Thesis (M.A.)--University of Delaware, 2008. / Principal faculty advisor: Nina Athanassoglou-Kallmyer, Dept. of Art History. Includes bibliographical references.

Thesis--Cornell University, 1914. / Reprint of the 1916 ed. Bibliography: p. [111]-113.

Based on thesis, University of London. / Bibliography: p. 171-212.

Thesis (Ph. D.)--University of Chicago, 1978. / "Thesis no. T26988"--first page. Includes bibliographical references (p. 329-337).

nÃo hà / ExpÃe as linhas gerais da Filosofia da Nova MÃsica. Para facilitar tal exposiÃÃo, duas estratÃgias foram adotadas. Primeira, dividir o texto em dois grandes capÃtulos. Segunda, adotar alguns temas como fios condutores. Contudo, a pesquisa nÃo se limitou a fazer uma mera reconstruÃÃo racional da Filosofia da Nova MÃsica. Ela tambÃm analisou as principais fontes musicais e filosÃficas utilizadas por Adorno. Nesse contexto, ganharam destaque especial os escritos de Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche e Freud. Outros textos do prÃprio Adorno tambÃm foram utilizados, dentre eles, um mostrou-se particularmente relevante para nossos propÃsitos, qual seja, Music and language: a fragment. Sendo assim, elaboramos, com base no referido texto, uma espÃcie de prelÃdio. Conclui que, para Adorno, a mÃsica atonal desenvolvida por Schoenberg estava na vanguarda da arte europÃia. Stravinski, ao contrÃrio, liderou um movimento reacionÃrio que buscou uma conservaÃÃo arbitrÃria do passado, comprometendo, assim, tanto o velho como o novo. / This study presents a general idea on the Philosophy of New Music. To facilitate such exposition, two strategies were adopted. First, divide the text into two major chapters. Second, adopt some themes as conductor strings. However, the study did not restrain itself from making a simple rational reconstruction of the Philosophy of New Music. It also analyzed major musical and philosophical sources used by Adorno. In this context, special notability was given to the writings of Schoenberg, Kant, Hegel, Schopenhauer, Nietzsche and Freud. Other texts from Adorno himself were also used, among them, one which demonstrated to be particularly relevant for our objectives, for example, Music and language: a fragment. Thus, we elaborated, based on the mentioned text, some kind of prelude. I concluded that, to Adorno, atonal music developed by Schoenberg stood in the forefront of European art. Stravinski, on the other hand, led a reactionary movement which searched an arbitrary conservation of the past, thus compromising, both the old and the new.

Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T07:05:18Z (GMT). No. of bitstreams: 1 Barros_CassianodeAlmeida_M.pdf: 810097 bytes, checksum: 8542910f480b9ce4c4b31daab6a42a7b (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa propõe o estudo da Teoria da Composição musical do final do século XVIII a partir da obra Versuch einer Anleitung zur Composition (1782-1793) de H.C. Koch. Concentra-se na orientação retórica dos procedimentos composicionais, em seus aspectos mecânicos e sua regulamentação. O estudo compara o sistema retórico de criação com o sistema de composição musical. Para isso é utilizada como termo auxiliar de comparação a enciclopédia sobre as artes de J.G. Sulzer (1771-1774). Nesta enciclopédia, Sulzer propõe um sistema genérico de criação artística retoricamente orientado para a recém surgida disciplina Estética. Koch adapta o sistema de Sulzer para as especificidades musicais e cria um método de composição de mesma orientação. Sua teoria concilia elementos conservadores e progressistas, regulamentando a Música e sua prática no sistema das Belas Artes e fornecendo subsídios para uma abordagem hermenêutica contemporânea da Música Clássica. Palavras-chave: 1)Koch, Heinrich Christoph; 2)Música; 3)Retórica; 4)Classicismo na Música / Abstract: This research proposes the study of the theory of musical Composition of the second half of the eightteenth century, based on H.C. Koch's essay Versuch einer Anleitung zur Composition (1782-1793). It focuses on the rhetorical orientation of the compositional procedures, its mechanical aspects and its regulation. The study compares the rhetorical system of creation with the system of musical composition. To this end, it is used J.G. Sulzer's encyclopedia of the finearts (1771-1774) as an auxiliar term of comparison. In this work Sulzer proposes to the new Aesthetic dicipline a generical system of artistic creation that is rhetorically oriented. Koch adapts Sulzer's system to the peculiarities of Music and creates a method of Composition with the same orientation. His theory conciliates conservative and progressive tendencies. It regulates Music and musical practice in the fine arts system and provides conditions to a contemporary hermeneutics approach of the Classical Music. Key words: 1)Music; 2)Rhetoric; 3)Classicism in Music / Mestrado / Mestre em Música

