موضوع: "بدون موضوع"
متن کامل پایان نامه مقطع کارشناسی ارشد رشته :زبان انگلیسی
عنوان : پایان نامه رشته زبان انگلیسی:Reading William Gibson’s Trilogy; Neuromancer, Count Zero, and Mona Lisa Overdrive, In the Light of Jean Baudrillard’s Theo
Islamic Azad University-Central Tehran Branch
Faculty of Foreign Languages
Department of Postgraduate Studies
A Thesis Submitted to the Department of Postgraduate Studies in Partial Requirements for the Degree of Master of Arts in English Language and Literature
Subject:
Reading William Gibson’s Trilogy;
Neuromancer, Count Zero, and Mona Lisa Overdrive,
In the Light of Jean Baudrillard’s Theories
Thesis Advisor:
Dr. Farid Parvaneh
Thesis Reader:
Dr. Razieh Eslamieh
Summer 2014
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Abstract
This thesis is an attempt to investigate William Gibson’s Trilogy; Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988), in the light of Jean Baudrillard’s critical theories which are categorized under two main headings; “simulation” and “disappearance.” Indeed, this study aims to divulge the specific kinds of ‘simulation’ and ‘disappearance,’ such as ‘the simulation of power’ and ‘the disappearance of the human (body) and the other(‘s body) in Gibson’s Trilogy. Therefore, the researcher elucidates the argument in three main chapters besides the chapters of introduction and conclusion. The second chapter provides a theoretical framework for this study through delineating Baudrillard’s key concepts, such as “hyperreality,” “simulacrum,” “simulation,” “disappearance,” etc. Baudrillard believes that power no longer exists except as “the simulation of power.” He demonstrates “the simulation of power” through expanding on “the hallucination of power,” “the circularization of power/the end of panopticon,” and “the simulation of terror.” With having recourse to these theories, the third chapter seeks to reveal the instances of “the simulation of power” in Gibson’s technological world. The fourth chapter, with an emphasis on the central notion of “disappearance,” attempts to indicate the metamorphosis of the human (body) to the post-human (body) and the recognition of the other(‘s body) which are caused by cyber- technologies, “cyborg” and “cyberspace.” Thus, the main focus of this chapter is to scrutinize the different types of hybrid characters that are continuously merging with ‘cyber- technologies’ and the different kinds of ‘cybertechnologies’ in order to delineate “the disappearance of the human (body) and the other(‘s body)” in light of Baudrillard’s theories in Gibson’s novels. Chapter five presents the findings. As this study concludes, Gibson’ novels depict the technological world in which everything might be simulated/disappeared, or rather redefined through merging with ‘cybertechnologies.’
Keywords: Hyperreality, Simulacrum, Simulation of power, Disappearance of the human (body), Disappearance of the other(‘s body), Jean Baudrillard, William Gibson
List of Abbreviations
C Z Gibson, William. Count Zero. N.p.: Arbor House Pub Co, 1986.
F F Baudrillard, Jean. Forget Foucault. Trans. Nicole Dufresne. Los Angeles: Semiotext(e), 2007.
M L O Gibson, William. Mona Lisa Overdrive. N.p:N.p, [1988].
N Gibson, William. Neuromancer. N.p:N.p, [1984].
S & S Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Michigan: University of Michigan Press, [1994?].
T T O E Baudrillard, Jean. The Transparency of Evil: Essays on Extreme Phenomena. Trans. James Benedict. London and New York: Verso, 1993.
Table of Contents
Dedication……………………………………………………………………….. I
Acknowledgements……………………………………………………………. II
Abstract .. III
List of Abbreviations……………………………………………………………V
1.1 General Background……………………………………………………………………………………….. 1
1.2 Statement of the Problem………………………………………………………………………………… 9
1.3 Objectives and Significance of the Study………………………………………………………. 10
1.3.1 Hypothesis. 10
1.3.2 Significance of the Study. 11
1.3.3 Purpose of the Study. 13
1.3.4 Research Questions. 14
1.4 Review of Literature………………………………………………………………………………………. 15
- 5 Materials and Methodology…………………………………………………………………………… 19
1.5.1 Definition of Key Terms. 19
1.5.2 Motivation and Delimitation. 20
- 6 Organization of the Study……………………………………………………………………………….. 21
Introduction. 23
2.1 Baudrillard’s Trajectory of Thought……………………….………………….24
2.2 Simulation……………………………….…………………………………… 26
2.2.1 Simulation of Power 31
2.3 Disappearance………………………………………………………………… 36
2.3.1 Disappearance of the Human (Body) 37
2.3.2 Disappearance of the other 42
Conclusion. 46
Introduction. 47
3.1 The Hallucinatory Signs of Power………………………………………………49
3.2 From Panopticism to the End of Panopticism……………………………….. 51
. 52
. 60
3.3 Simulation of Terror….…………………………………………………………63.
Conclusion………….………………………………………………………………65
Introduction. 67
4.1 The Metamorphosis of the Human (Body) to the Post-human (Body). 69
4.1.1 Cyborg (Technologies) 70
4.1.2 Cyberspace (Technologies) 76
4.2 The Recognition of the Other(‘s Body). 86
4.2.1 The Transparency of the Other(’s Body) 86
4.2.2 Simulation of the Other(’s Body) 90
Conclusion. 92
5.1 Summing up. 96
5.2 Findings. 100
5.3 Suggestions for Further Research. 105
Chapter One: Introduction
- General Background
William Ford Gibson, an American author, was born in 1948 in South Carolina. He was interested in science fictions and used to read the biographies of most American science fiction writers, and also the writings of Allen Ginsberg, Jack Kerouac, and William S. Burroughs, thus, he was influenced by William S. Burroughs. Gibson “was among the first to explore the implication of virtual communities, reality television, nanotechnology, the digital divide, locative art, and ubiquitous computing” (Henthorne 4). His fictions represent a technological society in which the traits of street culture, such as crime, drug addiction, horror, and chaos are highlighted (Cavallaro 5). Indeed, Gibson was among the first authors who wrote cyberpunk fictions. Cyberpunk fictions “can be seen as an expansion of the tradition of science fiction” (Verhulsdonck 14), a genre which narrates new technological modes of being in “an era of blurred ontologies” (Russell 79). Gibson started his literary career by his short stories which were collected in Burning Chrome (1986). His short stories were followed by his Sprawl Trilogy; Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988). The following novels are the Bridge Trilogy; Virtual Light (1993), Idoru (1996), All Tomorrow’s Parties (1999), and the Bigend Trilogy; Pattern Recognition (2003), Spook Country (2007), Zero History (2010).
This study is focused on the Sprawl Trilogy; Neuromancer (1984), Count Zero (1986), and Mona Lisa Overdrive (1988). Neuromancer (1984) is a story of a console cowboy/ hacker, Henry Case, whose nervous system was damaged by his employers through Russian “mycotoxin,” so he cannot jack in cyberspace anymore. Case lives in a coffin in Cheap Hotel near Ninsei Street. He usually spends nights in Ninsei Street bars. Wage, Linda Lee (Case’s ex-girlfriend), and Julius Deane are the important characters in this period of Case’s life. After a year, one night when Case goes back to his coffin, a lady, Molly Millions, is waiting there. She was hired to help Case in a dangerous run which Armitage wants Case to do it. Indeed, Armitage wants to control Case through the glasses which were implanted into Molly’s eyes. After Case accepts to do the run, Armitage sends Case to a clinic to undergo a nervous system surgery in order to be able to jack in cyberspace again. Indeed, he feels alive when he is connected to cyberspace (Lloyd 8). And also, some “toxin sacs” are bonded to his arteries to control him.
