No discreet study of the Spanish voyages of discovery and exploration to the northwest coast of North American during the 1770's has been published in English. The purpose of this thesis is to examine the Spanish expeditions of 1774, 1775, and 1779, directed by New Spain's Viceroy Antonio Maria Burareli y Ursua (1771-1779).

XIMENES, Expedito Eloísio. Estudo filológico e linguístico das unidades fraseológicas do judiciário colonial brasileiro. 2009. 414f. Tese (Doutorado em Linguística) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza-CE, 2009. / Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2012-08-14T14:14:09Z No. of bitstreams: 1 2009_tese_EEXimenes.pdf: 2947649 bytes, checksum: 9b7fa77c59e2582b38f85f8ee9ec6dc2 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2013-11-14T14:03:46Z (GMT) No. of bitstreams: 1 2009_tese_EEXimenes.pdf: 2947649 bytes, checksum: 9b7fa77c59e2582b38f85f8ee9ec6dc2 (MD5) / Made available in DSpace on 2013-11-14T14:03:46Z (GMT). No. of bitstreams: 1 2009_tese_EEXimenes.pdf: 2947649 bytes, checksum: 9b7fa77c59e2582b38f85f8ee9ec6dc2 (MD5) Previous issue date: 2009 / This research aims at a philological and linguistic study of the phraseologic units (PU’s) related to the specialised language used in Brazilian colonial judicial system, relative to XVIII and XIX centuries. The study comprises the semi-diplomatic edition of the documents that compose the analysis corpus, composed of 133 Autos de Querela (registers of conflicts) written between 1779 and 1829. It also comprises the structural description of the documents, the historical contextualization of the state of Ceara, the analysis and interpretation of social-historical data related to parties served and to the types of crimes perpetrated. It also includes a glossary of the PU’s used in law processes. For the selection of the PU’s we used the WordSmith Tools software, an electronic tool of Corpus Linguistics, which enabled us to establish occurrence frequencies for the classification of a PU. The research contributes to the philological studies, in the interdisciplinary perspective, whose object is the written text, analysed under different dimensions, be them linguistic or extralinguistic, by considering the cultural and socio-historical realities which reflect the tradition of a people / Esta pesquisa tem como objetivo o estudo filológico e linguístico das unidades fraseológicas (UFs) da linguagem especializada do judiciário colonial brasileiro, referente aos séculos XVIII e XIX. O estudo consta da edição semidiplomática dos documentos que compõem o corpus de análise, que é constituído por 133 Autos de Querela escritos entre 1779 e 1829. Consta, também, da descrição estrutural dos documentos, da contextualização histórica do Ceará, da análise e interpretação dos dados histórico-sociais relativos aos sujeitos citados e aos tipos de crimes praticados. Inclui ainda o glossário das UFs usadas nos processos jurídicos. Para a seleção das UFs utilizamos o programa WordSmith Tools, instrumento eletrônico da Linguística de Corpus que nos possibilitou estabelecer as frequências de ocorrência para a classificação de uma UF. A partir dos dados, organizamos o glossário seguindo os padrões estabelecidos para a organização da microestrutura dos verbetes. Estes são constituídos de entradas, definições, contextos de ocorrência e sistema de notas acompanhadas de várias explicações que ajudam a compreender melhor o sentido e o uso das UFs. A pesquisa contribui para os estudos filológicos cujo objeto é o texto escrito, analisado sob diferentes dimensões, tanto linguística quanto extralinguística, quando consideramos as realidades sócio-históricas e culturais que refletem as tradições de um povo

