16th Annual Seminar Course on Ancient Greek Literature and Culture Delfos, Grecia, 19 a 29 de julio de 2010

Fil: Cairo, María Emilia. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Un dios que se transforma en héroe : Una aproximación genética a los textos de Peter Pan

Desde la perspectiva de la genética textual, en este trabajo observamos las representacionesdel personaje de Peter Pan en los textos de J. M. Barrie dedicados a este con respecto a sussemejanzas con el dios griego Pan, para ver de qué manera dialogan con los diferentes sentidosque el dios fue connotando a través de siglos. Analizamos la fotonovela The Boys Castawaysof Black Lake Island (1901); The Little White Bird (1902), novela en la que aparece en seiscapítulos; las "Fairy Notes" (1903) en borrador y el libreto inédito llamado Anon: a play de la obra teatral Peter Pan or The Boy Who Would Not Grow Up (estrenada en 1904); la novela Peter Pan in Kensington Gardens (1906), que consiste en esos seis capítulos de The LittleWhite Bird; la novela Peter and Wendy (1911), adaptación de la obra de teatro; un guion cinematográfico,Scenario for a Proposed Film of Peter Pan (c. 1918), que no se filmó; y ellibreto de la obra, finalmente publicado, con bastantes cambios, en 1928

Un dios que se transforma en héroe : Una aproximación genética a los textos de Peter Pan

Desde la perspectiva de la genética textual, en este trabajo observamos las representacionesdel personaje de Peter Pan en los textos de J. M. Barrie dedicados a este con respecto a sussemejanzas con el dios griego Pan, para ver de qué manera dialogan con los diferentes sentidosque el dios fue connotando a través de siglos. Analizamos la fotonovela The Boys Castawaysof Black Lake Island (1901); The Little White Bird (1902), novela en la que aparece en seiscapítulos; las "Fairy Notes" (1903) en borrador y el libreto inédito llamado Anon: a play de la obra teatral Peter Pan or The Boy Who Would Not Grow Up (estrenada en 1904); la novela Peter Pan in Kensington Gardens (1906), que consiste en esos seis capítulos de The LittleWhite Bird; la novela Peter and Wendy (1911), adaptación de la obra de teatro; un guion cinematográfico,Scenario for a Proposed Film of Peter Pan (c. 1918), que no se filmó; y ellibreto de la obra, finalmente publicado, con bastantes cambios, en 1928

Un dios que se transforma en héroe : Una aproximación genética a los textos de Peter Pan

Desde la perspectiva de la genética textual, en este trabajo observamos las representacionesdel personaje de Peter Pan en los textos de J. M. Barrie dedicados a este con respecto a sussemejanzas con el dios griego Pan, para ver de qué manera dialogan con los diferentes sentidosque el dios fue connotando a través de siglos. Analizamos la fotonovela The Boys Castawaysof Black Lake Island (1901); The Little White Bird (1902), novela en la que aparece en seiscapítulos; las "Fairy Notes" (1903) en borrador y el libreto inédito llamado Anon: a play de la obra teatral Peter Pan or The Boy Who Would Not Grow Up (estrenada en 1904); la novela Peter Pan in Kensington Gardens (1906), que consiste en esos seis capítulos de The LittleWhite Bird; la novela Peter and Wendy (1911), adaptación de la obra de teatro; un guion cinematográfico,Scenario for a Proposed Film of Peter Pan (c. 1918), que no se filmó; y ellibreto de la obra, finalmente publicado, con bastantes cambios, en 1928

The reception of British literature under dictatorships in Hungary and Portugal

Esta tese tem como objectivo comparar aspectos da recepção da literatura britânica durante o Estado Novo em Portugal, e na Hungria durante a era comunista. Na primeira parte da dissertação fica contextualizada e analisada a alteração da posição da literatura britânica nos dois países, enquanto na segunda parte se comparam facetas da recepção da mesma, contrastando as traduções literárias publicadas em Portugal e na Hungria entre 1949 e 1974, altura em que ambos os países foram dirigidos simultaneamente por regimes autocratas. Este estudo faz-se, em parte, através da comparação de manuais escolares e seletas, a fim de examinar os diferentes métodos usados pelos dois regimes ditatoriais politicamente opostos na tentativa de moldarem os seus leitores. É dada especial atenção à literatura proibida e aos motivos para as atitudes restritivas diferenciadas em relação a certos escritores na era de Salazar e na Hungria durante o período de Bloco de Leste. A tese conclui que a abordagem divergente em relação às obras literárias britânicas, bem como à literatura em geral, é principalmente enraizada na ideologia de governação diametralmente oposta dos dois regimes ditatoriais. A crença idealista no poder educativo da literatura em estabelecer o socialismo na Hungria está em nítido contraste com a política de cultura obscurantista do Estado Novo. Mesmo quando o apoio à literatura britânica não era uma das principais prioridades da esfera cultural húngara, parece evidente que a literatura canónica britânica teve uma recepção mais favorável na Hungria comunista do que no Estado Novo.