After the surgery, Case and Molly live and work with each other. Whenever Molly goes to a place for work, Case controls the situation by jacking in cyberspace and connecting to her sensorium. He can see through her eyes and feel her feelings and sensations. Up to the middle of the story, they do not really know whom they are working for. Indeed, they are working for Wintermute, an Artificial Intelligence (AI) that persuades Case to help Wintermute to unite with another AI, Neuromancer, in order to increase their power. Meanwhile, Case searches about AIs, Tessier-
Ashpool, and their daughter, Lady 3Jane through jacking in cyberspace and talking to Dixie-Flatline (a memory construct). Then, Molly is sent to Villa Straylight where she meets Lady 3Jane and her assistant, Peter Riveria. Molly gets hurt there. When Case sees Molly in danger, he jacks out cyberspace and goes to Villa Straylight in order to save her and complete the run. After their mission, Case goes to Chiba City and buys new parts of body, such as a pancreas and a liver. Then, he goes back to the Sprawl, and finds a job and a girlfriend. He continues his normal life in society and never sees Molly again.
Count Zero (1986), is divided into three stories which are connected to each other. One story focuses on Turner who had been survived from an accident by a Dutch surgeon. The Dutch surgeon with his team put Turner together by using prosthetics and cloning. “Turner represents the most physical breakdown of the opposition between man and machine” (Naidoo 97). He is hired by Conroy to find Christopher Mitchell and bring him to Hosaka. Conroy provides Turner with Christopher Mitchell’s dossier to know him. Turner and the members of a team called Site Team are supposed to control Mitchell’s jet through a biosoft, but there is an explosion before they can get Christopher Mitchell. Therefore, Turner finds Mitchell’s daughter, Angela, instead of Christopher. Angela, also known as Angie, explains everything about his father and herself to Turner. She tells him the members of Hosaka are after her because of her dreams. Then Turner decides to protect Angie, and he brings her to his brother’s, Rudy’s House. Rudy scans Angie and finds a biochip in her head. The biochip has been put in her head by her father in order to enable her to access cyberspace directly. Then, Turner and Angie go to the Sprawl. On their way, sometimes Angie jacks in cyberspace through the biochip and talks different languages. Then, they go to Jammer’s club.
The other story concerns Marly Krushkhova, a disgraced former operator of a gallery in Paris. She is hired by Joseph Virek to find the inventor of the mysterious boxes. Joseph Virek is a wealthy man who lives in a vat and wants to attain immortality. Paco, who works for Virek, helps Marly during her mission. After Marly finds her ex-boyfriend, Alain dead in an apartment, she decides to escape from Virek. In her flight to Japan, she jacks in Tally Isham’s Sensorium and sees Virek. He addresses Marly directly and tells her that he knows her destination. After that, Marly hires a woman to take Marly to the address which she had found in Alain’s room. The address is the address of Tessier-Ashpool’s old place. She goes to the place and meets Wigan Ludgate and Jones. She tells them that she should find the artist of the boxes and let him know that he is in danger. On their way to see the artist, Joseph Virek appears on a screen and tells Marly that she had fulfilled her contract and he had found what he wanted.
The third story centers on Bobby Newmark, also known as Count Zero, who lives near Barrytown. When he jacks in cyberspace to run the software which he bought from Two-a-Day, something happens. Then, he goes to find Two-a-Day to know what happened. On the way, some people attack him in the street and he becomes unconscious. After a while, he finds himself conscious in Two-a-Day’s apartment. He tells Bobby that the voodoo gods have saved his life. Then, he gets acquainted with Jackie; a priestess of Danbala (a voodoo god), Beauvoir, and Lucas. Lucas takes Bobby to a place to meet Finn whose job is selling computer software and programs. Finn explains that he had purchased all his decks, peripherals, and software from Wigan Ludgate. Then, Bobby and Jackie go to Jammer’s Club.
متن کامل پایان نامه مقطع کارشناسی ارشد رشته :زبان انگلیسی
عنوان : پایان نامه رشته زبان انگلیسی:بررسی راهبردهای درک شنیداری بکار گرفته شده توسط زبان آموزان ایرانی
دانشگاه آزاد اسلامی
واحد گیلان
گروه زبان انگلیسی
پایان نامه برای دریافت درجه كارشناسی ارشد در رشته آموزش زبان انگلیسی
عنوان
بررسی راهبردهای درک شنیداری بکار گرفته شده توسط زبان آموزان ایرانی
استاد راهنما
دكتر رامین رحیمی
استاد مشاور
دكترفریدون وحدانی
شهریور 1393
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چكیده
هدف اصلی این تحقیق شناسایی راهبردهای مربوط به مهارت شنیداریست كه فراگیران مذكر و مونث زبان انگلیسی در ایران انتخاب میكنندوهمچنین مقایسه این راهبردهابین دو گروه (مذكر و مونث).بنابراین با اجرای آزمون تعیین سطح آكسفورد 76 نفرازدانشجویان زبان انگلیسی با گرایشهای مختلف انتخاب شدند. در مرحله بعد به دو گروه ٣8 نفری تقسیم شدند تا به سوالات پرسشنامه ی راهبردهای شنیداری چنگ (٢٠٠2) با سی سوال كه در مقیاس لیکرت، جهت تعیین راهبردهای انتخابیشان پاسخ دهند. سپس داده های جمع آوری شده در آزمون های آماری شامل آزمون توصیفی و آزمون (Mann Whitney U)اجرا شد. بر اساس یافته ها ی تحقیق، شركت كنندگان از راهبردهای فراشناختی نسبت به راهبردهای شناختی و اجتماعی-عاطفی بیشتر استفاده میكردند. علاوه بر این چون متغیرجنسیت در انتخاب راهبردها موثر بوده،نتیجه تحقیق میتواند برای سیاستگذاران آموزشی، نویسندگان كتابها ی درسی زبان، مدرسان و استادان زبان خارجی در ایران موثر باشد بویژه اینكه فراگیران زبان خارجی براساس جنسیت در كلاسهای درسی جدا از هم مینشینند.
کلید واژه ها: راهبردهای شنیداری، راهبردهای فراشناختی، شناختی و اجتماعی- عاطفی
Table of Contents
Title Page
Abstract………………………………………………………………………………………1
Chapter 1: Introduction
1.0 Introduction……………………………………………………………………………2
1.1 Theoretical Framework……………………………………………………………………3
1.2 Significance of the Study……………………………………………………………………………………7
1.3 Statement of the problem………………………………………………………………8
1.4 Research Questions of the Study………………………………………………………..10
1.5 Hypotheses of the study………………………………………………………………10
1.6 Definitions of Key Terms ………………………………………………………………11
1.6.1 Learning Strategies………………………………………………………….11
1.6.2 Listening strategies………………………………………………………….11
1.6.3 Metacognitive Strategies……………………………………………………11
1.6.4 Cognitive strategies…………………………………………………………11
1.6.5 Socio-affective Strategies……………………………………………………12
1.6.6 Listening Comprehension…………….……………………………………..12
1.7Summary…………………………………………………………………….………..12
Chapter Two: Review of the Literature
2.0 Introduction…………………………………………………………………….…….14
2.1 Language learning and strategies………………………………………………..……14
2.2 Classification of language learning strategies ………………………………….……23
2.3 Language learning and listening…………………………………………………..….28
2.3.1. What Is Listening?……………………………………………………………………………..28
2.4 Role of Listening in Second or Foreign Language Acquisition ………………….….31
2.5 Listening Comprehension Strategies ………………………………………………..…….33
2.5.1 Metacognitive Listening Strategies…………………..…………………………….39
2.5.1.1 Pre-listening Planning Strategies………………………………………….44
2.5.1.2 While-listening Monitoring Strategies……………………………………45
2.5.1.3 Post Listening Evaluating Strategies………………………………………46
2.5.2 Cognitive Strategies………………………………………………..……………….46
2.5.2.1 Bottom-up and Top-down Listening Strategies…………………………..49
2.5.3 Socio-affective Strategies………………………………………………..…………52
2.6 Empirical studies in the field of Language Learning Strategies………………………54
2.7 Summary……………………………………………………………………..……….58
Chapter Three: Methodology
3.0 Introduction…………………………………………………………………….…….59
3.1 Pilot study……………………………………………………………………………..59
3.2 Design of the study ………………………..…………………………………………60
