Métamorphoses de l'Image des Tartares dans la littérature européenne du XXème siècle

Ce travail doctoral analyse le changement de l’image des Tartares dans la littérature européenne en langue allemande, anglaise, française et italienne du XXe siècle par l’étude de trois figures : la horde mongole, Gengis-khan et Khoubilaï-khan. Il soutient la thèse que, grâce à quelques facteurs historico-culturels comme la remise en question du concept de barbarie, l’essor des totalitarismes, l’ouverture de la Mongolie vers l’Occident, la redécouverte de l’Histoire secrète des Mongols et la fortune de Le divisament dou monde, au cours du XXe siècle, l’image littéraire des gengiskhanides de négative devient positive. Cette étude se compose d’une introduction, de trois chapitres et d’une conclusion. Dans l’introduction, on analyse la formation de l’image des Tartares et son évolution jusqu’à la fin du XIXe siècle, on retrace les facteurs historico-culturels qui la remettent au goût du jour et en provoquent le changement au XXe siècle et on présente le travail. Dans le premier chapitre, on se penche sur la prosopographie des Tartares dans les textes littéraires du XXe siècle, en la confrontant avec leur représentation dans l’art contemporain. Dans le deuxième chapitre, on étudie la façon des Tartares de se rapporter aux autres au sein de la société dans les textes littéraires du XXe siècle. Dans le troisième chapitre, on examine les lieux des gengiskhanides dans les textes littéraires du XXe siècle. Enfin, dans la conclusion, les données acquises au moyen de l’analyse conduite sont confrontées et interprétées. Le changement de l’image des Tartares va de pair avec une Europe qui, après avoir fait l’expérience de deux guerres mondiales, avoir assisté aux revendications de la décolonisation et avoir introjecté la thèse freudienne du « malaise dans la civilisation », remet en discussion sa façon de concevoir la barbarie et l’Altérité.

A frágil realidade de plástico: um estudo comparativo da imagem Casa de Bonecas em henrik ibsen e katherine mansfield

Considering the importance of significations in literary works, this paper proposes a comparative study of the image of the Doll's House in Henrik Ibsen's play ADoll's House (1879), and Katherine Mansfield's short story The Doll's House, published in the book The Dove's Nest (1923), based on the theories of Gaston Bachelard and Jean Baudrillard. In both cases, one notices that the presence of this image indicatesnot only the construction of these works' environment, but also a criticism of the bourgeois model of a perfect and flawless society, as the described image refers to. However, even though this image shares the same idea in both works, it will be explored differentlyin each case, whether through the search of Nora's character in escaping social conformity as in Ibsen, or through the subtle childlike game experienced by the Kelvey sisters, asin Mansfield.

IMAGENS DA GRANDE MÃE: MITOCRÍTICA DO SIMBOLISMO RELIGIOSO EM CECÍLIA MEIRELES

Esta tese estuda o sentido do simbolismo religioso da imagem do arquétipo da Grande Mãe ao interpretar a poesia de Cecília Meireles (1901-1964). As imagens da Grande Mãe estão presentes nos escritos de Cecília Meireles bem como o seu simbolismo religioso. Observou-se certa sintonia entre maternidade e simbolismo religioso na criação poética ceciliana. O objetivo prin-cipal desta tese foi de mostrar qual o sentido do arquétipo da Grande Mãe no simbolismo religi-oso ao interpretar a poesia de Cecília Meireles. A pesquisa foi bibliográfica focada no grupo de Eranos através do pensamento de Carl Gustav Jung (arquétipo), Paul Tillich (símbolo religioso), Gaston Bachelard (imagem literária), Gilbert Durand (mitocrítica), Mircea Eliade (símbolo). Cecília Meireles perdeu sua família prematuramente e foi morar com sua avó Jacinta Garcia Benevides, natural da Ilha de São Miguel (Açores, Portugal). Educada num ambiente de acon-chego e amor, ouvia constantemente as histórias contadas pela avó açoriana sobre a Ilha de São Miguel e a da Índia. Além disto, sua babá Pedrina, de forma mágica e divertida, introduziu-lhe no rico folclore brasileiro com suas crendices. Crescida neste ambiente de perdas e sofrimentos, mas amparada por estas duas mulheres, a poeta construiu no interior de seu ser um espaço mís-tico de encontro profundo com sua poesia. A Ilha do Nanja é este espaço místico onde a poeta entra quando quer se desligar das mazelas do mundo. Esta Ilha do Nanja é um refúgio, um rega-ço acolhedor materno onde seu ser encontra com o útero gerador de poesias. É o íntimo do mais íntimo do místico e lírico ceciliano. Cecília Meireles criou sua Ilha do Nanja que para ela é a Ilha de São Miguel transfigurada aos poucos pelo sonho. Além deste simbolismo, observou outros, tais como: a família (mãe, avó, babá no convívio em casa), santos/santas, Nossa Senhora, a terra. Com esta tese concluiu-se que o arquétipo da Grande mãe é um dos elementos centrais da poesia de Cecília Meireles por causa das perdas humanas, especialmente a figura materna. Mas há de ressaltar que a poeta não ficou apenas presa a esta perda para construir sua fortuna poética. Ela foi muito além conhecendo outros espaços geradores de sua poesia.

