Lecture by Elizabeth Broun, given at Florida International University, January 7, 2000

Elizabeth Broun discusses various modernist artists from the Smithsonian's "Treasures Tour being exhibnited at the Frost at the time of the lecture including Joseph Stella, William H. Johnson, Marsden Hartley, Georgia O'Keeffe, David Hockney and others. Introduction by Dahlia Morgan.

Forms of the Postmodern Historical Novel : Christoph Ransmayr, Daniel Kehlmann, Wolfgang Hildesheimer

L’émergence du postmodernisme aux Etats-unis, mouvement esthétique rejetant les dogmes modernistes, date des années 1960. En s’imposant, durant les dernières décennies du 20ème siècle, comme le paradigme esthétique de l’architecture, des arts et de la littérature, le postmodernisme a également créé les conditions propres à une renaissance du roman historique. Cependant, la fiction historique postmoderne constitue maintenant une nouvelle forme du genre basée sur la parodie, l’ironie et le scepticisme envers les discours dominants. Cette nouvelle forme ne se limite plus à la présentation des récits dans un cadre historique réaliste. Elle remet plutôt en question la validité et par conséquent la nature même du discours historique, problématisant et mettant ainsi à l’avant le processus d’interprétation et de reconstruction du passé. Dans cette optique, la fiction historique contemporaine reflète les débats actuels sur les formes de l’historiographie, débats lancés par Hayden White. Dans les années 1980, la fiction historique a de nouveau fleuri dans l'espace culturel allemand tout comme ailleurs. Le présent mémoire analyse des formes postmodernes de la fiction historique en se basant sur trois romans historiques de langue allemande parus entre 1981 et 2005: Die Schrecken des Eises und der Finsternis de Christoph Ransmayr, Die Vermessung der Welt de Daniel Kehlmann et Marbot : Eine Biographie de Wolfgang Hildesheimer. L’analyse s'appuie sur divers modèles de la fiction postmoderne, en particulier sur le schéma de catégorisation du roman historique élaboré par Ansgar Nünning. Le mémoire montre dans quelle mesure ces romans appliquent des moyens stylistiques typiques pour le postmodernisme et portent un regard critique ou comique sur l’histoire et la culture allemande et autrichienne.

Modernizing Mount Royal Park : Montréal’s Jungle in the 1950s

Durant les années 1950, les autorités municipales, sous la pression du département de la police, ont demandé le déboisement d’une section du parc du Mont-Royal. Cette section, communément appelée la « Jungle » et principalement composée de broussailles, de buissons et d’arbres, était fréquentée par une clientèle considérée comme indésirable. Cette dernière comprenait, essentiellement, des alcooliques, des voyous, des pervers, et, surtout, des homosexuels. Leur éradication s’est alors déployée selon un plan en trois étapes qui avait pour objectif de simplifier les techniques de surveillance utilisées par le département de la police. D’abord, une augmentation de l’éclairage, puis, le déboisement de la « Jungle », et, finalement, la construction d’une route, aujourd’hui connue sous le nom de Camillien-Houde. Le parc devenait ainsi plus accessible et plus sécuritaire. Les coupes, que l’on a appelées les « coupes de la moralité », ont eu un effet considérable sur l’environnement et la composition écologique du parc, donnant, entre autres, aux Montréalais, l’impression que le parc était devenu chauve (ce qui lui conféra d’ailleurs le surnom de Mont Chauve). Les transformations du parc du Mont-Royal n’étaient cependant pas limitées à sa Jungle. En fait, des modifications furent aussi mises en application dans d’autres sections considérées comme sous-développées. La métamorphose du parc et de sa « Jungle » était un acte de développement caractéristique de l’ère moderniste de la planification du Montréal d’après-guerre. La re-planification du parc du Mont-Royal témoigne ainsi d’une volonté sans bornes des autorités d’instaurer la moralité et la modernité dans la ville, volonté qui aura pour conséquence d’altérer la composition écologique du parc. C’est ce qui sera à l’origine d’une campagne nommée « Save-the-Mountain Movement », qui a cherché à empêcher la modernisation de l’espace et milité pour la réhabilitation du parc en tant que boisé paisible.

À suivre... de Sophie Calle : construction autobiographique d'une artiste singulière

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. To respect the reproduction rights and copyrights, the electronic version of this thesis was stripped of images and audiovisuals. The integral version has been left with Documents Management and Archives Service at the University of Montreal.