3.3 Participants………………………………………………………………………..….61
3.4 Materials ……………………………………………………………………………61
3.4.1 Oxford Placement Test………………………………….……………….….62
3.4.2 Cheng’s Scale for Listening Strategies………………………………………62
3.5 Procedure……………………………………………………………………..………63
3.6 Methods of Analyzing Data ………………………………………………………….65
3.6.1 Ethical consideration…………………………………………………….….65
3.7 Summary…………………………………………………………………………..….66
Chapter Four: Results
4.0 Introduction…………………………………………………………………………..68
4.1 Measure of L2 Proficiency……………………………………………………………69
4.2 Questionnaire Data ……………………………………………………………………70
4.3 The First Research Question………………………………………………………….71
4.4 The Second Research Question………………………………………………………77
4.5 Computing the Effect size……………………………………………………………78
4.6 Findings of Interview………………………………………………………………….83
4.7 Summary………………………………………………………………………………86
Chapter Five: Discussion
5.0 Introduction…………………………………………………………………….…….87
5.1 General Discussion………………………………………………………….………..88
5.1.1 Further Considerations……………………….……………………………..89
5.2 Implications……………………………………………………………….………….90
5.2.1 Implications for teachers……………………..……………………………..91
5.2.2 Implications for Students…………………..…………………….…………94
5.2.3 Implications for Educational Policy Makers and Curriculum Developer..…94
5.3 Limitations of the study………………………………………………………………95
5.4 Suggestions for Further Research…………………………………………………….96
5.5 Summary……………………………………………………………………….……..97
References ………………………………………………………………………………..98
Appendices………………………………………………………………………..……111
List of Tables
Table Page
4.1 Statistics for the OPT Scores………………………………………………………69
4.2 Reliability statistics of the questionnaire (pilot study)…………………………….70
4.3 Item statistics for the listening comprehension strategy use questionnaire (metacognitive strategies)…………………………………………………………………71
4.4 Descriptive statistics for the listening comprehension strategy use questionnaire (metacognitive strategies)………………………………………………………….……..72
4.5 Item statistics for the listening comprehension strategy use questionnaire (cognitive strategies)………………………………………………………………………73
4.6 Descriptive statistics for the listening comprehension strategy use questionnaire (cognitive strategies)………………………………………………………………………74
4.7 Descriptive statistics for the listening comprehension strategy use questionnaire (socio affective strategies)………………………………………………………………..75
4.8 Descriptive statistics for the listening comprehension strategy use questionnaire (socio- affective strategies)………………………………………………………………..75
4.9 Statistics for different categories of the questionnaire……………………………76
4.10 Ranks of female and male participants on listening comprehension strategy use………………………………………………………………………………….……..78
4.11 Median value of each group (listening comprehension strategy -use questionnaire)……………………………………………………………………………..78
4.12 Mann-Whitney U Test for the listening comprehension strategy-use of males and females……………………………………………………………………………………78
4.13 Ranks for females and males in metacognitive strategies…………………..…….80
4.14 Ranks for females and males in cognitive strategies………………………………81
4.15 Ranks for females and males in socio- affective strategies…………………….…82
List of Figures
Table Page
2.1 Diagram of Oxford’s Strategy Classification System…………………………….27
4.1 The comparison between males and females in their use of listening comprehension strategies…………………………………………………………………79
4.2 The comparison between males and females in their use of metacognitive strategies………………………………………………………………………………….81
4.3 The comparison between males and females in their use of cognitive strategies…………………………………………………………………………………..82
4.4 The comparison between males and females in their use of socio- affective strategies………………………………………………………………………………….83
Abstract
The main goal of this investigation was to identify the listening strategies of Iranian male and female foreign (English) language learners and to compare the listening strategies of both groups of research participants. To investigate, 76 undergraduate students of different major of English were selected via administrating the Oxford Placement Test (OPT).Then, they were divided into two groups of 38asked to complete Cheng’ s (2002) 30-item Listening Strategyin the Likert-scale format to identify the listening strategies they use. Then the data gathered
were run through statistical tests, including descriptive test and Mann Whitney U-test. Based on the findings of the studythe listeners usedmore metacognitive strategies than cognitive and socio-affective strategies respectively.In addition, as gender influenced selecting the types of strategies for listening, it can be efficient for policy makers, syllabus designers, practitioners and instructors especially in Iran where classrooms are separated according to students’gender.
Key words:Listening Strategies, Metacognitive Strategies, Cognitive Strategies, Socio-affective Strategies
Chapter One
Introduction
1.0. Introduction
Listening has become an important part of manysecond or foreign language (L2)programs,as both it is a means to access various sources of knowledge and it is a criterion to determine whether an EFL learner is a competent language performancer or not. Teachers can help students improve their listening competence by equipping them with effective listening strategies and skills.In fact,its importance is influenced by the overwhelming amount of listening input in everyday life.
Despite its importance,listening is not an easy skill to master,especially listening in ESL or EFL contexts.Teachers look for the methods to find a way to enhance listening profeciency.Researchers and educaters know that learning strategies are necessary for EFL learners to be a successsful one.Many reseachers have investigated on learning strategies to find which strategieas can improve learning and especially listening skill.
Chamot (2005) believes that Learning strategies are the thoughts and actions that individuals use to accomplish a learning goal. A lot of investigations in 1970s show the importance of learning strategies. The results mention that learners’ own creative and active participation play an important role in their success in spite of having much aptitude and motivation.
متن کامل پایان نامه مقطع کارشناسی ارشد رشته :زبان انگلیسی
عنوان : پایان نامه رشته زبان انگلیسی:Investigation on Rheological Behaviour of Dually Modified Cassava Starch/k-Carrageenan as Gelatin Alternative in Pharmaceutical Hard Capsules
Islamic Azad University
Damghan Branch
Faculty of Agriculture
A Thesis Submitted in Partial Fulfillment of the Requirments For
the Degree of M.sc(Ph.D)in Food scienc and technology
Title
Investigation on Rheological Behaviour of Dually Modified Cassava Starch/k-Carrageenan as Gelatin Alternative in Pharmaceutical Hard Capsules
Supervisor:
Abdorreza Mohammadi Nafchi, PhD
November 2013
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Table of Contents
Acknowledgement ii
Table of Contents. iii
List of Tables. vi
List of Figures. vii
Abstract 1
Chapter 1: Introduction. 2
1.1 Background. 3
1.2 Rational of study. 5
1.3 Objectives of the study. 5
1.4 Research Flowchart 6
Chapter 2: Literature Review.. 8
2.1 PHARMACEUTICAL CAPSULES. 9
2.1.1 Pharmaceutical hard capsules. 10
2.1.2 Manufacture of gelatin capsules. 11
2.1.3 Properties of gelatin capsules. 15
2.1.4 Alternatives to Gelatin. 17
2.2. POLYSACCHARIDES STUDY.. 20
2.2.1 Starch. 20
2.2.1.1 Composition and primary structure of starch. 21
2.2.1.2 Morphology and ultra-structure of starch grains. 24
2.2.1.3 Semi-crystalline structure of starch grains. 27
2.2.1.4 Thermal transitions. 30
2.2.1.5 Starch modification. 35
2.2.1.6 Cassava. 41
2.2.2 Carrageenan. 53
2.2.2.1 Chemical Structure. 53
2.2.2.2 Conformation of κ-carrageenan. 54
2.2.2.3 Gelation of κ-carrageenan. 60
2.2.2.4 Thermoreversibility of gels and rheological properties. 61
