140 research outputs found
Molecular gas in dusty high-redshift galaxies
No full textWe present high-resolution observations of carbon monoxide (CO) emission lines for three high-redshift galaxies in order to determine their molecular gas and star formation properties. These galaxies (SMM J14011+0252, SMM J00266+1708, and SDSS J0901+1814) have large infrared luminosities, which imply high dust enshrouded star formation rates and substantial molecular gas masses. We observed these sources using the Robert C. Byrd Green Bank Telescope, the Karl G. Jansky Very Large Array, the Plateau de Bure Interferometer, and the Submillimeter Array in order to obtain measurements of multiple CO spectral lines, allowing us to determine the physical conditions of the molecular gas. Our high resolution and multi-line CO mapping of SMM J00266+1708 reveals that it is a pair of merging galaxies, whose two components have different gas excitation conditions and different gas kinematics. For SMM J14011+0252 (J14011), we find a near-unity CO(3-2)/CO(1-0) intensity ratio, consistent with a single phase (i.e., a single temperature and density) of molecular gas and different from the average population value for dusty galaxies selected at submillimeter wavelengths. Our radiative transfer modeling (using the large velocity gradient approximation) indicates that converting the CO line luminosity to molecular gas mass requires a Galactic (disk-like) scale factor rather than the typical conversion factor assumed for starbursts. Despite this choice of conversion factor, J14011 falls in the same region of star formation rate surface density and gas mass surface density (the Schmidt-Kennicutt relation) as other starburst galaxies. SDSS J0901+1814 (J0901) was initially selected as a star-forming galaxy at ultraviolet wavelengths, but also has a large infrared luminosity. We use the magnification provided by the strong gravitational lensing affecting this system to examine the spatial variation of the CO excitation within J0901. We find that the CO(3-2)/CO(1-0) line ratio is higher in central regions than in extended structure, supporting a picture of the molecular gas where regions of higher excitation gas (higher temperature and density) are embedded in an extended low excitation phase. We also examine the resolved Schmidt-Kennicutt relation as a function of CO line excitation for J0901 and find no systematic difference between the best-fit power law indices for the two emission lines.Ph. D.Includes bibliographical referencesby Chelsea Electra Sharo
Electra after Freud, death, hysteria and mourning
No full textgrantor:
University of TorontoThis study considers the importance of the Electra myth for the twentieth century, and in so doing resurrects a theme which has been curiously neglected despite the proliferation of modern adaptations. The myth and its heroine are located at the intersections of history and the feminine, eros and thanatos, hysteria and melancholia. At the point of departure is Hugo yon Hofmannsthal's influential 'Elektra' (1903), which introduces two important twentieth-century innovations to the Electra myth, the heroine's death and hysteria. Walter Benjamin's reading of allegory in 'Der Ursprung des deutschen Trauerspiels' serves as a theoretical framework for a discussion of the significance of Electra's allegorical "Dance of Death" in Eugene O'Neill's 'Mourning Becomes Electra', Sartre's ' Les Mouche's and Heiner Miller's 'Hamletmaschine'. This is followed by a consideration of the uncanny similarities between Joseph Breuer and Sigmund Freud's case study of the hysterical "Anna O." and Hofmannsthal's Elektra, where it is demonstrated that the mythological heroine indeed subverts her hysterical diagnosis by playing analyst to her own author. A further chapter shows the complexity of the interrelations of language, music and dance in Strauss's operatic adaptation of Hofmannsthal's ' fin de siècle' play, and demonstrates that Elektra manipulates the Viennese waltz into an ironic reminder of naive frivolity, decadent decay, and omnipresent paternity. Ezra Pound's unconventional translation of Sophocles' ' Electra' in turn transforms the heroine from a grief-stricken hysteric into an angry defender of civic responsibility, whereby the mourning daughter's predicament parallels the poet's own incarceration. Finally, the poetic enactment of Electra's story is treated as the testimony of personal trauma in H.D.'s "A Dead Priestess Speaks" and Sylvia Plath's ' Ariel Poems', in which these manifestations of melancholia arguably constitute a "poetics of survival." Overcoming hysteria and mourning in an ecstatic 'Totentanz', this century's Electra ultimately triumphs through courage, strength and her fierce determination to act.Ph.D
REPRESI CINTA, ELECTRA COMPLEX, DAN OEDIPUS COMPLEX DALAM DRAMA MOURNING BECOMES ELECTRA KARYA EUGENE O’NEILL
No full textLiving in a community, for example; a family, has some consequences. The
consequences are the problems or conflicts that are possible to appear in term of
communication among its members. There are some factors causing the problems.
Some of them can be different principles, ideas, unfair treatments, and so on. In
Mourning Becomes Electra the author tells a description of a family destruction
because of its members’ pleasure principles and unfair treatments.
