La ballerine illettrée:transformations of the feminine in Mallarmé's sance writings

Stéphane Mallarmé's texts on dance criticism occupy a prominent place in dance literature. They have also been of major interest to the Mallarme specialists who have seen in them the key to a greater understanding of the whole of his work. In this article I determine how his dance writings can be interpreted in the context of the whole of the œuvre, including for example the women's magazine he wrote and produced, La Dernière Mode. I establish to what extent the female presence in Mallarmé's poetry tends towards metaphors, women's bodies absent or negated by the gaze of the poet. As the poet responds to the stimulus of the dance, he divests the female dancer of her womanly characteristics, recasting her in his own imagination both as feminine principle and incarnation of 'l'Idée', and also as mythical being, 'au-delà de toute vie possible', a composite of other female characters inhabiting his œuvre, constantly poised between presence and absence, stillness and movement, a locus for a precarious balance which is endlessly re-enacted in h.is own writing practice.

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Using Helix-coil Models to Study Protein Unfolded States

An abstract of a thesis devoted to using helix-coil models to study unfolded states.\\

Research on polypeptide unfolded states has received much more attention in the last decade or so than it has in the past. Unfolded states are thought to be implicated in various

misfolding diseases and likely play crucial roles in protein folding equilibria and folding rates. Structural characterization of unfolded states has proven to be

much more difficult than the now well established practice of determining the structures of folded proteins. This is largely because many core assumptions underlying

folded structure determination methods are invalid for unfolded states. This has led to a dearth of knowledge concerning the nature of unfolded state conformational

distributions. While many aspects of unfolded state structure are not well known, there does exist a significant body of work stretching back half a century that

has been focused on structural characterization of marginally stable polypeptide systems. This body of work represents an extensive collection of experimental

data and biophysical models associated with describing helix-coil equilibria in polypeptide systems. Much of the work on unfolded states in the last decade has not been devoted

specifically to the improvement of our understanding of helix-coil equilibria, which arguably is the most well characterized of the various conformational equilibria

that likely contribute to unfolded state conformational distributions. This thesis seeks to provide a deeper investigation of helix-coil equilibria using modern

statistical data analysis and biophysical modeling techniques. The studies contained within seek to provide deeper insights and new perspectives on what we presumably

know very well about protein unfolded states. \\

Chapter 1 gives an overview of recent and historical work on studying protein unfolded states. The study of helix-coil equilibria is placed in the context

of the general field of unfolded state research and the basics of helix-coil models are introduced.\\

Chapter 2 introduces the newest incarnation of a sophisticated helix-coil model. State of the art modern statistical techniques are employed to estimate the energies

of various physical interactions that serve to influence helix-coil equilibria. A new Bayesian model selection approach is utilized to test many long-standing

hypotheses concerning the physical nature of the helix-coil transition. Some assumptions made in previous models are shown to be invalid and the new model

exhibits greatly improved predictive performance relative to its predecessor. \\

Chapter 3 introduces a new statistical model that can be used to interpret amide exchange measurements. As amide exchange can serve as a probe for residue-specific

properties of helix-coil ensembles, the new model provides a novel and robust method to use these types of measurements to characterize helix-coil ensembles experimentally

and test the position-specific predictions of helix-coil models. The statistical model is shown to perform exceedingly better than the most commonly used

method for interpreting amide exchange data. The estimates of the model obtained from amide exchange measurements on an example helical peptide

also show a remarkable consistency with the predictions of the helix-coil model. \\

Chapter 4 involves a study of helix-coil ensembles through the enumeration of helix-coil configurations. Aside from providing new insights into helix-coil ensembles,

this chapter also introduces a new method by which helix-coil models can be extended to calculate new types of observables. Future work on this approach could potentially

allow helix-coil models to move into use domains that were previously inaccessible and reserved for other types of unfolded state models that were introduced in chapter 1.