Mapping the Liminal Experience of Eastern Europe in Selected American Works, 1965-2002

The purpose of this dissertation is to study literary representations of Eastern Europe in the works of celebrated and less-known American authors, who visited and narrated the region between the mid-1960s and early 2000s. The main critical body focuses on Eastern Europe before 1989 and encompasses three major voices of American literature: John Updike, Joyce Carol Oates, and Philip Roth. However, in the last chapter I also explore American literary perceptions of the area following the collapse of communism. Importantly, the term “Eastern Europe” as used in this dissertation is charged with significance. I approach it not only as a space on the map or the geopolitical construct which emerged in the aftermath of the Second World War, but rather as a conceptual category and a repository of meanings built out of fact and fantasy: specific historical, political and cultural realities interlaced with subjective worldviews, preconceptions, and mental images. The critical framework of this dissertation is twofold. I reach for the concept of liminality to elucidate the indeterminacy and malleability which lies at the heart of the object of study—the idea, image, and experience of Eastern Europe. Bearing in mind the nature of the works under analysis, all of which were inspired by actual visits behind the Iron Curtain, I propose to interpret these transatlantic literary journeys in terms of generative experience, where Eastern Europe is mapped as a liminal space of possibility; a contact zone between cultures and, potentially, the locus of self-discovery and individual transformation. If liminality is the metaphor or a lens that I employ in order to account for the nature of the analyzed works and the complex terrain they map, imagology, whose purpose is to study the processes of constructing selfhood and otherness in literature, provides me with the method and the critical vocabulary for analyzing selected literary representations. The dissertation is divided into six chapters, the last of which serves as coda to the previous discussion. The first two chapters constitute the critical foundation of this work. Then, in chapters 3, 4, and 5 I study American images of Eastern Europe in the works written by John Updike, Joyce Carol Oates, and Philip Roth, respectively. The last, sixth chapter of this dissertation is divided into two parts. In the first one, I discuss new critical perspectives and avenues of research in the study of Eastern Europe following the collapse of communism. Then, I carry out a joint analysis of four works written after 1989 by Eva Hoffman, Arthur Phillips, John Beckman, and Gary Shteyngart. The dissertation ends with conclusions in which I summarize my findings and reflections, and suggest implications for future research. As this dissertation seeks to demonstrate, Eastern Europe portrayed in the analyzed works oscillates between contradictory representations which are contingent upon a number of factors, most importantly who maps it and in what context. Even though each experience of Eastern Europe is distinct and fueled by the profiles, identities, and interests of the characters and their creators, I have found out that certain patterns of othering are present in all the works. Thus, my research seems to suggest that there is something of a recurrent literary image of Eastern Europe, which goes beyond the context of the Cold War. Accordingly, while this dissertation hopes to be a valid contribution to the study of literary and cultural mappings of Eastern Europe, it also generates new questions regarding the current, post-communist representation of the area and its relationship to the national tropes explored in my work.