2.3 POLYSACCHARIDE MIXTURES. 65
2.3.1 Phase Behavior 65
2.3.2 Thermodynamic Incompatibility. 66
2.3.3 Gels based on mixtures polysaccharides. 68
2.3.3.1 Rheological properties. 69
2.3.3.2 Rheology of blends of starch. 70
Chapter 3: Materials and Methods. 72
3.1 Materials. 73
3.1.1 Gelatin. 73
3.1.2 κ-carrageenan. 73
3.1.3 Acid hydrolyzed hydroxypropylated cassava starch. 73
3.2 Methods. 74
3.2.1 Preparation of solutions. 74
3.2.1.1 Gelatin solutions. 74
3.2.1.2 Starch and κ-carrageenan solutions. 74
3.2.2 Rheological properties. 77
3.2.2.1 Flow properties. 77
3.2.2.2 Viscoelastic properties. 78
Chapter 4: Results and Discussions. 79
4.1 Rheological behavior of gelatin. 80
4.1.1 Gelatin solution at 50 °C.. 80
4.1.2 Sol-gel transitions. 82
4.1.3 Viscoelastic properties of gelatin gels at 20 °C.. 86
4.2 Rheological behavior of starch-κ-carrageenan blends. 90
4.2.1 Rheological behavior at 50 °C.. 90
4.2.1.1 Dually modified cassava starch (HHSS) 90
4.2.1.2 κ-carrageenan. 95
4.2.1.3 Dually modified cassava starch/κ-carrageenan blends. 96
4.2.2 Rheological behavior in sol-gel transitions (from 50 °C to 20 °C) 102
4.2.2.1 Influence of κ-carrageenan content 104
4.2.2.2 Influence of the different extents of starch hydrolysis. 106
4.2.3 Rheological properties of gels at 20 °C.. 107
4.2.3.1 κ-Carrageenan gels. 107
4.2.3.2 Composite gels. 108
Chapter 5: Discussion and Conclusion. 113
5.1 Synergy and gel state. 114
5.1.1 Dually modified cassava starch and κ-carrageenan. 114
5.1.2 Mixtures. 115
5.2 Comparison with gelatin. 120
5.2.1 Solution properties. 120
5.2.2 Jellification. 121
5.3 Conclusion and recommendation for future research. 123
References. 126
List of Tables
Table 2. 1: Properties and applications of modified starches. 35
Table 2. 2: Performance of starch slurry dewatering by a conventional centrifuge from a typical cassava starch factory. 51
Table 3.1: Compositions of the starch- κ-carrageenan solution. 76
Table 4.1: Changes in viscosity of gelatin as a function of concentration. Experiments were performed at 50 °C 81
(G’= G”) during cooling from 50 to 25 °C and heating from 25 to 50 °C. The rate of heating or cooling was 1°C/min. Frequency: 1 rad/s. Strain amplitude: 1%. 86
Table 4.3: Viscosity of κ-carrageenan in different concentrations. 95
) of κ-carrageenan alone and the mixture HHSS12-κ-carrageenan determined from cooling and heating ramps at 1 °C/min and 1 rad/s. 104
Table 4.5: Storage and loss moduli G’ and G” of κ-carrageenan alone and HHSS12-κC0.5 mixture determined from temperature ramps during cooling and heating at 1 °C/min by rheological measurements. Frequency: 1 rad/s. 111
List of Figures
Figure 1.1: Research flowchart 7
Figure 2. 1: Formation of hard gelatin capsules by dip molding. 12
Figure 2. 2: Position fingers dipping during passage through the drying ovens. 13
Figure 2. 3: Steps removing (a) trimming (b), and assembly of capsules ©. 14
Figure 2. 4: Water content at equilibrium of pharmaceutical hard empty gelatin capsules in relationship with the mechanical behavior. The capsules are stored at different relative humidities for two weeks at 20 ° C. 16
Figure 2. 5: Isothermal sorption-desorption capsules hard gelatin and HPMC at equilibrium at 25°C. 19
Figure 2. 6: Test for fragility of the capsules: the percentage of broken capsules according to their water content. a: resistance to pressure with capsules filled with corn starch. b: impact resistance with empty capsules. 19
Figure 2. 7: Structure of amylose. 22
Figure 2. 8: Structure of amylopectin. 23
Figure 2. 9: Grains of different starches observed in scanning electron microscopy SEM (magnification × 280) 24
Figure 2. 10: The different levels of grain starch. 25
Figure 2. 11: Organization of starch grains in “blocklets”. 27
Figure 2. 12: X-ray diffraction diagram for crystalline starch type A, B and C. 28
Figure 2. 13: Crystallinity of potato starch: influence of water content on the resolution of the diffraction pattern of X-rays. 29
Figure 2. 14: Crystalline arrangement of double helices of amylose type A and B.. 30
Figure 2. 15: Variation of classical transitions of the potato starch as a function of water content 33
Figure 2. 16: Hydroxypropylation reaction. 38
Figure 2. 17: Mass balance of cassava starch manufacturing process in a starch factory with a decanter. 47
Figure 2. 18: Mass balance of cassava starch manufacturing process in a starch factory without a decanter. 48
Figure 2. 19: Starch granules trapped in discharged pulp of cassava starch process. 49
). 54
Figure 2. 18: Percentage of order of κ-carrageenan solution by polarimetry (0) and conductivity measurements (D) 55
. 57
Figure 2. 20: Phase diagram of κ-carrageenan representing the variation of transition temperature on cooling and heating according to the total concentration of potassium (Rochas, 1982; Rochas & Rinaudo, 1980). 59
Figure 2. 21: κ -Carrageenan gelation model, cation to promote gelation. (Morris et al., 1980) 60
: melting temperature. Cooling G’ (■), G” (¨). Heating G’ (□), G” (◊). (Fernandes, Gonçalves & Doublier, 1992). 63
Figure 2. 23: Kinetics of evolution of κ-carrageenan at a concentration of 1%. Temperature is 25 ° C. Frequency 1Hz. G’ (■), G” (¨). 64
Figure 2. 24: Phase diagram at 25 °C mixture of waxy hydroxypropyl starch/κ-carrageenan. 67
Figure 3.1: Phase diagram of κ-carrageenan representing the variation of transition temperature on cooling and heating according to the total concentration of potassium.. 75
Figure 4.1: Newtonian behavior of gelatin at 50 °C and 20% concentration. 80
Figure 4.2: Mechanical spectrum of 25% gelatin solution. G’: filled symbols, G”: empty symbols. Experiments were performed at 50 °C, strain amplitude was 1%.. 82
Figure 4.3: Storage and loss moduli G¢, G² for a 25% gelatin sample during a cooling ramp. Temperature was ramped from 50 to 20 °C at 1°C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 84
Figure 4.4: Storage and loss moduli G¢, G² as a function of temperature during a heating ramp of a 25% gelatin sample. Temperature was ramped from 25 °C to 50 °C at 1 °C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 85
Figure 4.5: Mechanical spectrum of 25% gelatin. G’: filled symbols, G”: empty symbols. The temperature was 20 °C. Strain amplitude: 1%. 87
Figure 4.6: Changes in modulus G’ and G” as a function of time for a 27% gelatin gel. Measurement temperature was 20 ° C. Frequency: 1 rad / s. Strain amplitude: 1%. 88
Figure 4.7: Changes in G’ as function of gelatin concentration. Data obtained after 6 h of time sweep measurement at 20 °C. Frequency: 1 rad/s. Strain amplitude: 1%. 89
Figure 4.8: Flow curves of hydrolyzed hydroxypropylated cassava starch dispersions at a concentration of 25% (g/g): HHSS6 (●), HHSS12 (■), HHSS18 (o), HHSS24 (). Measurements were performed at 50 °C.. 91
Figure 4.9: Flow curves for dually modified cassava starch (HHSS12) dispersions at a concentration of 25% (g/g). Measurement was performed at 50 °C.. 92
Figure 4.10: Flow curves of dispersions of hydroxypropyl cassava starch HHSS12 at concentrations of 20% (■), 23% (●) and 25% (▲). Temperature was 50°C.. 93
Figure 4.11: Mechanical spectra of different dually modified cassava starches at concentrations of 25%: a) HHSS6, b) HHSS12, c) HHSS18, d) HHSS24. G’: filled symbols, G”: empty symbols. Measurement temperature was 50 °C and strain amplitude was 1%.. 94
Figure 4.12: Newtonian behavior of κ-carrageenan in the concentration range of 0.25% to 1% at 50 °C 96
Figure 4.13: Flow curves of the mixture HHSS12-κC0.5 (¨), 20%HHSS12 and 0.5% κ-carrageenan, κC0, 5 (×), and starch dispersions HHSS12 20% (□), 23% (○) and 25% (Δ). The temperature was 50 °C 97
filled symbols. 98
Figure 4.15: Flow curves of mixtures of 25% starch HHSS12 with κ-carrageenan at different concentrations. Measurements were taken at 50 °C.. 99