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

Commentary on Fine Arts Copyright Act 1862

Legislation conferring copyright protection on paintings, drawings, and photographs for the life of the author plus a seven year post mortem term. The Act was also innovative in de-coupling the copyright term from the event of publication, in providing artists with a new form of ‘moral rights' protection, and in introducing the concept of "originality" as the standard threshold for copyright protection.
The commentary explores the background to the legislation, and in particular, the international copyright regime, the nature of the art market in eighteenth and early nineteenth centuries, the role of the Society of Artists in lobbying for legislative protection, and the impetus which the International Exhibition provided for securing the same. The commentary also considers how the 1862 Bill, in its earliest incarnation, incorporated elements that would have signalled a radical departure from established copyright norms. In particular, the Bill proposed: that copyright protection should not be contingent upon registration; and that protection should be offered on a universal basis, regardless of an artists' nationality, and regardless of where the work in question was created.

Through Class Darkly: Class in the British TV Noir

Class has always been at the heart of the television crime drama. Whether it is the post-war paternalism of Dixon of Dock Green (1955 – 1976), the harsh social realism of The Sweeney (1975-1978), or the almost mythical evocations of Britain in Heartbeat (1992 – 2010) and Midsomer Murders (1997- present), class and crime have always been seen as being inextricably linked. Since the 1990s, the British crime drama has been influenced by successive waves of cultural imports from, firstly, the US and then from Scandinavia. There is now a recognisable ‘genre’ for what we might think of as British TV Noir. Beginning with shows such as Cracker (1993 – 2006), Prime Suspect (1991 – 2006) and Messiah (2001) and continuing with dramas like Red Riding (2008), Southcliffe (2013) and Hinterland (2013 – present), the British TV Noir employs narratives and stylistic tropes that might usually be associated with the cinema of the 1940s. Although drawing influence from high profile shows such as Twin Peaks (1990 – 1991), Millennium (1996) and (latterly) The Wire (2002 – 2008), CSI (2000 – present) and The Killing (2007) these British Noir shows also articulate the nation’s shifting class system. As Susan Sydney-Smith has ably demonstrated, the crime drama is “historically contingent” (Sydney-Smith, 2002, p. 5) and shaped by the surrounding socio-political, as well aesthetic, context. To this end, this chapter traces the depiction of class in three key crime series – Prime Suspect, Red Riding and Southcliffe - and explores how social class, and more importantly, its changing face provides a constant background to the narratives and characterisations. These three texts were each produced at pivotal moments in Britain’s relationship to class – Prime Suspect was shown 6 months after Margaret Thatcher vacated office; Red Riding was produced in the midst of the global recession in 2008 and Southcliffe was made in the shadows of stringing welfare and immigration reforms. These texts span three successive political administrations and over two decades of social and political change. Understanding the relationship between criminal activity and class in these dramas however is far more complicated than simply reading the historical context through the text. Commensurate with its cinematic incarnation, TV Noir is both reflective and productive, employing visual and narrative tropes to manipulate, as well reflect, its audience’s moral and social positioning. The picture that emerges from an examination of class and the British TV Noir is one of suspicion and discontent. As Andrew Spicer suggests (with reference to British cinema) the Noir sensibility both depicts and critiques a society that it sees as being “class-ridden, racist and misogynist” (Spicer, 2002, p.202). This is certainly the case with the texts that are being examined here, as social positions and taxonomies are constantly being redefined and renegotiated.

Les représentations de la femme dans le discours religieux du XIIIe au XVe siècle : une cause de la chasse aux sorcières?