The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

The Construction of the Image of Peace in Ancient Greece : A few literary and Iconographic Evidences

El presente artículo busca identificar y analizar algunas de los principales tratamientos poéticos y artísticos del binomio paz / riqueza en una perspectiva diacrónica y comparativa, intentando aislar las más frecuentes imágenes, metáforas y epítetos relacionados con ese tema. El estudio de los pasajes elegidos deja claro cómo ambos, poetas y artistas plásticos, conocían y manipulaban con su arte un mismo patrimonio bastante antiguo

X Radiation dose implications in screening patients with ferromagnetic IOFBs prior to MRI: a literary review

Patients scheduled for a magnetic resonance imaging (MRI) scan sometimes require screening for ferromagnetic Intra Orbital Foreign Bodies (IOFBs). To assess this, they are required to fill out a screening protocol questionnaire before their scan. If it is established that a patient is at high risk, radiographic imaging is necessary. This review examines literature to evaluate which imaging modality should be used to screen for IOFBs, considering that the eye is highly sensitive to ionising radiation and any dose should be minimised. Method: Several websites and books were searched for information, these were as follows: PubMed, Science Direct, Web of Knowledge and Google Scholar. The terms searched related to IOFB, Ionising radiation, Magnetic Resonance Imaging Safety, Image Quality, Effective Dose, Orbits and X-ray. Thirty five articles were found, several were rejected due to age or irrelevance; twenty eight were eventually accepted. Results: There are several imaging techniques that can be used. Some articles investigated the use of ultrasound for investigation of ferromagnetic IOFBs of the eye and others discussed using Computed Tomography (CT) and X-ray. Some gaps in the literature were identified, mainly that there are no articles which discuss the lowest effective dose while having adequate image quality for orbital imaging. Conclusion: X-ray is the best method to identify IOFBs. The only problem is that there is no research which highlights exposure factors that maintain sufficient image quality for viewing IOFBs and keep the effective dose to the eye As Low As Reasonably Achievable (ALARA).

The visual image in Epiphanic Short History

The visual image is a fundamental component of epiphany, stressing its immediacy and vividness, corresponding to the enargeia of the traditional ekphrasis and also playing with cultural and social meanings. Morris Beja in his seminal book Epiphany in the Modern Novel, draws our attention to the distinction made by Joyce between the epiphany originated in a common object, in a discourse or gesture and the one arising in “a memorable phase of the mind itself”. This type materializes in the “dream-epiphany” and in the epiphany based in memory. On the other hand, Robert Langbaum in his study of the epiphanic mode, suggests that the category of “visionary epiphany” could account for the modern effect of an internally glowing vision like Blake’s “The Tyger”, which projects the vitality of a real tyger. The short story, whose length renders it a fitting genre for the use of different types of epiphany, has dealt with the impact of the visual image in this technique, to convey different effects and different aesthetic aims. This paper will present some examples of this occurrence in short stories of authors in whose work epiphany is a fundamental concept and literary technique: Walter Pater, Joseph Conrad, K. Mansfield, Clarice Lispector. Pater’s “imaginary portraits” concentrate on “priviledged moments” of the lives of the characters depicting their impressions through pictorial language; Conrad tries to show “moments of awakening” that can be remembered by the eye; Mansfield suggests that epiphany, the “glimpse”, should replace plot as an internal ordering principle of her impressionist short-stories; in C. Lispector the visualization of some situations is so aggressive that it causes nausea and a radical revelation on the protagonist’s.

Image et survivance en anthropologie visuelle : Ernesto De Martino et l’ethnographie interdisciplinaire

Ce projet analyse le rôle des images – photographies, films, dessins – produites dans le cadre des recherches ethnographiques « interdisciplinaires » menées par l’anthropologue italien Ernesto De Martino en Italie méridionale dans les années 1950. Ces expéditions ont donné lieu à des documents multiformes puisqu’elles regroupent des chercheurs de formations différentes : historien des religions, ethnomusicologue, psychiatre, photographe, et occasionnellement cinéaste. Plus spécifiquement, il s’agit d’étudier le rôle des matériaux visuels dans la recherche sur le tarentisme, rituel de possession observé dans les Pouilles en 1959 par De Martino et son équipe, matériaux dont une partie constitue l’annexe photographique de son œuvre célèbre La terra del rimorso (1961). Nous portons également attention à l’atlas iconographique de son ouvrage sur la lamentation funèbre, Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958), fruit d’une étude de terrain dans la région sud italienne de la Lucania (Basilicata). Tout en considérant les relations intermédiales entre les images, le texte, le son et le corps, ce mémoire identifie les rapports dialectiques entre les techniques d’enregistrement et les logiques répétitives, rythmiques et performatives des rituels en question. Chez De Martino, l’image est point de tension en matière de temporalité et de ressemblance : elle suggère une anthropologie de la « survivance » nous permettant de relever plusieurs correspondances avec l'oeuvre de l’historien de l’art Aby Warburg.