This thesis focuses on the reflection of repressed love and its impacts; Electra
and Oedipus Complexes. By limiting the discussion, the writer wants to elaborate the
reason and the factor that cause repressed love and the Electra and Oedipus complex
tendencies on the characters. Besides, she also wants to analyze the relation between
the personality system and the characters’ actions.
The method used in this thesis is psychoanalytical method proposed by
Sigmund Freud. The research is conducted by identifying the psychological aspects
of the family. The writer gets the data from the analysis of characters’ physical
appearance and their verbal actions and nonverbal as well. She also relates the story
to the sociological aspect of the family to support the analysis because it is hard to
separate the two aspects in discussing the topic.
The result shows that some characters repress their love because of their belief
that love is a sin. Love is not something that they can express freely. For the members
of the family, love is something that should be controlled since love can become a sin
when they express it freely. It is also clear to see that two of the characters show
tendencies of psychological disorder: Electra and Oedipus complexes. In term of
personality system, the id of some characters defeats their ego and superego. Their
superego cannot prevent the characters from forbidden acts.
Hidup dalam sebuah komunitas, keluarga misalnya, mempunyai beberapa
konsekuensi. Konsekuensi-konsekuensi tersebut merupakan permasalahanpermasalahan
atau konflik-konflik yang mungkin muncul dalam komunikasi di antara
anggotanya. Ada beberapa faktor yang dapat menyebabkan munculnya permasalahanpermasalahan
tersebut, diantaranya perbedaan prinsip dan ide, perlakuan tidak adil,
dan sebagainya. Dalam drama Mourning Becomes Electra pengarang menyuguhkan
sebuah deskripsi tentang kehancuran keluarga karena prinsip kesenangan dan
perlakuan tidak adil.
Tesis ini memfokuskan pada refleksi cinta yang terrepresi dan akibatakibatnya,
yakni Electra dan Oedipus Complex. Dengan lingkup diskusi tersebut,
penulis bermaksud menguraikan secara mendetail alasan dan faktor yang
menyebabkan cinta menjadi gairah yang terrepresi dan gejala Electra dan Oedipus
complex pada tokoh-tokohnya. Selain itu, penulis juga bermaksud untuk
menganalisis hubungan antara sistem kepribadian dan perbuatan-perbuatan tokoh.
Metode yang digunakan dalam tesis ini adalah metode psikoanalisa yang
digagas oleh Sigmund Freud. Penelitian ini dilakukan dengan mengidentifikasi aspekaspek
psikologis dari keluarga yang menjadi pusat cerita drama tersebut. Penulis
memperoleh datanya dari analisis penampilan fisik tokoh-tokohnya dan juga aktivitas
verbal maupun nonverbalnya. Untuk mendukung analisis tersebut penulis juga
menghubungkan cerita drama tersebut dengan aspek sosiologisnya. Hal tersebut
didasarkan pada asumsi bahwa ketika membahas tentang keluarga maka pembahasan
tersebut tidak dapat dipisahkan dari aspek sosial yang membentuknya.
Hasil penelitian menunjukkan bahwa beberapa tokoh menekan gairah cinta
mereka karena keyakinan yang mereka pegang teguh, yaitu bahwa cinta adalah
sebuah dosa. Cinta bukanlah sesuatu yang dapat mereka ekspresikan dengan leluasa.
Bagi semua anggota keluarga tersebut mereka harus mengekang diri untuk tidak
mengekspresikannya secara berlebihan. Luapan cinta yang berlebihan dianggap
sebagai dosa karena melebihi cinta kepada Tuhan. Namun, hasil tersebut juga
menunjukkan adanya perubahan keyakinan pada salah satu tokohnya. Ia
membuktikan bahwa cinta tidak lagi sebuah dosa tetapi sebaliknya, sesuatu yang
indah. Di samping itu, hasil analisis secara jelas juga menunjukkan bahwa dua
anggota keluarga tersebut memperlihatkan kecenderungan kelainan psikologis,
Electra dan Oedipus complex. Dalam hal sistem kepribadian, hasil diskusi juga
menunjukkan bahwa ego beberapa tokoh dikuasai oleh libido mereka. Bahkan,
superego yang semestinya mengontrol ego tidak mampu menahan gejolak id yang
menggelora. Sebagai akibatnya, mereka melakukan perbuatan-perbuatan yang
semestinya tidak mereka lakukan
Falsos mensageiros: Electra de Sófocles
No full textNo último quartel do séc. V a.C. a tragédia ateniense parece passar
por uma espécie de crise existencial que se manifesta na procura de novas formas e na
questionação das velhas convenções que haviam definido o género. Algumas tragédias
de Eurípides e comédias de Aristófanes, que caricaturiza cenas e personagens trágicos,
são disso sinais evidentes. Sófocles não escapou a este movimento, mas a sua forma de
lidar com as convenções teatrais nunca é, como em Eurípides, tão subversiva; e, em
geral, evita o efeito cómico. No caso de Electra, o dramaturgo usa a cena convencional
do Mensageiro por forma a envolver o espectador no jogo de verdade e de mentira que
constitui o espelho da própria arte dramática.In the last decades of fifth century BCE Athenian tragedy seems
to go through a sort of existential crisis that manifests itself in the search for new
forms and in the questioning of the old conventions that had defined tragic genre.