Made available in DSpace on 2015-09-17T15:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-25. Added 1 bitstream(s) on 2015-09-17T15:45:15Z : No. of bitstreams: 1 000847641.pdf: 11062823 bytes, checksum: 2c14766790544180356dca576203b59f (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Resumo Esta pesquisa constitui-se de duas partes complementares: a primeira apresenta um relato do processo de criação das pinturas que desenvolvi entre os anos de 2013 e 2015, as quais são exibidas aqui. Desse relato se originam as ideias-chaves que compõem a trama teórica apresentada nos capítulos seguintes, cujo objetivo consiste em expor as reflexões oriundas da prática, relacionando-as com o pensamento de autores e artistas afins. O eixo central desta dissertação gira em torno da questão do olhar, posto que as pinturas por mim elaboradas utilizam referências visuais para sua criação. Nesse sentido, a observação das coisas que existem ao redor levou à constatação de que não sou visível para mim mesma e, partindo dessa premissa, são analisadas questões como a necessidade da percepção visual de si, por meio da investigação da pintura de autorretrato e da autocontemplação mediante o uso de instrumentos como espelho e fotografia, e a percepção visual do outro, tomando como foco o olhar que se direciona aos objetos que existem no interior da casa. É apresentada, ainda, análise acerca de dois artistas específicos: Jean-Baptiste Siméon Chardin e Giorgio Morandi. As conclusões desta pesquisa,... / This research is constituted by two complimentary parts: the first one reports the creative process of the paintings produced by myself between 2013 and 2015, which are exhibited here. The key-concepts analyzed on the following chapters are originated from the report and aim to expose reflections derived from practice by establishing links with other authors and artists. The dissertation focuses on the act of seeing, since the paintings I produce require direct observation of visual references. In that sense, the act of looking at things around me led to the finding that I'm not visible to myself, and starting from this premise, the research investigates the necessity of visual perception of oneself, by analyzing self-portrait paintings and the usage of instruments that make us visible, such as the mirror and photograph, and the visual perception of others, by examining our relation with the objects that belong to the interior of a home. It is also presented an investigation of two artists: Jean-Baptiste Siméon Chardin and Giorgio Morandi. The research conclusions, in accordance with Silvio Zamboni conceptions, are contained in the produced paintings.

Tese (doutorado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-10-27T17:34:20Z No. of bitstreams: 1 2017_FátimaDeMacedoMartins.pdf: 17777359 bytes, checksum: 5a10ce4ee5cd0e6721d7e6b2766f654c (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-10-31T15:29:22Z (GMT) No. of bitstreams: 1 2017_FátimaDeMacedoMartins.pdf: 17777359 bytes, checksum: 5a10ce4ee5cd0e6721d7e6b2766f654c (MD5) / Made available in DSpace on 2017-10-31T15:29:22Z (GMT). No. of bitstreams: 1 2017_FátimaDeMacedoMartins.pdf: 17777359 bytes, checksum: 5a10ce4ee5cd0e6721d7e6b2766f654c (MD5) Previous issue date: 2017-10-31 / Este trabalho propõe uma leitura do discurso do naturalista viajante Auguste de Saint-Hilaire sobre as paisagens de Goiás a partir da análise do livro Voyage aux sources du Rio de São Francisco et dans la province de Goyaz publicado na França em 1848 e no Brasil em 1937. A análise busca interpretar as representações construídas por Saint-Hilaire em sua narrativa sobre Goiás, estabelecendo relações com a produção da história natural e destacando a elaboração de um projeto civilizatório que tem entre suas prerrogativas o confronto com o “outro”. Pretende-se mostrar como as definições sobre Goiás veiculadas por Saint-Hilaire colaboraram para construir uma imagem de “vazio” e decadência da província. A principal documentação primária da pesquisa foram os originais da obra do naturalista em edição fac-símile da Biblioteca Nacional de Paris, em cadernetas de campo e correspondência encontradas nas bibliotecas do Museu Nacional de História Natural de Paris. A análise dessas fontes apoia-se em estudos relacionados com as viagens e literatura de viagens no período de meados do século XVIII ao início do XIX. Desse modo, trata-se de revelar um olhar que não foi construído apenas a partir da especificidade da cultura goiana, mas entrelaça valores culturais e determinações científicas para constituir uma missão civilizatória. / Ce travail propose une lecture du discours du naturaliste Auguste de Saint- Hilaire sur les paysages de l’État de Goiás à partir de l’analyse du livre Voyage aux sources du Rio de São Francisco et dans la province de Goyaz, publié en France en 1848 et au Brésil en 1937. L’analyse a pour but interpréter les représentations construites par Saint- Hilaire dans son récit sur Goiás, en établissant une relation avec les productions de l’histoire naturelle et en mettant en relief l’élaboration d’un projet civilisateur, ayant parmi ses prérogatives la confrontation avec l’autre. Nous avons l’intention de démontrer comment les définitions de Goiás, vehiculées par Saint- Hilaire, ont contribué à la construction d’une image de vide et de décadence de cette province. Le principal document primaire de la recherche sont les écrits originaux de l’oeuvre du naturaliste en édition fac-similé de la Bibliothèque Nationale de Paris, les cahiers de recherche et les courriers trouvés dans les bibliothèques du Musée National de l’Histoire Naturelle de Paris. L’analyse de ces sources s’appuie sur des études relatives aux voyages et à la littérature de voyage du XVIIIème au début du XIX ème siècles. Ainsi, il s’agit de faire dévoiler un regard construit non seulement à partir de la culture de l’état de Goiás en particuler, mais à travers l’entrelacement des ses valeurs culturelles et des déterminations scientifiques pour y mettre en place une mission civilisatrice.