Suzanne Lilar : configurations d'une image auctoriale

Cette thèse pose la question du positionnement identitaire difficile qui marque la trajectoire littéraire de l’écrivaine belge Suzanne Lilar (1901-1992). Le tiraillement vécu par l’écrivaine entre sa vocation artistique et la nécessité de préserver une image de soi conforme aux normes du milieu social dans lequel elle s’inscrit se reflète dans les scénographies construites par ses œuvres littéraires, mais également dans son discours réflexif et paratextuel ainsi que dans la manière dont son œuvre est accueilli par la presse de l’époque. Le premier volet de cette analyse s’attache à circonscrire la position occupée par Suzanne Lilar sur la scène littéraire belge, dont la proximité avec le centre parisien a toujours entretenu la menace de l’assimilation, et sur la scène de l’écriture féminine. Le deuxième volet de cette thèse porte sur l’analyse des scénographies construites par les textes de fiction et les textes à tendance autobiographique de Suzanne Lilar. Les doubles scénographies que donnent à lire ces œuvres montrent que la démarche esthétique de Suzanne Lilar, sous-tendue par le besoin de légitimation de son entreprise, est basée principalement sur la multiplication des perspectives et des moyens d’expression. Le dédoublement de la scène énonciative des récits, la mise en abyme de la figure auctoriale ainsi que le travail d’autoréécriture témoignent de la nécessité de se positionner dans le champ littéraire, mais également de la méfiance de l’écrivaine envers l’écriture littéraire. Le troisième volet de cette recherche analyse l’éthos et la posture que Lilar construit à l’aide du discours réflexif et paratextuel par lequel elle assoit sa légitimité sur la scène littéraire et sociale. Enfin, la dernière partie de cette thèse capte les échos de l’œuvre de Lilar dans la presse de son temps. L’image de l’auteure construite par les médias permet de placer Lilar au sein de l’institution et du champ littéraire, mais également au sein du groupe social dans lequel elle s’inscrit. L’accueil réservé à l’écrivaine par la presse de son époque semble suivre les fluctuations de la posture construite par l’écrivaine elle-même. Cela confirme l’hypothèse selon laquelle Lilar est une auteure qui a éprouvé de la difficulté à assumer pleinement son rôle. Le positionnement en porte-à-faux – dont témoigne la figure du trompe-l’œil qui définit sa poétique – semble avoir représenté, pour Lilar, la seule manière d’assumer l’incontournable paratopie créatrice.

Chemistry and Chemical Education Through Text and Image: Analysis of Twentieth Century Textbooks Used in Brazilian Context

Assuming that textbooks give literary expression to cultural and ideological values of a nation or group, we propose the analysis of chemistry textbooks used in Brazilian universities throughout the twentieth century. We analyzed iconographic and textual aspects of 31 textbooks which had significant diffusion in the context of Brazilian universities at that period. As a result of the iconographic analysis, nine categories of images were proposed: (1) laboratory and experimentation, (2) industry and production, (3) graphs and diagrams, (4) illustrations related to daily life, (5) models, (6) illustrations related to the history of science, (7) pictures or diagrams of animal, vegetable or mineral samples, (8) analogies and (9) concepts of physics. The distribution of images among the categories showed a different emphasis in the presentation of chemical content due to a commitment to different conceptions of chemistry over the period. So, we started with chemistry as an experimental science in the early twentieth century, with an emphasis change to the principles of chemistry from the 1950s, culminating in a chemistry of undeniable technological influence. Results showed that reflections not only on the history of science, but on the history of science education, may be useful for the improvement of science education.

Norton's literary gazette and publishers' circular.

Mode of access: Internet.