Figure 4.16: Flow curves for 0.5% κ-carrageenan and mixtures of 25% dually modified cassava starches/κC0.5. Measurement temperature was 50 °C. 100
Figure 4.17: Mechanical spectrum of κC0.5 (solid lines ■, □), HHSS12 (solid lines ●, ○), and the mixture κC0.5-HHSS12 (■, □). Concentration of HHSS12 alone was 25% and in combination total concentration was 25%. G’: filled symbols, G”: empty symbols. Measurement temperature: 50 ° C. Strain amplitude: 1%.. 101
Figure 4.18: Variation of viscoelastic modulus G’ and G” as a function of temperature for κC0.5 and for the mixture of κC0.5 and HHSS12. a) Cooling from 50 °C to 20 °C. b) Heating from 20 °C to 50 °C. Heating/cooling rate: 1 °C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 103
Figure 4.19: Variations of modulus G’ and G” as a function of temperature during cooling from 50 °C to 20 °C for 25% HHSS24 alone and in combination with κ-carrageenan. G”: filled symbols; G’: empty symbols. Cooling rate: 1 °C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 105
Figure 4.20: Variations of modulus G’ and G” as a function of temperature during cooling from 50 °C to 20 °C for 1% κ-carrageenan and 25% starch mixtures. G’: empty symbols; G”: filled symbols. Cooling rate: 1 °C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 106
Figure 4.21: Variations of modulus G’ and G” as a function of temperature during heating from 20 °C to 60 °C for 1% κ-carrageenan and 25% starch mixtures. G’: empty symbols; G”: filled symbols. Cooling rate: 1 °C/min. Frequency: 1 rad/s. Strain amplitude: 1%.. 107
Figure 4.22: Mechanical spectra of κC1 (■, □), κC0.75 (●, ○) and κC0.5 (▲, Δ). G’: filled symbols, G”: empty symbols. Temperature: 20 ° C. Strain amplitude: 1%. 108
Figure 4. 23: Mechanical spectrum of κC0.5 (●, ○), 25% HHSS12 (dashed line with ▲, Δ) and the mixture of κC0.5-HHSS12 (■, □) at 20°C. G’: filled symbols, G”: empty symbols. Strain amplitude: 0.1% for mixtures and 1% for constituents. 109
Figure 4.24: Mechanical spectrum of mixtures HHSS12-κC1(▲, Δ), HHSS12-κC0.5 (dashed line with ●, ○) and HHSS12-κC0.25 (■, □) at 20 °C. G’: filled symbols, G”: empty symbols. Strain amplitude: 0.1% 110
Abstract
With the goal of finding an alternative to gelatin in the processing of pharmaceutical capsules, the effects of k-carrageenans on dually modified cassava starch were investigated. While film forming and mechanical properties are important in all pharmaceutical capsules, solubility at high solid concentration and thermo-reversibility are important factors for hard capsule processing. Casava starches were modified first by hydrochloric acid (0.14 N for 6, 12, 18, and 24 h at 50 °C) and secondly by propylene oxide (10, 20, and 30% of solid for 24 h at 40°C).
To improve the gel setting property of the dually modified starch, dually modified cassava starches were combined with k-carrageenan (0.25, 0.5, 0.75, and, 1%). The concentration of the K+ ion in the composite mixture was adjusted appropriately to achieve the same sol-gel transition temperature. The rheological properties of the mixtures were measured and compared, with gelatin as the reference material. The solution viscosity, sol-gel transition, and mechanical properties of the films made from the mixtures at 50 °C were comparable to those of gelatin. The viscoelastic moduli (G’ and G”) for the gel mixtures were lower than those of gelatin. The composite gels had temperatures of gelation similar to that of gelatin. Both viscosity in solution and stiffness in gels could be adjusted using high levels of κ-carrageenan and was relatively independent of the molecular weight of the starch. These results illustrate that dually modified cassava starch in combination with k-carrageenan has properties similar to those of gelatin, thus these starches can be used in dip-molding processes, such as those used to make pharmaceutical hard capsules.
Chapter 1: Introduction
1.1 Background
The capsule is one of the formulations of the oldest pharmaceutical in history, known especially from the ancient Egyptians. In Europe, it was not until the nineteenth century that the first gelatin pharmaceutical capsule with the patent of Mr. Dublanc pharmacist and his student Mr. Mothes. Over the years, this invention has been so successful that the production of capsules has grown rapidly in many countries. This has led to many improvements including the invention of hard gelatin capsules in 1846 by Mr. Lehuby (Podczeck & Jones, 2004).
The development of pharmaceutical capsules, used for therapeutic purposes, originates in the keen interest shown by the numerous researches in pharmacology. This has greatly expanded the range of possible formulations using pharmaceutical capsules. Today, pharmaceutical capsules are mainly based on animal gelatin from porcine or bovine. Gelatin is an animal protein that is a traditional ingredient in many fields, including food. Gelation properties at temperatures close to room temperature and formation of homogeneous films, potable, gelatin as a choice for the manufacturing of pharmaceutical capsules.
However, the use of animal gelatin in the food and pharmaceutical industry is governed by regulations becoming more stringent. The precautionary principal applied, for example, the risk of transmission by animal gelatin; the bovine spongiform encephalopathy (BSE) has questioned its use. Even if today the rules on the origin of the gelatin are very strict and that gelatin is no longer a risk to health, development of alternative products of interest to pharmaceutical and food industries. The sources from which gelatin can also be problematic for ethical or religious populations. Many people around the world do not consume products made from pork (vegetarians, Hebrews, and Muslims) or beef base (vegetarian Hindus). It is therefore that the replacement of gelatin with other texturing agents of non-animal origin has been much research in recent years.
The most important properties that potable gelatin as capsule forming material are heat sealability of films for soft capsule processing and solubility in high concentration, film formability and thermo-reversibility for making hard capsules.
Starch as a plant based material is one of possible alternative for gelatin due to cost and accessibility. Native starches can form films, but the films have not heat sealability, also starches are non soluble biopolymer, and form non-reversible gels. So changes or supporting the structure likely improve the starch property to consider as gelatin replacement in some cases.
The proposed system is a mixture of starch and k-carrageenan. Starch would give the mixture of film-forming properties and solubility in aqueous and carrageenan bring its ability to gel. The selected starch has focused on the use of such modification(s) on starch that able it to dissolve at temperatures below 100 °C and form stable solutions at high concentrations (≈ 20-30%). The botanical origin of the cassava starch is due to its proper amylose content, which improves mechanical properties of films and availability of this starch in Southeast Asia. The gelling agent has been studied was κ-carrageenan/K+ for its ability to form thermo reversible gels and easily adjustable thermo-physical transition temperatures. The film-forming mixtures were prepared by casting method.
The main objective of this research project is to replace the gelatin with a composite cassava (tapioca) starch film for manufacturing of pharmaceutical capsules especially hard capsules. The idea for hard capsule processing is to develop a new system whose characteristics in the solution and solid state would be closer to existing formulations. The constraints imposed industrial development concentrated formulations (25-30%) prepared at temperatures below 100 °C capable of forming a gel by physical cooling and forming a film after drying.