El tratamiento estético de la figura de la prostituta en la lírica modernista española

This PhD thesis sets out to show, firstly, that Spanish modernist poets are lavish in their sublimation of the figure of the prostitute in their lyrical compositions. It argues that ultimately, they do not do this randomly or arbitrarily, but in response to a series of mechanisms that turn this sublimation into an investigation within the modernist movement. The need for a study such as this one seems indisputable, as not very much work has been done on this topic in Spanish literature, unlike in other literatures (particularly Latin American literature, precisely in the same turn-of-the-century period and in connection with Modernism). What little work has been published on the treatment of the figure of the prostitute in turn-of-the-century Spanish literature refers to narrative prose, notably the realist and naturalist novel, as well as the short story. Also, such work usually lacks a general theoretical framework, as it deals with one novel, one author, or in the case of greater generalisation, a specific type of novel. The study of this figure in literary texts involves studying Modernism itself, as it neatly draws together the panoply of topics so dear to Modernism, namely, the erotic, the marginal, the feminine, the cursed and Culturalism...

Propuesta de un análisis metafórico-poético en una novela de ciencia ficción: 2001, una odisea del espacio

The aim of this doctoral thesis is to analyse both the text (production) and the set of cognition processes which facilitate the understanding of a masterpiece of Science Fiction: 2001, A Space Odyssey from a new perspective. Unlike other literary theories, texts in cognitive poetics (i.e. Structuralism, Generative Linguistics, Literary Criticism) are projected on the readerś minds by means of cognitive procedures. Cognitive poetics uses tools of cognitive science in order to understand literature (and in this particular case, Science Fiction). This has lead to a great change in our understanding of texts, literary and otherwise. This literary analysis was carried out on the Science Fiction genre based on the assumptions of cognitive poetics. Due to the peculiar kind of subjects touched upon by this genre, it has been theorised that the type of metaphor used for both its creation and style are rather different from other genres. Science Fiction coincides with other genres of writing in that it contains its own specific ways of providing language with a meaning while making it so innovative that many literary theories point out that it is written differently or that it is necessary to possess single reading codes in order to be fully understood. The methodology used for this thesis required a metaphorical basic and poetic conceptual analysis according to the poetical metaphor theory developed by Lakoff and Turner (1989). The aim of this metaphorical study is to analyse the basic and conceptual structure of 2001, A Space Odyssey by A. C. Clarke. The parameters of literary conceptualization of Science Fiction established by Peter Stockwell in his Poetics of Science Fiction (2000) were also applied in order to analyse this novel. The ICMs (Idealised Cognitive Models) were then examined to determine the presence of isomorphism related to the production level...

'Give back the human': poetic collaboration and hibakusha poems

Testimonies are viewed as essential for recording the experience of atomic warfare. However, hibakusha Keiko Ogura expresses the need for something more than recording and translating these testimonies. She highlights the need for an understanding of the hibakusha experience through a form of virtual collaboration with hibakusha and their stories. Ogura states that this is best achieved via ‘literature, art and poetry’ (Ogura 2015: n.pag.).This paper discusses why and how we speak about the atomic bomb and argues that virtual collaboration with hibakusha, by writing poetry based on their experiences and publishing it online, encourages empathy and keeps the experience alive for future generations. This paper uses Brandon Shimoda’s curated issue—entitled ‘Hiroshima/Nagasaki’—of Evening Will Come, a monthly online journal of poetics, as a case study.

Theorizing agency in post-girlpower times

Post-structuralist youth studies theorists have argued for nuanced perspectives on agency that are not reliant on an assumption of subjects as rational and internally coherent individuals, and understand subjectivity and social structure as produced in concert. These are important theoretical developments that have shaped recent scholarship on girls' identities and cultures. In this paper, we seek to give them some further sociological grounding by thinking through their resonance for the specific debate about young women and what feminist agency consists of, or looks like today. What we wish to further flesh out is how more familiar, modernist ideas about girls' agency have started to reach their limits not merely because of the post-structuralist turn, but because of the socio-cultural conditions of neoliberalism, post-feminism and post-girlpower. We unpack some recent shifts and complexities around three concepts: choice, empowerment and voice. These are the terms by which the possibility of girls' and young women's agency has traditionally been understood in feminist scholarship and much work in girls' studies. However, when we interrogate these concepts within the specific neoliberal, post-feminist, post-girlpower context, their usefulness for either understanding or enabling feminist agency is thrown into question.