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-18T17:31:05Z No. of bitstreams: 1 glauciamariadosreissilva.pdf: 1956796 bytes, checksum: 3b59e7d8ffb2b368fa6330408709886c (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: Favor verificar se Gláucia tem acento Autor(es): Silva, Glaucia Maria dos Reis on 2018-01-23T14:18:37Z (GMT) / Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-01-23T14:22:57Z No. of bitstreams: 1 glauciamariadosreissilva.pdf: 1956796 bytes, checksum: 3b59e7d8ffb2b368fa6330408709886c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-01-24T13:42:33Z (GMT) No. of bitstreams: 1 glauciamariadosreissilva.pdf: 1956796 bytes, checksum: 3b59e7d8ffb2b368fa6330408709886c (MD5) / Made available in DSpace on 2018-01-24T13:42:34Z (GMT). No. of bitstreams: 1 glauciamariadosreissilva.pdf: 1956796 bytes, checksum: 3b59e7d8ffb2b368fa6330408709886c (MD5) Previous issue date: 2017-08-07 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem por objetivo compreender como o Sindicato Único dos Trabalhadores em Educação de Minas Gerais (Sind-UTE/MG) tem abordado a temática específica para as mulheres em suas propostas e ações apresentadas à categoria. A metodologia utilizada, nesta pesquisa de mestrado, é a análise documental dos materiais produzidos pelo Sind-UTE/MG (teses congressuais, cartas, relatórios, cartilhas e jornais). Neste estudo, o olhar está voltado para algumas questões norteadoras: De que maneira este sindicato tem abordado, em seus documentos, a opressão de gênero e a exploração de classe? Há uma preocupação deste sindicato em atender demandas específicas para as mulheres trabalhadoras em suas propostas e ações? Para isso, nos apropriamos teoricamente de autoras feministas, que abordam a perspectiva classista, principalmente Heleieth Saffioti, Cecíclia Toledo, Mirla Cisne, Zuleika Alambert. O trabalho está organizado em três capítulos. No primeiro, debatemos a opressão à mulher numa perspectiva histórica. Este estudo é embasado nas pesquisas antropológicas e relacionamos essa discussão à feminização do magistério. No segundo, traçamos um apanhado histórico sobre a situação da mulher na sociedade capitalista e as diversas ondas do movimento feminista. No terceiro capítulo discutimos as questões específicas acerca do Sind-UTE/MG, trazendo a análise das teses apresentadas nos Congressos do sindicato, sendo o primeiro realizado em 1991 e o ultimo em 2015, e entrevista com duas militantes do movimento sindical. Por fim, tecemos as considerações. / This paper aims to understand how the Sind-UTE / MG has addressed the specific theme for women in their proposals and actions presented to the category. The methodology used in this master's research is the documentary analysis of the materials produced by Sind-UTE / MG (congressional theses, letters, reports, booklets and newspapers). In this study, the focus is on some guiding questions: How has this union addressed gender oppression and class exploitation in its documents? There is a concern of this union to meet specific demands for working women in their proposals And actions? For this, we theoretically appropriated feminist authors, who approach the classist perspective, especially Heleieth Saffioti, Cecíia Toledo, Mirla Cisne, Zuleika Alambert. The work is organized in three chapters. In the first, we discuss the oppression of women from a historical perspective. This study is based on anthropological research and we relate this discussion to the feminization of the teaching profession. In the second, we draw a historical account of the situation of women in capitalist society and the various waves of the feminist movement. In the third chapter we discuss the specific questions about Sind-UTE / MG, bringing the analysis of the theses presented in the Congresses of the union, the first one held in 1991 and the last in 2015, and interview with two trade union activists. Finally, we weave the considerations.

Ce travail explore la présence de l’Antiquité dans l’œuvre d’André Suarès et interroge le sens d’une création littéraire profondément marquée par l’héritage gréco-romain. Dans le domaine poétique et théâtral sont traités les grandes figures de l’histoire, mais plus encore les mythes grecs. Suarès les aborde avec boulimie dans le premier élan de sa carrière, mais connaît vite l’impasse d’une suractivité littéraire ennemie de la création. Avec la maturité viennent la maîtrise de l’inspiration antique et l’invention de formes plus ouvertes à la modernité. La culture classique de Suarès s’épanouit tout autant dans les textes critiques. Dans ses portraits, Suarès célèbre de grandes figures du passé ; dans ses chroniques et ses essais, dans ses livres de pensées fragmentaires, il interroge son identité à travers des doubles mythologiques, médite sur l’amour et la femme, sur les rapports complexes entre Antiquité et Modernité ; dans ses textes de combat, il exprime son antigermanisme à travers les concepts de latinité et de romanité. Omniprésente, multiforme, incontournable, la culture classique inspire et alimente donc toute l’œuvre de l’auteur. Animé du désir d’être l’universel génie de la Modernité, Suarès cherche dans la conciliation des héritages antique et chrétien la recette du classique créateur. L’imitation des Anciens ne crée que des œuvres mortes : seule confère la vie l’appropriation personnelle et originale d’un héritage que le génie chrétien a fécondé.À défaut d’avoir vraiment réussi à incarner la grandeur poétique et dramatique à laquelle il rêvait pour lui-même, Suarès s’illustre dans l’inlassable commentaire de la création universelle. / This thesis explores the presence of Antiquity in the work of André Suarès and questions the meaning of a literary creation which was profoundly marked by the Graeco-Roman legacy. Suarès’s poetry and drama were dominated by the great figures of history and by Greek myths. In the first part of his career, he took them up compulsively, but he soon faced the deadlock of literary superactivity which is an enemy of literary creation. With maturity, he came to master antique inspiration and to invent forms which were more open to modernity. Suarès’s classical culture also bloomed in his critical texts. In his portraits, Suarès celebrated the great figures of the past ; in his chronicles and essays, and in his books of fragmentary thoughts, he questioned his identity through mythological doubles, meditated on love and woman, and on the complex relationships between Antiquity and Modernity ; in his combat texts, he expressed his antigermanism through the concepts of Latinity and Romanity. Classical culture is omnipresent, many-sided and it can’t be ignored. It did inspire and feed the whole work of the author. Driven on by the desire to be the universal genius of Modernity, Suarès sought the formula of the classical creator in the conciliation of the Ancient and Christian heritage. He understood that imitating the Ancients only led to the creation of dead works : life would only spring thanks to the personal and original appropriation of a heritage enriched by the Christian genius. Though he did not really manage to embody the poetical and drama greatness he dreamt of for himself, Suarès has won fame in his tireless commentary of universal creation.