[…] Le regard que nous porterons sur le discours religieux et ses représentations de la femme nous permettra de déterminer quel rôle il a joué dans la conception de la femme comme symbole et source du mal dans la société du temps et, par le fait même, dans le phénomène de la chasse aux sorcières. Comme nous le verrons, plusieurs causes peuvent être attribuées à ce phénomène, causes d'autant plus déterminantes que le discours religieux sur les femmes vient les renforcer. La démarche d'exposition de la problématique se déploiera dans quatre chapitres. Le premier chapitre nous permettra de dégager les sources d'influence des représentations de la femme dans le discours religieux du XIIIe au XVe siècle. Nous tenterons de démontrer que les théologiens médiévaux ont puisé dans ces sources, des citations virulentes qu'ils ont utilisées hors de leur visée contextuelle afin d'appuyer par des autorités reconnues leur thèse d'une nature inférieure chez la femme et de démontrer sans conteste qu'elle est un être destiné au mal. Avec le chapitre deux nous poserons notre regard sur le discours religieux; soit le discours théologique et les sermons populaires sur la femme à l'époque en cause. Nous découvrirons, qu'il révélé ses sources d'influence, et de surcroît qu'il reflète plus que jamais auparavant une profonde misogynie. La femme est désormais, et cela sans l'ombre d'un doute, l'incarnation du mal. Au chapitre trois, nous tenterons de démontrer quelle influence a eu ce discours, particulièrement les sermons populaires, dans l'intégration sociale des représentations de la femme. Comme nous le verrons, cette société a elle aussi participé à décrier la femme, à faire d'elle un être destiné au mal. Le dernier chapitre, le quatrième, vise à déterminer quel rôle a joué le discours religieux dans le phénomène de la chasse aux sorcières du XIIIe au XVe siècle. Cela en tenant compte d'un ensemble de facteurs, tous plus plausibles les uns que les autres. Certes, il nous faut remplir notre engagement. Pour ce faire, il nous faut surtout éviter de tomber dans la tentation de l'anachronisme, c'est-à-dire, de juger une Église, une société, une culture au nom d'une autre, à partir de la nôtre. Cet écueil nous estimons l'avoir évité. Certes, notre intérêt pour la promotion des femmes nous a guidé dans le choix de notre sujet, mais dans l'analyse de nos sources nous avons privilégié l'impartialité.

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Les enjeux sémiotiques de la perception dans L’Étranger d’Albert Camus

Considered as a romantic incarnation of author’s ideas, L’Etranger put us in front of the absurd through the problematic character of Meursault, often studied and commented as subject of this philosophical attitude. The absurd presupposes a relationship between man and the world and is thus inevitably linked to perception: a sensory experience then founds the discourse of the novel, establishing Meursault as percipient/enunciator subject. We will use the resources offered by semiotics of discourse in its phenomenological version for analyzing the perceptual path of Meursault and especially to consider the question of Camus’s absurd under a new light

Expérience précaire du monde et représentation de la poésie dans La fissure de la fiction et Désâmé de Patrice Desbiens

Diverses œuvres de poésie moderne et contemporaine mettent en scène le rapport à l’écriture d’un sujet lyrique. Une telle problématique trouve une incarnation particulièrement intéressante dans l’œuvre de Patrice Desbiens, notamment dans certains de ses textes des années 1990 et 2000, où elle apparaît avec plus d’acuité. Pourtant, sa pratique auto-réflexive a fait l’objet de très peu de recherches. Afin d’éclairer le rapport qu’entretient Patrice Desbiens avec l’écriture et avec la poésie, ce mémoire s’intéresse à deux de ses textes, soit La fissure de la fiction (1997) et Désâmé, (2005) en accordant davantage d’espace au premier, que je considère comme un texte-charnière dans la production poétique de Desbiens. Dans un premier temps, mon travail présente ainsi la précarité qui caractérise le protagoniste de La fissure de la fiction et, sous un autre angle, le sujet lyrique de Désâmé. Dans cette optique, la figure du poète est étudiée dans La fissure de la fiction à la lumière de la reprise ironique du mythe de la malédiction littéraire et du sens que la réactualisation de ce mythe confère au personnage dans ce récit poétique. Dans un second temps, ce mémoire s’attache à montrer que la cohérence et la vraisemblance des univers mis en scène dans La fissure de la fiction et Désâmé sont minées. C’est à l’aune de ces analyses que peut ensuite être envisagé le rôle d’une poésie qui, en dernière instance, comporte malgré tout un caractère consolateur, en dépit ou en raison de l’esthétique du grotesque, tantôt comique, tantôt tragique, dans laquelle elle s’inscrit et que nous tâcherons de mettre en lumière.