متن کامل پایان نامه مقطع کارشناسی ارشد رشته :زبان فرانسه
عنوان : پایان نامه رشته زبان فرانسه:Figure du temps chez Le Clézio
(Désert, La Ritournelle de la faim, L’Africain)
UNIVERSITÉ AZAD ISLAMIQUE
BRANCHE TÉHÉRAN CENTRALE
FACULTÉ DES LANGUES ÉTRANGÈRES
EN VUE DE L’OBTENTION DE LA MAÎTRISE EN
LANGUE ET LITTÉRATURE FRANçAISES
Figure du temps chez Le Clézio
(Désert, La Ritournelle de la faim, L’Africain)
SOUS LA DIRECTION DE:
Monsieur le Docteur Ali Abassi
PROFESSEUR CONSEILLER :
Monsieur le Docteur Babak Moine
décembre 2013
برای رعایت حریم خصوصی نام نگارنده پایان نامه درج نمی شود
(در فایل دانلودی نام نویسنده موجود است)
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ژان ماری گوستاولوکلزیو از جمله رمان نویسان مشهور این قرن است . وی رمان هایی می نویسد که در آنها بیش از پیش دلزدگی خود را از جامعه مدرن بیان می کند.سبک او به نوعی خویشتن داری نزدیک می شود و مضمون ها بسیط تر می شوند.وی همچون قهرمانان داستانهایش پیوسته در سفر است اما هرجا باشد همچون شاهدی بر آدم و آدمیت است.انسان همواره ترس از گذر زمان دارد؛و در برابر آن عکس العمل ای گوناگونی برای دانستن آن از خود بروز می دهد مانند :نوستالژی، دلهره،افسوس و طغیان.این ها عکس العمل هایی هستند که در تمام انواع ادبی مانند رمان،تئاتر و… بیان می شوند.زمان نه تنها در ادبیات استوار است بلکه محوری است که در اطراف آن تصاویری که ازتخیل نویسنده ظاهر شده است ،قرار دارد.نویسنده مانند دیگر انسان ها ترس از زمان دارد اما آنچه که وی را از دیگران متمایز می سازد توانایی وی برای بیان کردن ترسهایش به وسیله ی تصاویر است.ما برای بیان این فرضیه از متد ژیلبر دوران استفاده کرده ایم تا ببینیم آیا نویسنده توانسته بر ترس خود غلبه کند یا خیر. از این رو در فصل اول به این نکته می پردازیم که آیا لوکلزیو نوعی ترس از گذر زمان را بیان کرده است؛و در فصل بعدی خواهیم دید که آیا لوکلزیو توانسته در برابر این گذر زمان پیروز شود یا خیر.از آنجائیکه لوکلزیو از جمله نویسندگانی است که جایزه نوبل را به خود اختصاص داده است و نحوه نگارشی متفاوت و کاملا نو نسبت به جهان پیرامون خود دارد.نگرشی متاثر از دو دنیای متفاوت غرب و آفریقا.در رمان های وی زبان به جای آنکه وسیله ارتباطی میان من و جهان باشد وسیله ی بیان حس هاست و دیگر قیود زمانی و مکانی را نمی توان رعایت کرد .به همین دلیل در رمان هایش می بینیم که زمان گاهی گذشته و گاهی حال است و ظاهرا هیچ دلیلی برای این جابجایی دیده نمی شود جز اینکه آیا لوکلزیو نوعی ترس از گذر زمان را بیان می کند یا می تواند در برابر این گذر زمان پیروز شود.
Introduction
J.M.G Le Clézio est un auteur de l’Afrique. Il fluctuante entre Afrique et Occident. Son histoire personnelle témoigne de l’ambiguïté de sa situation. Il va découvrir, dès l’enfance, l’Afrique et sa colonisation. Son écriture aussi fluctuante entre deux mondes. Le Clézio met en place un texte qui se cache, qui résiste. Pour lui la parole doit susciter des questions pour être efficace, elle ne doit pas être accessible immédiatement. Il ne cherche pas à produire un effet stylistique, mais plutôt à atteindre une vérité de parole. Il condamne le style qu’il considère comme un mensonge. Il vise une langue spontanée, vivante, semblable à un souffle. La parole retenue est un élément essentiel dans la poétique le clézienne. La parole conteuse crée une médiation, elle peut se faire le porte-parole d’une mémoire collective. C’est une parole vivante, le conteur doit conserver et restituer le ton de ce qui est dit. Le Clézio situe ses récits dans des lieux de culture orale comme l’Afrique.
Le désert s’impose comme le lieu de la révélation. Il est celui des origines, il s’impose comme un infini de silences. Son image, omniprésente dans l’œuvre de Le Clézio, symbolise la quête du silence, de l’origine. L’écrivain vise une langue spontanée, vivante, semblable au souffle du vent du désert. Le désert purifie par son silence. La richesse de la langue vient pour lui du métissage, qui seul permet d’entendre tout ce qu’il y a dans les mots. Il cherche à retrouver cette parole vive dans sa propre écriture. Par les langues étrangères, Le Clézio dévoile le secret du langage, son écriture requiert la participation du lecteur qui doit écouter le texte et non plus seulement le lire. Il y a ainsi dans l’écriture le clézienne une forte dimension sociale et idéologique. Le Clézio s’adresse au public occidental, sa fonction de dénonciation revêt alors toute son importance. L’écriture est, pour lui, un de ses seuls moyens d’action, « Je ne suis qu’un écrivain, alors que faire ? J’écris ». L’écriture de l’Afrique est pour lui un mode de dénonciation de l’Occident. Sa mise en scène des cultures orales est à envisager comme un effet de miroir inversé des cultures dominantes de l’écrit. L’écriture des cultures orales est ainsi, pour Le Clézio, le mode d’un retour à l’imaginaire, aux sources de son écriture.
Le Clézio dans ses œuvres essaie de découvrir ce côté inconnu de la vie où il est possible de trouver le salut, où le regard s’affole de tant voir, où l’ouïe perçoit les bruits les plus ténus; où les mots sont inutiles et où les gestes uniquement comptent. Il poursuive une quête, de rechercher un même vrai sens à la vie, une qualité essentielle, celle du regard, un regard libérateur, nu, sans aucun préjugé; un regard que le merveilleux enseigne bien plus que la réalité scientifique.
La conscience du temps est donc présente dans l’œuvre de Le Clézio. Le temps paraissait immense, très lent, avec par instants de drôles d’accélérations incompréhensibles, des vertiges, comme si on traversait le courant d’un fleuve. Le temps apparait pour l’homme, comme une réalité négative en lui-même, pour autant qu’il soit lié au devenir, à la douleur de l’existence et à la mort.
« Depuis toujours, le temps a été source de l’angoisse, parce qu’il est synonyme de la mort. En effet, il ne cesse pas de s’écouler et conduite l’homme vers la fin de son voyage terrestre, passage obligé de la condition humaine. L’homme s’est toujours confronté à la mort. Il faut dire que l’homme est temporel : le temps apparaît comme inséparable de la condition humaine. Il domine la vie de sa présence, il impose ses effets. »1
Le temps va alors exercer une puissance influence sur l’imagination de Le Clézio. Son omniprésence annonce qu’il occupe une place essentielle dans l’œuvre de Le Clézio. Nous voulons préparer une étude des figures du temps chez Le Clézio.
Dans cette partie, comme l’instrument de recherche, nous voulons présenter la méthode critique de Gilbert Durand. Cependant, il faut signaler que notre travail n’envisage pas une étude totale du système durandien. Elle est une petite introduction à une grande recherche appliquant cette méthode. Notre étude, fondée sur la notion de la critique, n’est qu’un travail élémentaire pour la compréhension d’une pensée.
La base et le principe de la pensée durandienne sont profondément liés aux théories de l’épistémologue et critique Gaston Bachelard.
[1] ABBASSI, Ali, La Peur du Temps chez Hugo, Université SHAHID BEHESHTI, 2004, p. 2.
Le dernier insiste sur le rôle important de la rêverie et de l’imagination dans la création des œuvres littéraires. En effet, Bachelard et Durand ont toujours eu un regard particulier sur l’image. D’après eux, les images poétiques ont un système qui est définit par l’imaginaire. Ce dernier se base sur les images originelles sans lesquelles les manifestations de la vie et des valeurs vitales seraient impossible. Ces images sont celles qui sont inspirées par les matières fondamentales, par les mouvements principaux, comme monter et descendre, et par les quatre éléments fondamentaux : feu, eau, terre, air.
Dans son ouvrage : Les Structures anthropologiques de l’imaginaire. Introduction à l’archétypologie générale, paru pour la première fois en 1960, Gilbert Durand présente sa démarche. L’ouvrage a pour objet de définir le sémantisme primitif des images et d’établir une ” classification des grands symboles de l’imagination “. Il établit que les produits de l’imagination ont une signification intrinsèque, qui détermine notre représentation du monde. Il définit l’imagination comme « la racine de toute pensée. »1
[1] CHELEBOURG, Christian, L’imaginaire littéraire, Des archétypes à la poétique du sujet, Paris, Nathan, 2000, p. 57.