This dissertation examines links between architectural and colonial discourse in order to provide a new account of England’s fascination with the “all’antica” manner in the late-sixteenth and early-seventeenth centuries. I argue that the allure of classicism during this period was directly related to imperial ambitions awakened by the consolidation of the Scottish and English crowns. Seeking models for their nascent empire, architects and colonial “planters” looked to their own history as a Roman colony. Shared references to antiquity facilitated an unprecedented commerce between artistic and political discourse. Architects in England and colonizers abroad both fashioned themselves as the “new Romans,” reconceiving English identity as a product of Britain’s former subjugation. While classicism provided newly required symbols of empire, it also challenged traditional notions of “Englishness,” embroiling architects in cultural, political, and religious debates that transformed architecture and the status of architects.

Envenimée sous la Restauration, la querelle des classiques et des romantiques se joue en clair-obscur. Fils de la Révolution, le romantisme français se fait d’abord ombre du classicisme qui, sûr de sa splendeur, pourtant s’éteint. La décennie 1820 s’impose comme une période de transition au cours de laquelle l’obscure « nouvelle école » va détrôner la tradition classique pour conquérir sa part de lumière. Ce récit de l’exploit romantique, jusqu’ici, l’histoire littéraire n’en rend compte que par la seule voix des vainqueurs de la bataille. Cependant, lumière et ombre vont de pair, l’histoire du romantisme appelle une autre version pour en compléter la compréhension, version racontée par les défenseurs de la doctrine classique. Partant de cette hypothèse, la présente étude, consacrée à la période 1824-1834, se propose de revisiter ¬quelques grands moments de controverse sur le romantisme dans toutes ses problématiques. On verra ainsi Deschamps réagir à la condamnation académique d’Auger, le duel entre Hoffman et Hugo se poursuivre autour de la question poétique ou encore Janin et Nisard s’affronter sur la condition littéraire après 1830. Les tenants du romantisme ont tort de croire qu’ils l’ont inventé tout seuls ; cette nouvelle pensée esthétique, au contraire, s’est forgée à coups de conflits d’intérêts politiques et littéraires. Dans cette perspective, reconstituer l’enchevêtrement du classicisme et du romantisme permettra de mieux comprendre comment ces deux courants littéraires ont chacun pu construire l’image de soi en même temps que celle de l’autre. / The literary controversy between Classicism and Romanticism represents itself as a drama of light and shadow. Romanticism in the beginning was a shadow of the Classicism that, although proud of its past glory, began to decline. The decade 1820-1830 can be defined as a transition period, during which the obscure “newcomer” dethrones the “old champ”. French literary history has so far recounted this glorious story of the Romantics by referring exclusively to what they told. In other words, little has been done to examine the literary controversy seen by its losers. However, light and shadow go together; so to understand the history of Romanticism as a whole, it is necessary to complete it with another version told by the defenders of classical doctrine. With this in mind, this study attempts to revisit the decade 1824-1834 and to examine some historical controversies covering a wide range of subjects related to French Romanticism: thus we will be concerned with the anti-romantic speech of the academician Louis-Simon Auger that raised objections from Romantics such as Émile Deschamps, the debate between François-Benoît Hoffman and Victor Hugo about the poetic use of “image” or that of Désiré Nisard and Jules Janin about the condition of literature after the July Revolution of 1830. Romantics are wrong to consider Romanticism as their own creation. On the contrary, this new esthetic movement has been established through various conflicts between classical and romantic schools. From this point of view, analyzing their controversies will make it possible to understand how these two literary movements have created their own image as well as that of their opponent.