, discovery pilgrimage, transforming, and maturation. The engagement in this journey resulted in their lifelong learning to becoming more intuitive and a part oftheir being. The overall theme uncovered from the journeys was one of a vocation described as a call to thinking critically of nursing practice. The participants responded to lifelong learning as a call to be a good nurse by using critical thinking through reflection, transformative and constructionist learning processes. This study gave voice to the meaning of lifelong learning in their nursing practice as interpreted by -ao the nurse participants.

Narratives of Experience in Education: Living and Working Through Poverty in a Rural Community

In this study, I use my own experiences in education as a former elementary student, research assistant, and as a current secondary school teacher, to examine how living in a marginalised rural community challenged by poverty affected my formal education. The purpose of this study was to use stories to: (a) explore my formative elementary education growing up in a community that was experiencing poverty, and; (b) to examine the impact and implications of these experiences for me as a teacher and researcher considering the topic of poverty and education. This study used narrative inquiry to explore stories of education, focusing on experiences living and working in a rural community. My role in the study was both as participant and researcher as I investigate, through story, how I was raised in a marginalised, rural community faced with challenges of poverty and how I relate to my current role as a teacher working in a similar, rural high school. My own experiences and reflections form the basis of the study, but I used the contributions of secondary participants to offer alternative perspective of my interpretation of events. Participants in this study were asked to write about and/or retell their lived stories of working in areas affected by challenging circumstances. From my stories and those of secondary participants, three themes were explored: student authorship, teaching practice, and community involvement. An examination of these themes through commonplaces of place, sociality and time (Connelly and Clandinin, 2006) provide a context for other educators and researchers to consider or reconsider teaching practices in school communities affected by poverty.

Ties From My Father: Personal Narrative as a Tool for Engaging Teenagers and Social Service Practitioners

The purpose of this project is to provide social service practitioners with tools and perspectives to engage young people in a process of developing and connecting with their own personal narratives, and storytelling with others. This project extensively reviews the literature to explore Why Story, What Is Story, Future Directions of Story, and Challenges of Story. Anchoring this exploration is Freire’s (1970/2000) intentional uncovering and decoding. Taking a phenomenological approach, I draw additionally on Brookfield’s (1995) critical reflection; Delgado (1989) and McLaren (1998) for subversive narrative; and Robin (2008) and Sadik (2008) for digital storytelling. The recommendations provided within this project include a practical model built upon Baxter Magolda and King’s (2004) process towards self-authorship for engaging an exercise of storytelling that is accessible to practitioners and young people alike. A personal narrative that aims to help connect lived experience with the theoretical content underscores this project. I call for social service practitioners to engage their own personal narratives in an inclusive and purposeful storytelling method that enhances their ability to help the young people they serve develop and share their stories.

Christian Education and the Ethics of Authenticity

A qualitative study was undertaken to explore the concept of authenticity in Christian education. The study was situated in the context of Christian schools in Ontario. Some of these schools have experienced declining enrolment and all of these schools face the challenge of being distinctive in a secular culture. To investigate the potential of the concept of authenticity for reclaiming the vision of Christian education, interviews were conducted with 3 experienced principals of Christian schools. Data analysis yielded an emergent conceptual framework of authenticity consisting of 5 concepts: authorship, relatedness, reflection, autonomy, and excellence. Authenticity was found to be a useful tool for school analysis of both the deep structures and the surface structures within Christian schools. To offset unauthentic tendencies that can arise within these schools, this study calls for an intentional use of the lens of authenticity to expose these tendencies and revitalize core expectations. Through the narratives shared by the Christian school principals, the study also develops a picture of the role of authentic Christian education in the development of the authentic Christian person.

La protection des artistes interprètes et exécutants à l'heure des médias de réseau

"Mémoire présenté à la Faculté des études supérieures en vue de l'obtention du grade de Maître en droit (LL.M.)"

La série Aux Abattoirs de la Villette (1929) : le point de vue du photographe Eli Lotar par-delà la revue Documents et la philosophie de Georges Bataille

Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique.

Paper Dinosaurs : field notes as finds in Robert Kroetsch's Badlands

Des dinosaures sur papier : des notes « sur le terrain » comme on en trouve dans le Badlands de Robert Kroetsch passe en revue cette œuvre postmoderne de 1975 portant sur une expédition paléontologique fictive près de la rivière Red Deer, en Alberta, conformément à la récente tendance à exiger la vérification systématique des données à la base des récits métafictifs historiographiques dans la littérature canadienne-anglaise. Inspirée de l’exploration canonique qu’a effectuée John Livingston-Lowes des plus grands poèmes de Samuel Taylor Coleridge par le biais de la mine d’or du Gutch Memorandum Book dans The Road to Xanadu, cette thèse entreprend un nouveau type de recherche qui se démarque des archives conventionnelles et de la tradition documentaire. S’appuyant sur des documents holographes non publiés provenant de dépôts d’archives situés au Québec, en Ontario et en Alberta et écrits par des collecteurs, des géologues et des paléontologues de la Commission géologique du Canada, ainsi que sur des notes « sur le terrain », des notes de recherche et des journaux personnels écrits par Robert Kroetsch pendant la rédaction de son roman Badlands, cet examen critique révèle les strates sous-jacentes inédites d’une œuvre de fiction particulière. Dans pratiquement toute fouille paléontologique, le retrait de ce qui enveloppe un spécimen révèle souvent des données supplémentaires qui peuvent, si elles sont soigneusement interprétées, offrir des indices essentiels sur les environnements paléontologiques. Ainsi, un squelette de dinosaure est rarement retiré d’une carrière stérile dans son intégralité. Il en va de même pour toute recherche sur un processus littéraire. Aucun texte ne s’autosuffit. Comme Kroetsch s’est efforcé de produire son récit sous forme d’interrogation sur la création et la transmission des données historiques, particulièrement grâce à des notes « sur le terrain », une vaste étude de ce « terrain » comprenant des intertextes de l’Antiquité, des sciences, de l’Histoire, de l’histoire populaire, de récits de voyages et de la littérature canadienne et internationale est ici menée. On y fait librement référence à des périodes et à des auteurs très diversifiés, allant de Thomas Jefferson et des tombelles à Bruce Chatwin et sa peau de « brontosaure ». Évidemment, aucune entreprise interdisciplinaire du genre ne peut être exhaustive. Ce projet se veut plutôt une vitrine littéraire réunissant des curiosités autour d’une œuvre principale, soit le Badlands de Robert Kroetsch. Réduites à leur plus simple expression, les notes « sur le terrain » constituent des messages destinés à la postérité. En explorant trois thèmes principaux, cette thèse explique comment ces messages pourraient être transmis. « Saxa Loquuntur ! », ainsi intitulé en référence à l’analogie de Freud avec l’archéologie, traite des métaphores associées aux témoignages de la pierre ; « Good Jones » porte sur les façons dont la taxinomie peut combler le désir d’un chercheur d’os de ne pas tomber dans l’oubli ; « Box 16 » suit une piste documentaire en parcourant les écrits de Kroetsch pour reconstituer tant l’élaboration d’un roman que les notions de temps, d’espace et d’origine d’une œuvre littéraire.