Les réalités géographiques et cosmiques, les structures sociales, la conscience de la fécondité féminine, de la force virile, toutes ces données objectives de la perception se mêlent à nos pulsions profondes pour constituer notre représentation du monde. Entre ces deux dimensions de la réalité, l’une objective, l’autre subjective, l’imagination opère un perpétuel va-et-vient, un échange constant, auquel Gilbert Durand donne le nom de “trajet anthropologique.” Ce trajet définit l’imaginaire :
« Finalement, l’imaginaire n’est rien d’autre que ce trajet dans lequel la représentation de l’objet se laisse assimiler et modeler par les impératifs pulsionnels du sujet, et dans lequel réciproquement, comme l’a magistralement montré Piaget, les représentations subjectives s’expliquent « par les accommodations antérieures du sujet » au milieu objectif.»1
D’après Durand, toutes pensée repose sur des images, qui n’ont rien à voir ni avec la mémoire, ni aves la perception.
1 DURAND, Gilbert, Les Structures anthropologiques de l’imaginaire, Introduction à l’archétypologie générale, Paris, Dunod, 1992, p.38.
En effet, la conception de l’anthropologie de l’imaginaire que Gilbert Durand a construit s’est fait sur cette constatation qu’à l’origine de toute culture, il y a une peur essentielle qui est la peur de la fuite du temps. Ce que Durand appelle le Chronos dévorant, que toutes les productions, pratiquement imaginaires et intellectuelles peuvent relever des réponses à cette fuite du temps.
En réalité, le principe classification de Durand est la bipartition des symboles entre deux grands régimes : “diurne et nocturne”. Ces régimes représentent deux manières de lutter contre le temps et l’angoisse de mort. Fondamentalement antithétique, le régime diurne oppose deux grandes catégories d’images, les unes qui signifient l’angoisse devant le temps, les autres la volonté de vaincre celle-ci et de s’élever au-dessus de la condition humaine. Parmi les premières, on distingue trois types de symboles représentant les visages du temps. D’abord des symboles thériomorphes, des images animales qui signifient soit l’agitation et le changement, soit l’agressivité et la cruauté. Ensuite viennent des symboles nyctomorphes, des images de la nuit qui transposent en terme d’obscurité la craint engendrée par le temps. Il groupe les images de l’impureté, de l’eau noire, mais aussi celle de l’aveuglement. Enfin, des symboles catamorphes, des images de la chute, mais aussi des images du sang, du vertige, de la pesanteur ou de l’écrasement. Ces symboles disent la déchéance de l’homme, chassé du paradis et devenu mortel.
À toutes ces images des temps, valorisés négativement, s’oppose le symbolisme symétrique de la victoire sur le destin et sur la mort. Il constitue le deuxième type d’images du régime diurne. À l’intérieure de celui-ci, Gilbert Durand distingue de nouveau trois catégories de symboles. En premier lieu, des symboles ascensionnels, par lesquels l’homme atteint à une souveraineté céleste, on trouve ici les images de l’élévation, de l’aile, de l’ange, du géant. Puis, des symboles spectaculaires, ils groupent les symboles de la lumière et les organes de la lumière : le soleil, l’œil, le verbe divin. Pour finir, des symboles diaïrétique, symboles de la puissance et de pureté qui se composent des armes et des insignes de la victoire, de l’accession à la transcendance : flèche, glaive, etc.
Les structures mystiques et synthétiques constituent le régime nocturne. Le premier cherche à nier le temps sur le mode de l’antiphrase, et le deuxième à s’en accommoder, à tirer parti de sa nature cyclique.
Dans les structures mystiques les symboles ne font plus vivre le monde en termes de conflit, comme dans l’antithèse, mais visent, au contraire, à réduire ses dangers, à les euphémiser au point de les nier, de les inverser, comme par antiphrase. Ils se répartissent en deux groupes : un groupe d’images de l’inversion et un groupe d’images de l’intimité. Ces structures de mystiques conjuguent une volonté d’union avec le monde et le goût de l’intimité secrète. Elles reçoivent également l’épithète d’antiphrasiques, pour souligner que leur fonctionnement générale est celui de l’antiphrase.
Dans les structures synthétiques ou (dramatiques) les symboles sont tous cycliques, ils sont animés par le désire de maîtriser le temps en utilisant ses rythmes propres. Pour y parvenir, ils s’orientent soit dans le sens de l’eternel retour, soit dans celui du progrès. Les cycles de l’éternel retour comportent une phase négative et une phase positive, la première étant interprétée comme nécessaire à l’avènement de la seconde, ce qui en euphémise la
négativité. Dans les symboles progressistes, le dernier cycle « n’est qu’un cycle tronqué ou mieux une phase cyclique ultime emboîtant tous les autres cycles comme figures et ébauches de l’ultime procès. »1 Les symboles cycliques se présentent sous la forme de récits dramatiques, de mythes opérant la synthèse, la réconciliation si l’on préfère, d’images qui s’opposent dans les autres structures de l’imaginaire. Les modèles naturels de ces cycles sont les phrases de la lune et le cycle végétal des saisons.
Puisqu’ un travail constituant tous les deux régimes deviendra trop long pour un mémoire de maîtrise, notre travail se contente d’étudier les images du régime diurne de l’imaginaire.
[1] Ibid., p. 322.
Temps est un thème fréquent chez Le Clézio, Pour étudier ce concept chez Le Clézio, nous essaierons de voir, d’une part, si il prouve une certaine peur face à la fuite du temps ? Si oui, pourquoi ? D’une autre part, est- ce qu’il pourrait maîtriser la fuite du temps ? Si oui, comment ?
En tant que corpus, face à une immense production littéraire, il est à signaler que nous avons étudié une petite partie de l’œuvre romanesque de Le Clézio pour analyser des figures de l’imaginaire. Nous avons travaillé sur les ouvrages : La Ritournelle de la faim, Désert et L’Africain.
Ce travail comprend deux parties. Dans la première partie nous allons étudier les images négatives du régime diurne regroupées autour des symboles thériomorphes, nyctomorphes et enfin catamorphes. Et dans la partie suivante, nous allons voir si Le Clézio pourrait enfin montrer une victoire face à l’écoulement du temps. La réponse à cette question sera une analyse des images positives du régime diurne regroupées autour des symboles ascensionnels, spectaculaires et enfin les symboles de protection contre le temps.
I. LA FUITE DU TEMPS
I.I LES SYMBOLES THÉRIOMORPHES
Dans ce chapitre consacré aux symboles thériomorphes, nous allons présenter comment la bestialité se manifeste dans l’imaginaire de l’auteur. Dans l’imagination de Le Clézio, la peur, l’angoisse devant le temps et devant la mort se révèlent sous forme d’animal terrifiant.
Cette partie va montrer l’importance de l’archétype d’animal dans l’imagination de l’auteur. Nous considérons les images animalisées du soleil, de la lune, de l’air et du sel qui constituent les images chaotiques chez Le Clézio.
متن کامل پایان نامه مقطع کارشناسی ارشد رشته :زبان انگلیسی
عنوان : پایان نامه رشته زبان انگلیسی:Submitted to the Department of Postgraduate Studies as a Partial Fulfilment For the Degree of Master of Arts in English Literature
Islamic Azad University
Tehran Central Branch
Faculty of Foreign Languages
A Thesis
Submitted to the Department of Postgraduate Studies as a Partial Fulfilment For the Degree of Master of Arts in English Literature
Tracing Helene Cixous & Luce Irigaray’s Concepts on Female Characters of the Three Plays of Sam Shepard:
A Lie of The Mind, States of Shock & Buried Child
Adviser:
Dr. Shahram Kiaei
Reader:
Dr. Kian Soheil
Winter 2013
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Abstract
Repression, beating and abusing of women and regarding them as the “second sex” are issues that cannot be ignored. These affairs are also shown in vast dimension in post-modern American literature in which women characters are in search of “identity” and a way of liberty and freedom from patriarchal society to heal themselves but all their efforts lead to a life of “ambiguity” and nothing more; alike what women do and live in the real world. The question that comes to mind is that “what is the reason and what if there can be a solution?” This research is planned to have a feminist point of view on female characters of the three plays of Sam Shepard Buried Child, A Lie of the Mind and States of Shock. Due to the broad spectrum of the history of feminism, the methodology of this study focuses on Irigaray, a contemporary French feminist, theorist, psychoanalyst and critic of literature, through her ideas of “subjectivity”, “sexuality”, “language” and “desire”; And Helene Cixous Another French feminist and philosopher whose challenging theory of “Feminine Writing” are surveyed through this study. In the process of this research it is revealed that the belief in the theory of “transition of woman’s personality” is shared among all three thinkers and is experienced by women’s of Shepard’s plays in three social situational phases of “normal”, “sick” and “crisis”. However, the post-modern viewpoint of Shepard, Irigaray and Cixous, conveys that women fail in this transition and cannot achieve their “ego” in the modern era and their ambiguity remains with them. Finally the research concludes that literary writing and expression of problems are the part of solution which post-modernists show by criticizing “modernity”.