Signs of this questioning can be found in Euripides' plays, as well as in Aristophanes'
comedies, where the author plays with tragic scenes and characters. Sophocles' theatre
did not escape this movement, but his dealing with theatrical conventions is never,
as in Euripides, so subversive and, in general, avoids the comic effect. In Electra, the
playwright uses the Messenger's scene in order to involve the audience in the game of
truth and falsewood that mirrors dramatic art itself
Intertheatricality and Narrative Structure in the<i>Electra</i>Plays
No full textIn this chapter, the author aims to elucidate several moments of intertextuality (or, in Mueller\u27s term, intertheatricality) between Aeschylus and the playwrights who followed him. He begins with the belief that Aeschylus\u27s plays remained so well known throughout the fifth century that any rewriting of the same plot must contain in it some awareness of the earlier text. In particular, the author notes that both Euripides and Sophocles engage in deliberate play with their mobilised literary historical narratives. A much celebrated example is Sophocles\u27 use of the funerary urn in his Electra; the existence of such an urn was suggested briefly by Aeschylus though not seen on stage. By far the best known and most obvious reference to Aeschylus\u27s Libation Bearers takes place in Eurpides\u27 version of the recognition scene
La puerta Electra y la puerta Lavinia. Análisis comparatista de las Electras de Virgilio Piñera y Eugene O’Neill
No full textBoth Eugene O’Neill and Virgilio Piñera wrote their own versions of the classical myth of Electra as a critique of the distinct societal structures they perceived in the United States and Cuba respectively. Only a decade apart, these reinterpretations focus on the nature of the relationships between parents and children and on the urge to emancipate from inherited traditions and parental constraints. This comparative essay thus highlights the similarities and differences in the plays Mourning Becomes Electra by O’Neill and Electra Garrigó by regarding the ways both authors reimagined the Greek myth, using different critical approaches: while O’Neill relies on Freudian psychoanalysis to delve into family dynamics, Piñera has a tendency towards existentialism and Cuban choteo. Their works are an appeal to a rebellion against cultural structures based on tradition in order liberate oneself from their crippling nature. While the American author condemns his Electra character (named Lavinia Mannon) to a life determined by psychological constraints resulting from her parent’s behavior, Piñera makes his Electra (whose surname is Garrigó) emancipated and in the position to break with tradition in order to pursue her own fate. Despite both characters remaining locked in their own mansions, Lavinia Mannon is trapped due to her psychological inability to escape her own destiny, whereas Electra Garrigó does it because it is her own free choice to do so. Ultimately, this essay shows how these authors share a common message that they carry out in completely distinct ways.Tanto Eugene O’Neill como Virgilio Piñera crearon sus propias versiones sobre el mito clásico de Electra con el fin de realizar una crítica a las sociedades estadounidense y cubana, respectivamente. Separadas por una década, ambas obras de teatro giran en torno a las relaciones paterno-filiales y a la necesidad de romper con las tradiciones heredadas a través de la educación recibida. El presente ensayo compara Mourning Becomes Electra, de O’Neill, y Electra Garrigó, de Piñera, con el objetivo de destacar tanto sus similitudes como sus diferencias. Haciendo uso de tradiciones distintas para ahondar en las dinámicas familiares (el psicoanálisis en el caso de O’Neill y el existencialismo y el choteo cubano en el de Piñera), ambos autores actualizan el mito a su manera, siempre recalcando la necesidad de rebelión contra modelos impuestos con el fin de ser libres. Mientras que el autor estadounidense se decanta por condenar a su protagonista, Lavinia Mannon, a un determinismo psicológico consecuencia de los comportamientos de sus padres, el escritor cubano prefiere hacer a su Electra, de apellido Garrigó, libre y capaz de romper con toda tradición para así poder elegir su destino. Si bien ambos personajes terminan encerradas detrás de las puertas de sus palacios, Lavinia Mannon lo hace forzada por la imposibilidad de escapar a su destino, mientras que Electra Garrigó lo hace por decisión propia, ejerciendo su libertad. En definitiva, este ensayo busca recalcar el mensaje común de ambos autores y cómo cada uno lo desarrolla de forma completamente diferente
Anthropology and aesthetics. The archaic paradigm of “Electra” by Hugo von Hofmannsthal