Dissertação (mestrado)—Universidade de Brasília, Departamento de História, Programa de Pós-Graduação em História, 2013. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-10-17T15:02:27Z No. of bitstreams: 1 2013_LilianeGoncalvesSouzaCarrijo.pdf: 770976 bytes, checksum: 5e9695d4332d519799dc1e00835ad141 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-10-17T15:22:58Z (GMT) No. of bitstreams: 1 2013_LilianeGoncalvesSouzaCarrijo.pdf: 770976 bytes, checksum: 5e9695d4332d519799dc1e00835ad141 (MD5) / Made available in DSpace on 2013-10-17T15:22:58Z (GMT). No. of bitstreams: 1 2013_LilianeGoncalvesSouzaCarrijo.pdf: 770976 bytes, checksum: 5e9695d4332d519799dc1e00835ad141 (MD5) / Esta dissertação analisa o projeto político formulado por frei Caneca (1779-1825) em resposta aos desafios do Brasil recém-independente. Caneca formou-se, intelectual e politicamente, em uma conjuntura complexa. Nela, muitas transformações, como a própria emancipação política que impôs a necessidade de organização do Estado e a difusão do constitucionalismo, conviveram com a tradição política colonial portuguesa. Viver e pensar nesse ambiente influenciou o pensamento político caneciano, atribuindo-lhe movimento e complexidade. Apesar disso, as ideias de frei Caneca foram reduzidas, em muitos trabalhos, a um suposto compromisso com a instalação de um governo republicano. Para além desta interpretação, também se destaca renovado viés analítico que define o frade como republicano em decorrência de sua adesão ao ideário republicano clássico. Ante este quadro, procuramos reexaminar a literatura que conectou frei Caneca ao republicanismo e, sobretudo, analisar suas ideias sem estabelecer rótulos categóricos, respeitando suas tensões. ______________________________________________________________________________ ABSTRACT / This work analyzes the friar Caneca s (1779-1825) political project, elaborated to respond to the challenges of recent independent Brazil. Caneca was educated, intellectual and politically, in a complex conjuncture whose transformations, like the political emancipation which imposed the need of organizing the state and the diffusion of constitutionalism, consorted themselves to Portuguese political colonial tradition. Living and thinking in this context influenced the construction of Caneca s political thought, adding movement and complexity to it. Nevertheless, in many works, Caneca s ideas were reduced to a supposed compromise with the institution of the republican government. Besides this interpretation, we highlight a new line of analysis which defines the friar as a republican because of his adhesion to classical republican ideas. Considering this frame, we seek to reexamine the literature responsible to connect friar Caneca to republicanism, and, above all, to analyze his ideas, without giving them strict labels, respecting their tensions.

Grimaldi is a synesthetic work composed of aural and visual media including noise, tone, electronic devices, lighting and theatrical events. It is designed for solo saxophone with an accompanying ensemble of eight wind instruments and four percussion. The most important aspect of the piece is its texture, which consists of constantly changing and interacting aural and visual events. The compositional process of Grimaldi began with the selection of a form constructed of two equal arches of unequal subdivision, and the designation of texture for each section. After these selections were made, the theatrical elements were selected, based on a traditional story about the clown Joseph Grimaldi (1787-1836). By gradually refining these general selections into specific notation, and by considering them as a whole rather than individually, consistent relationships were maintained.