Keywords: transition, identity, subjectivity, literary therapy, Shepard, Cixous, Irigaray.
Acknowledgement
I am greatly beholden to a considerable number of people who genuinely assisted me during fulfilling this dissertation. I would like to show my gratitude to my caring advisor, Dr. Kiaei whose prompting and constructive feedbacks, encouragement, flexibility and confidence in my abilities lit my way during writing this research. I would also like to thank Dr. Soheil for his input through his classes which encouraged me to work on the subject matter of my interest. Here I should thank Prof. Sokhanvar for all his precious efforts for reviving English Literature in Iran and for his valuable courses and leadership through all years of my study and specially for introducing Dr. Bordbari as my referee who was encouraging to me. I am also indebted to Dr. Montakhabi who by giving precious insights on my subject was very helpful and for her extremely large heart and sentimental nature. She has been a wonderful role model, not only to me, but to many. Most importantly, I would like to thank my mom, my encouraging angel and my father, my symbol of faith, for being my biggest cheerleaders and for supporting me through all of my educational pursuits; And To my brother and sister, kambiz and sepideh, who were always there for me. A special thanks to my true friend Mr. Abtahi whose unconditional support came at a much needed time and he gave up his many weekends and evenings reading my work, truly being interested, giving comments and for never saying no.
Index
Chapter 1: Introduction. 1
1.1 General Background. 2
1.2 Statement of the Problem.. 9
1.2.1 Research Questions. 11
1.3 Objectives and Significance of the Study. 12
1.3.1 Significance of the Study. 12
1.3.2 Purpose of the Study. 13
1.4 Literature Review.. 14
1.5 Materials and Methodology. 16
1.5.1 Limitation and Delimitation. 19
1.6 Thesis Outline. 20
1.7 Definition of Key Terms. 21
Chapter 2: Transition of Female Characters. 24
2.1 Current of French Thought. 25
2.1.1 French Feminism.. 26
2.1.2 Psychology and French philosophers. 31
2.1.3 Interactions between French thought and German thought 33
2.1.4 The relation of Feminism and Marxism.. 37
2.1.5 Lacan’s and Foucault’s Structuralism.. 38
2.1.6 The role of Simone de Beauvoir in French Feminism.. 42
2.1.7 Manifestation of Postmodernism and Post-structuralism.. 44
2.2 Luce Irigaray. 45
2.2.1 Irigaray’s concepts about the “female character”. 47
2.2.1.1 “The Other Woman”. 48
2.2.1.2 “Sexual Difference”. 52
2.2.1.3 Psychological repressions of women identity in West culture. 55
2.2.1.3.1 Repression and Schizophrenia. 55
2.2.1.3.2 Deconstruction of Patriarchal philosophy. 57
2.2.1.3.3 Sexual organs. 58
2.3 Helene Cixous. 59
2.3.1 Cixous’s philosophy and concepts about the female character. 60
2.3.1.1 Poetic writings about woman’s character. 60
2.3.1.2 Re- Born Woman. 65
2.3.1.3 Feminine Writing. 66
2.4 American and French Feminist literary criticism and art criticism.. 67
2.4.1 First waves of feminism.. 69
2.4.2 Second waves of feminism and Cixous’s and Irigaray’s concepts. 70
2.5 Proposing the theory of transformation of woman’s personality from Irigaray’s and Cixous’s viewpoints 72
Chapter 3: Female Characters of the Buried Child. 77
3.1 “Buried Child”. 78
3.2 Discourse of Characters and Post-Modern Attitude of Shepard. 79
3.3 Construction of “Buried Child”. 81
3.4 Psychoanalysis of women characters. 81
3.4.1 The character of “Catholic Bride” or the notion of multi-phallus in Irigaray’s and Cixous’s concepts. 83
3.4.2 “Halie”: the hysteric and repressed character. 85
3.4.3 Orgasmic pleasure and the character of Shelly. 88
3.4.4 Rape or alienation to femininity. 89
3.4.5 “Woman’s body” speaks. 91
Chapter 4: Female Characters of A Lie of the Mind & States of Shock. 92
4.1 “A Lie of the Mind”. 93
in Shepard’s Viewpoint. 97
4.3 The personality of “beaten Beth”. 104
4.3.1 Beth’s anxiety-Freud’s and Irigaray’s “lack of orgasm”. 106
4.4 Irigaray’s dialectics in women characters. 109
4.4.1 The relation of mother-daughter (Meg and Beth) 110
4.5 Cixous’s literature therapy and dialogues of woman personality. 111
4.6 “Transition of Personality” in female characters of A Lie of the Mind. 112
4.6.1 “Sally”: Conservative and unrepressed personality. 112
4.6.2 Meg and Lorraine: Non-Reborn Mothers. 113
4.7 “States of Shock”. 115
4.7.1 “White Woman, lack of male’s sex organ”. 117
4.7.2 “War, the absence woman identity”. 119
Chapter 5: Conclusion. 121
5.1 Summing up. 122
5.2 Findings. 126
5.2.1 Research Questions. 127
5.3 Works Cited. 131
Chapter One:
Chapter 1: Introduction
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1.1 General Background
Sam Shepard (5 November 1943- ) is “the greatest American playwright of his generation” (New York Magazine). In his high school years he began acting and writing poetry. In 1963, he moved to New York City where he met Charlie Mingus who introduced him to a jazz group. In these years he became familiar with Cinema too, he was especially interested in Western movies, which had a great impact on his personality.
His father’s personality and his life that is full of immigrations are the factors, which influenced his works. He loved his father so much and had a very friendly relationship with him and maybe the reason for such a relationship is the several travels, which he had with his father.
In the sixties, American art was undergoing some basic changes, which were related to autonomy of art and literature from their old traditions; Shepard was also under the influences of these changes. In this period Broadway theatre was put aside and a new theatre was created with the aim of reconstructing society.
It was in 1960 that he began his work as a postmodernist in American theatres. Many critics believe that Sam Shepard is the most enjoyable and excitable contemporary playwright in America, but little can be said about what exactly makes his plays interesting and exciting.
Shepard deliberately focuses on the issue of family and in this way he somehow psychoanalyzes the system of family in America. He believes that the reason of his emphasis on family issue is that 1960s was a period of family crisis in America and he himself was greatly affected by this crisis. He was raised up in an environment where “men” had the superior and dominant role and “Alcohol” and “violence” were the main threats for Family’s foundation. He clearly stated that the biologic and blood relations between brothers and sisters in a family were always interesting for him (Callens 27-39) which can be seen in Buried Child and A Lie of the Mind.
Shepard, who was grown up in a patriarchal family, was always curious and interested in woman’s personality: therefore when he brings a female character in his plays he is actually showing us the unconscious part of his mind. For this reason in the process of writing he does not usually hesitate and he writes spontaneously. He said that he completely wrote “Buried Child” in a spontaneous mode.
It can be concluded that he portrays women’s characters through his psychological vision and intuition. In this regard he says:
I don’t know that much about my woman’s characters evolutions or their maturity but I think that they gradually become active and strong characters and they are not merely a symbol of something, in my early works they were more of a sign or symbol […] and I think the evolutions and changes of my woman’ characters started with “Curse of the Starving Class” in characters of mother and daughter and then it continued in “Buried Child” and “A Lie of the Mind” (Shepard 25)