No full textIn the beginning of the paper, the author analyses Hofmannsthal’s development against the newest archaeological discoveries regarding ancient Greece and the spiritual and artistic tendencies of the era when Hofmannsthal worked. In “Electra” Hofmannsthal abandons his artistic concept of l’art pour l’art. In the mythological experience, which derives from non-rational and non-linguistic forms of existence, Hofmannsthal sees the existence of an ecstatic unity that binds us with the nature. In the archaic offering and archaic dance there is a magic power which should create the essence of the poetic symbol
El erudito en el prólogo de No me fastidies, Electra, de Antonio Aguilera Vita
No full textIn this paper the author analyzes an exceptional example of how secondary characters who
normally appear in the prologues, and who might seem irrelevant at first glance, can assume
a crucial role in the plot. Such is the role who plays the character of the Erudite in No me fastidies,
Electra (2009), a recent comedy by the writer and playwright Antonio Aguilera Vita,
who reworks the classic tragedies about the family of the Atridae within a comic scope. After an introduction to the comedy and specifically to its prologue, the author draws attention to
the figure of the Erudite and studies the peculiarities he shows in relation both to the rest of
the characters and to the secondary characters of ancient drama. His three basic functions are
analyzed: as a reinterpretation of the chorus; as an active character at the outcome of the play,
and as a reflection of the author himself.En el presente trabajo analizaremos un ejemplo excepcional de cómo los personajes secundarios
que aparecen en los prólogos, en principio irrelevantes, pueden llegar a adquirir una importancia
crucial en la trama. Se trata del Erudito de No me fastidies, Electra (2009), comedia contemporánea
del escritor y dramaturgo almeriense Antonio Aguilera Vita, quien reelabora en ella las
distintas tragedias clásicas sobre el mito de los Atridas en clave cómica. Tras una presentación
de la comedia y, en concreto, de su prólogo, dirigiremos nuestra atención a la figura del Erudito
y comentaremos las peculiaridades que presenta tanto con respecto al resto de personajes de la
obra como en relación con los secundarios del drama antiguo. Analizaremos sus tres funciones
básicas: como reinterpretación del Coro; como personaje finalmente activo, por su intervención
en el desenlace de la obra, y como proyección del propio autor
The CSTR System for Multilingual and Code-Switching ASR Challenges for Low Resource Indian Languages
No full textThis paper describes the CSTR submission to the Multilingual and Code-Switching ASR Challenges at Interspeech 2021. For the multilingual track of the challenge, we trained a multilingual CNN-TDNN acoustic model for Gujarati, Hindi, Marathi, Odia, Tamil and Telugu and subsequently fine-tuned the model on monolingual training data. A language model built on a mixture of training and CommonCrawl data was used for decoding. We also demonstrate that crawled data from YouTube can be successfully used to improve the performance of the acoustic model with semi-supervised training. These models together with confidence based language identification achieve the average WER of 18.1%, a 41% relative improvement compared to the provided multilingual baseline model. For the code-switching track of the challenge we again train a multilingual model on Bengali and Hindi technical lectures and we employ a language model trained on CommonCrawl Bengali and Hindi data mixed with in-domain English data, using a novel transliteration method to generate pronunciations for the English terms. The final model improves by 18% and 34% relative compared to our multilingual baseline. Both our systems were among the top-ranked entries to the challenge
A Postmodern Reading of Versatile Writing in Eugene O’Neill’s Mourning Become Electra
No full textThe present paper will offer a postmodern reading of interdisciplinarity by investigating the multifaceted writing and the coexistence between various disciplines in Eugene O’Neill’s Mourning Becomes Electra (1931). Versatility in the O’Neillian text is elaborated through the intersection between psychoanalysis and Greek mythology. In this respect, the Oedipus complex will be analyzed from a Lacanian perspective. The rationale behind choosing Lacan is his efforts “[to transform] psychoanalysis from a modernist to a postmodernist discipline” (Horrocks 2001: 19). The paper will also examine the Electra complex from Jung’s perspective. What is specific about Jung is that “he was strictly a phenomenologist, to that extent a postmodern before postmodernism” (David 2003: 24). The inner psyche of the characters will be further interpreted through a postmodern reading of masks. Like the civil war which divided the States into a Northern and a Southern part, the inner self of some Mannons is composed of masks that are the outcome of the inner split between repression and free will. On the other hand, the postmodern reading of the play will focus on Barthes’ announcement of The Death of The Author. Interdisciplinarity will ultimately be mapped out with relying on Linda Hutcheon’s postmodern reading of intertexuality
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