Reading the Texture of Reality : Chaos Theory, Literature and the Humanist Perspective

Tutkimuksessa analysoidaan kaaosteorian vaikutusta kaunokirjallisuudessa ja kirjallisuudentutkimuksessa ja esitetään, että kaaosteorian roolia kirjallisuuden kentällä voidaan parhaiten ymmärtää sen avaamien käsitteiden kautta. Suoran soveltamisen sijaan kaaosteorian avulla on käyty uudenlaisia keskusteluja vanhoista aiheista ja luonnontieteestä ammennetut käsitteet ovat johtaneet aiemmin tukkeutuneiden argumenttien avaamiseen uudesta näkökulmasta käsin. Väitöskirjassa keskitytään kolmeen osa-alueeseen: kaunokirjallisen teoksen rakenteen teoretisointiin, ihmisen (erityisesti tekijän) identiteetin hahmottamiseen ja kuvailemiseen sekä fiktion ja todellisuuden suhteen pohdintaan. Tutkimuksen tarkoituksena on osoittaa, kuinka kaaosteorian kautta näitä aiheita on lähestytty niin kirjallisuustieteessä kuin kaunokirjallisissa teoksissakin. Väitöskirjan keskiössä ovat romaanikirjailija John Barthin, dramatisti Tom Stoppardin ja runoilija Jorie Grahamin teosten analyysit. Nämä kirjailijat ammentavat kaaosteoriasta keinoja käsitteellistää rakenteita, jotka ovat yhtä aikaa dynaamisia prosesseja ja hahmotettavia muotoja. Kaunokirjallisina teemoina nousevat esiin myös ihmisen paradoksaalisesti tunnistettava ja aina muuttuva identiteetti sekä lopullista haltuunottoa pakeneva, mutta silti kiehtova ja tavoiteltava todellisuus. Näiden kirjailijoiden teosten analyysin sekä teoreettisen keskustelun kautta väitöskirjassa tuodaan esiin aiemmassa tutkimuksessa varjoon jäänyt, koherenssia, ymmärrettävyyttä ja realismia painottava humanistinen näkökulma kaaosteorian merkityksestä kirjallisuudessa.

Mid-Century Molecular: The Material Culture of X-ray Crystallographic Visualisation across Postwar British Science and Industrial Design

This thesis investigates the use and significance of X-ray crystallographic visualisations of molecular structures in postwar British material culture across scientific practice and industrial design. It is based on research into artefacts from three areas: X-ray crystallographers’ postwar practices of visualising molecular structures using models and diagrams; the Festival Pattern Group scheme for the 1951 Festival of Britain, in which crystallographic visualisations formed the aesthetic basis of patterns for domestic objects; and postwar furnishings with a ‘ball-and-rod’ form and construction reminiscent of those of molecular models. A key component of the project is methodological. The research brings together subjects, themes and questions traditionally covered separately by two disciplines, the history of design and history of science. This focus necessitated developing an interdisciplinary set of methods, which results in the reassessment of disciplinary borders and productive cross-disciplinary methodological applications. This thesis also identifies new territory for shared methods: it employs network models to examine cross-disciplinary interaction between practitioners in crystallography and design, and a biographical approach to designed objects that over time became mediators of historical narratives about science. Artefact-based, archival and oral interviewing methods illuminate the production, use and circulation of the objects examined in this research. This interdisciplinary approach underpins the generation of new historical narratives in this thesis. It revises existing histories of the cultural transmissions between X-ray crystallography and the production and reception of designed objects in postwar Britain. I argue that these transmissions were more complex than has been acknowledged by historians: they were contingent upon postwar scientific and design practices, material conditions in postwar Britain and the dynamics of historical memory, both scholarly and popular. This thesis comprises four chapters. Chapter one explores X-ray crystallographers’ visualisation practices, conceived here as a form of craft. Chapter two builds on this, demonstrating that the Festival Pattern Group witnesses the encounter between crystallographic practice, design practice and aesthetic ideologies operating within social networks associated with postwar modernisms. Chapters three and four focus on ball-and-rod furnishings in postwar and present-day Britain, respectively. I contend that strong relationships between these designed objects and crystallographic visualisations, for example the appellation ‘atomic design’, have been largely realised through historical narratives active today in the consumption of ‘retro’ and ‘mid-century modern’ artefacts. The attention to contemporary historical narratives necessitates this dual historical focus: the research is rooted in the period from the end of the Second World War until the early 1960s, but extends to the history of now. This thesis responds to the need for practical research on methods for studying cross-disciplinary interactions and their histories. It reveals the effects of submitting historical subjects that are situated on disciplinary boundaries to interdisciplinary interpretation. Old models, such as that of unidirectional ‘influence’, subside and the resulting picture is a refracted one: this study demonstrates that the material form and meaning of crystallographic visualisations, within scientific practice and across their use and echoes in designed objects, are multiple and contingent.