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

This dissertation examines the workings of various colonial discourses in the texts of Captain James Cook’s third Pacific voyage. Specifically, it focusses on the month spent at Nootka Sound (on the west coast of Vancouver Island) in 1778. The textual discrepancies between the official 1784 edition by Bishop Douglas, A Voyage to the Pacific Ocean, and J.C. Beaglehole’ s scholarly edition of 1967, The Voyage of the Resolution and Discovery 1776-1780, reveal that Cook’s Voyages present not an archive of European scientific and historical knowledge about the new world but the deployment of colonial discourses. Examining this relatively specific moment as discourse expands a critical sense of the importance of Cook’s Voyages as cultural documents, for the twentieth century as well as for the eighteenth. Chapters One and Two consider the mutually interdependent discourses of aesthetics and science: based upon assumptions of “objectivity,’ they distance the observing subject from the object observed, in time as well as in space. Chapter Three traces the development of the trope of cannibalism and argues that this trope works in the editions of Cook’s third voyage to further distance the Nootka from Europeans by textually establishing what looked like savagery. Chapter Four examines the historical construction of Cook as imperial culture hero, for eighteenth-century England, Western Europe, and the settler cultures that followed in his wake. Taken separately and together, these colonial discourses are employed in the accounts of Cook’s month at Nootka Sound to justify and rationalise England’s claim to appropriation of the territory. The purpose of these colonial discourses is to fix meaning and to present themselves as natural; the purpose of my dissertation is to disrupt such constructions. I therefore disrupt my own discourse with a series of digressions, signalled by a different typeface. They allow me to pursue lines of thought related tangentially to the main arguments and thus to investigate the wider concerns of the culture that produced Cook’s voyages, They also give me the opportunity to interrogate my own critical methodology and assumptions. Ultimately I aim not to create another, more convincing construction of Cook and his month at Nootka Sound, but to illuminate a cultural process, a way of making meaning that is part of his intellectual legacy.

This dissertation examines the workings of various colonial discourses in the texts of Captain James Cook’s third Pacific voyage. Specifically, it focusses on the month spent at Nootka Sound (on the west coast of Vancouver Island) in 1778. The textual discrepancies between the official 1784 edition by Bishop Douglas, A Voyage to the Pacific Ocean, and J.C. Beaglehole’ s scholarly edition of 1967, The Voyage of the Resolution and Discovery 1776-1780, reveal that Cook’s Voyages present not an archive of European scientific and historical knowledge about the new world but the deployment of colonial discourses. Examining this relatively specific moment as discourse expands a critical sense of the importance of Cook’s Voyages as cultural documents, for the twentieth century as well as for the eighteenth. Chapters One and Two consider the mutually interdependent discourses of aesthetics and science: based upon assumptions of “objectivity,’ they distance the observing subject from the object observed, in time as well as in space. Chapter Three traces the development of the trope of cannibalism and argues that this trope works in the editions of Cook’s third voyage to further distance the Nootka from Europeans by textually establishing what looked like savagery. Chapter Four examines the historical construction of Cook as imperial culture hero, for eighteenth-century England, Western Europe, and the settler cultures that followed in his wake. Taken separately and together, these colonial discourses are employed in the accounts of Cook’s month at Nootka Sound to justify and rationalise England’s claim to appropriation of the territory. The purpose of these colonial discourses is to fix meaning and to present themselves as natural; the purpose of my dissertation is to disrupt such constructions. I therefore disrupt my own discourse with a series of digressions, signalled by a different typeface. They allow me to pursue lines of thought related tangentially to the main arguments and thus to investigate the wider concerns of the culture that produced Cook’s voyages, They also give me the opportunity to interrogate my own critical methodology and assumptions. Ultimately I aim not to create another, more convincing construction of Cook and his month at Nootka Sound, but to illuminate a cultural process, a way of making meaning that is part of his intellectual legacy. / Arts, Faculty of / English, Department of / Graduate

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