Hybridity, communism and the avant-garde: Irena Blühová and Tina Modotti

This investigation compares the work of Irena Blühová and Tina Modotti between 1924 and 1936 based on ideas of cultural hybridity, photographic theory and social and Marxist art history. Centred on the premise that they worked in similar socio- political environments, shared common biographical points and were some of the first modernist women photographers in their region, a number of aspects relating to their work are examined in relation to their socio-political background. Selected works by Blühová and Modotti are analysed and compared, making apparent that, whilst they start photographing with different ulterior motives, thematically their work is moving into a similar direction from around 1926. Partly, this is due to their involvement with the communist party and the links between politics and photography on an international scale; partly to the fact that they share a concern for the culture of the countries they worked in. These concerns are expanded upon by the fact that both Blühová and Modotti intermediate between the national and the international, the aesthetic, social and the political within their local contexts, which forms distinct similarities in their work.

Pedagogías lúdicas para la paz: una mirada a las percepciones de violencia en niñas y niños de Ciudad Bolívar

En esta investigación indagué sobre la influencia del entorno en las concepciones sociales que se forma el sujeto (en este caso los niños) frente a distintas realidades y situaciones de su cotidianidad, los elementos que están presentes en sus formas de interacción más cotidianas, y hasta dónde herramientas como la educación con enfoque lúdico y social pueden o no modificar prácticas y percepciones en el individuo. Para ello, la investigación se centra en tres conceptos claves: violencia, educación, y paz. Y hacia el final del trabajo se planta una propuesta de currículo para una educación para la paz basada en la formación de la persona social, desde el enfoque de la paz negativa.

El concepto de sublimación en psicoanálisis, una revisión de literatura

Este trabajo es una revisión de literatura que abarca una serie de artículos disponibles en la base de datos de la Universidad del Rosario, publicados entre los años 2006- 2016. En total se revisaron 52 artículos. Se presenta el concepto de sublimación según el psicoanálisis, el cual ha sido investigado en áreas como la religión, la filosofía, el arte, la cultura y en algunos casos en donde este se evidencia; finalmente se presentan conclusiones sobre dicho concepto durante últimos 10 años.

Le Corbusier (1887–1965)

Le Corbusier was a Swiss architect and urbanist who acquired French nationality in 1930, having set up his studio (“the atelier of patient research”) in that country. Just as he assumed an unconditional continuity in relation to the past, he also clearly confronted the circumstances of his time. Many of his works became icons of Modernism, like the Villa Savoye (1928), the Marseilles Housing Unit (1945), the Ronchamp Chapel (1950), the Convent of Sainte-Marie de la Tourette (1953) and the Chandigarh Capitol Complex (1950-55), to mention just a few examples. His architecture reflected the development of a modern industrialized economy, a western avant-garde society and a vibrant political and social context. He made a mark not only with his constructed work, but also with designs that were never built (and which were progressive in character), his painting (which reflected his experimentalist nature) and with his theoretical texts, which today bear witness to his modernist doctrine. Le Corbusier was above all one of the most prolific thinkers of Modernism, and one of the greatest figures of the 20th century.

Imaginar metáforas de amor, sexo e fé: uma leitura literária de Breaking the Waves (1996) de Lars von Trier

Either with words or images, the expression of feelings results, in a work of art, in communication. If this was not the case, the work would not require a spectator or a reader. And if words suggest images from what its author refers to and a countless number of figurations may happen, the images from a film reveal what you can see. We are often left with "just" the space for those facts to shape up as possible meanings to which we react with emotion or with a particular intellectualization, finding exactly what we call readings or interpretations. Starting from a definition of literature that we see spilled in the work prospected from the polysystem theory by Itamar Even-Zohar from the Porter Institute for Poetics and Semiotics (University of Tel-Aviv), we consider the dynamic character of every cultural moment/object. This is how a literary reading, that is to apply some of the methodologies in the interpretation of a literary work, is allowed to extend to other cultural objects. This is what we are going to do with Lars von Trier's Breaking the Waves, a landmark in cinema for what the movement and manifest Dogma 95 represents, but that for a literature reader particularly focused on the narration of love in its different manifestations - in which sex and faith are included - a corpus is revealed, filled with interpretative possibilities and emotional reactions, important condiments particularly to the spectator and/or interested reader.