A critical study of John Hick's religious pluralism

This study examines the pluralistic hypothesis advanced by the late Professor John Hick viz. that all religious faiths provide equally salvific pathways to God, irrespective of their theological and doctrinal differences. The central focus of the study is a critical examination of (a) the epistemology of religious experience as advanced by Professor Hick, (b) the ontological status of the being he understands to be God, and further asks (c) to what extent can the pluralistic view of religious experience be harmonised with the experience with which the Christian life is understood to begin viz. regeneration. Tracing the theological journey of Professor Hick from fundamentalist Christian to religious pluralist, the study notes the reasons given for Hick’s gradual disengagement from the Christian faith. In addition to his belief that the pre-scientific worldview of the Bible was obsolete and passé, Hick took the view that modern biblical scholarship could not accommodate traditionally held Christian beliefs. He conceded that the Incarnation, if true, would be decisive evidence for the uniqueness of Christianity, but rejected the same on the grounds of logical incoherence. This study affirms the view that the doctrine of the Incarnation occupies a place of crucial importance within world religion, but rejects the claim of incoherence. Professor Hick believed that God’s Spirit was at work in all religions, producing a common religious experience, or spiritual awakening to God. The soteriological dimension of this spiritual awakening, he suggests, finds expression as the worshipper turns away from self-centredness to the giving of themselves to God and others. At the level of epistemology he further argued that religious experience itself provided the rational basis for belief in God. The study supports the assertion by Professor Hick that religious experience itself ought to be trusted as a source of knowledge and this on the principle of credulity, which states that a person’s claim to perceive or experience something is prima facie justified, unless there are compelling reasons to the contrary. Hick’s argument has been extensively developed and defended by philosophers such as Alvin Plantinga and William Alston. This confirms the importance of Hick’s contribution to the philosophy of religion, and further establishes his reputation within the field as an original thinker. It is recognised in this thesis, however, that in affirming only the rationality of belief, but not the obligation to believe, Professor Hick’s epistemology is not fully consistent with a Christian theology of revelation. Christian theology views the created order as pre-interpreted and unambiguous in its testimony to God’s existence. To disbelieve in God’s existence is to violate one’s epistemic duty by suppressing the truth. Professor Hick’s critical realist principle, which he regards as the key to understanding what is happening in the different forms of religious experience, is examined within this thesis. According to the critical realist principle, there are realities external to us, yet we are never aware of them as they are in themselves, but only as they appear to us within our particular cognitive machinery and conceptual resources. All awareness of God is interpreted through the lens of pre-existing, culturally relative religious forms, which in turn explains the differing theologies within the world of religion. The critical realist principle views God as unknowable, in the sense that his inner nature is beyond the reach of human conceptual categories and linguistic systems. Professor Hick thus endorses and develops the view of God as ineffable, but employs the term transcategorial when speaking of God’s ineffability. The study takes the view that the notion of transcategoriality as developed by Professor Hick appears to deny any ontological status to God, effectively arguing him out of existence. Furthermore, in attributing the notion of transcategoriality to God, Professor Hick would appear to render incoherent his own fundamental assertion that we can know nothing of God that is either true or false. The claim that the experience of regeneration with which the Christian life begins can be classed as a mere species of the genus common throughout all faiths, is rejected within this thesis. Instead it is argued that Christian regeneration is a distinctive experience that cannot be reduced to a salvific experience, defined merely as an awareness of, or awakening to, God, followed by a turning away from self to others. Professor Hick argued against any notion that the Christian community was the social grouping through which God’s Spirit was working in an exclusively redemptive manner. He supported his view by drawing attention to (a) the presence, at times, of comparable or higher levels of morality in world religion, when contrasted with that evidenced by the followers of Christ, and (b) the presence, at times, of demonstrably lower levels of morality in the followers of Christ, when contrasted with the lives of other religious devotees. These observations are fully supported, but the conclusion reached is rejected, on the grounds that according to Christian theology the saving work of God’s Spirit is evidenced in a life that is changing from what it was before. Christian theology does not suggest or demand that such lives at every stage be demonstrably superior, when contrasted with other virtuous or morally upright members of society. The study concludes by paying tribute to the contribution Professor Hick has made to the field of the epistemology of religious experience.