Made available in DSpace on 2014-06-11T19:24:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-02Bitstream added on 2014-06-13T18:52:11Z : No. of bitstreams: 1 mottola_n_me_rcla.pdf: 359757 bytes, checksum: 647c20048f335ae16df7f299898b7f99 (MD5) / Analisou-se aqui o modo como o conceito de evolução, elaborado por Lamarck e Darwin, é apresentado nos livros didáticos de Biologia, selecionados pelo Programa Nacional do Livro Didático para o Ensino Médio (PNLEM), distribuídos em 2007 para todas as escolas da rede pública do Brasil. Para essa análise, foram consideradas as cinco teorias de Charles Robert Darwin (1809-1882), presente em sua obra A Origem das Espécies, a saber: a evolução propriamente dita, a ancestralidade comum, o gradualismo, a multiplicação das espécies e a seleção natural. E, também, as quatro leis da transformação dos animais, de Jean Baptiste Antoine de Monet de Lamarck (1744-1829). Utilizamos os procedimentos de coleta e análise de dados com base em abordagens de natureza qualitativa. Como principais resultados encontramos uma visão reducionista da teoria transformista de Lamarck, limitada a duas leis não centrais em sua obra nem de sua autoria, bem como a presença, em algumas obras, de um antagonismo entre o lamarckismo e fundamentação científica. Com relação à obra darwiniana, constatou-se que na maioria dos livros didáticos está ausente uma referência às idéias relativas à ancestralidade comum, ao gradualismo e à multiplicação das espécies. Também foi possível observar que, em alguns manuais didáticos, há uma visão a - histórica da ciência, a falta de uma contextualização sociocultural e uma carência em relação à história e à filosofia da biologia. Nesse sentido, há um prejuízo na compreensão das idéias contidas nas obras de Lamarck e Darwin, acarretando uma limitação no entendimento do conceito de evolução / We analyzed here how the concept of evolution, developed by Lamarck and Darwin, is presented in textbooks of Biology, selected by the National Textbook Program for high school (PNLEM), selected in 2007 for all public schools in the Brazil. For this analysis, we considered the five theories of Charles Robert Darwin (1809-1882), present in his work The Origin of Species, namely: the actual evolution, the common descent, the gradualism, the multiplication of species and the natural selection. Also, the four laws of transformation of animals, Jean Baptiste Antoine de Monet de Lamarck (1744-1829). We use the data collection and analysis of data based on qualitative approaches. The main results, we find a reductionist view of Lamarck's theory transvestite, limited to two laws do not even central in his work of his own, as well as the presence, in some works, an antagonism between Lamarckism and scientific reasoning. With reference to the work Darwinian, it was found that in most textbooks is missing a reference to the ideas on common ancestry, the gradualism, and the multiplication of species. Was also observed that in some textbooks, there is a vision – of historical science, the lack of a socio-cultural context and a lack in relation to history and philosophy of biology. In this sense, there is a loss to understand the ideas embodied in works of Lamarck and Darwin, leading to a limitation in understanding of the concept of evolution

Made available in DSpace on 2014-06-11T19:30:22Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-01-28Bitstream added on 2014-06-13T19:25:46Z : No. of bitstreams: 1 marchiori_rm_me_rcla.pdf: 441197 bytes, checksum: dfc9ce6e00b97ad657ecd6859c6787a4 (MD5) / Tudo é número, diria o famoso matemático grego Pitágoras. Os números estão a nossa volta, como o oxigênio que respiramos. Primeiro vieram os naturais, depois os inteiros, os racionais e os incríveis irracionais, que deixaram os pitagóricos tão perplexos a ponto de escondê-los. Números primos, perfeitos e outros vieram. E quando tudo parecia ser real apareceram os imaginários. Que imaginação tem esses matemáticos! Vamos nos aprofundar em um grupo intrigante de números chamados transcendentes e aos números estudados por um matemático francês chamado Liouville / All is number, say the famous Greek mathematician Pythagoras. The numbers are all around us, like the oxygen we breathe. First came the natural, then the integers, the rational and the irrational incredible that left perplexed the Pythagoreans so as to hide them. Prime numbers, perfect and others came. And when everything seemed to be real the imaginary appeared. What have these mathematical imagination! Let's delve in a group of intriguing numbers called transcendental numbers and studied by a French mathematician named Liouville

This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.

In its earliest form, the Tristram legend was probably a Celtic folk-tale known in oral tradition as early as the eighth or ninth century. During the early part of the twelfth century it became known in France and Brittany; and there, in the later years of that same century, it was recorded in a lost romance now referred to as the Ur-Tristan. From this source, so it is believed, the earliest extant romances upon the subject were derived. During the twelfth century, two main versions developed—first the version des jongleurs, given in the poems of Béroul and Eilhart von Oberge, and second, the version courtoise given in Thomas's Tristan and some derivatives of it. Among these last, the Tristan of Gottfried von Strassburg, written about 1215, is generally regarded as one of the masterpieces of medieval literature. In the early thirteenth century, the legend was employed in an anonymous romance, the French prose Tristan. In this version, which was greatly influenced by the prose Lancelot cycle, the narrative is so grossly adulterated by the machinery of thirteenth-century courtly romance that the original love story is all but obscured. In most texts of the prose Tristan, even the traditional love-death scene is altered. This account of the legend became for five centuries the only version in which it was known. Two treatments of the legend appeared in Middle English literature. First is the northern Sir Tristrem, an anonymous poem composed about 1300 and based upon the Tristan of Thomas. Secondly, the Morte d'Arthur, composed by Sir Thomas Malory about 1469, contains an account of the Tristram legend based entirely upon the French prose Tristan. The legend did not again receive a major treatment in English literature until the mid-nineteenth century, when it became the subject of poems by Matthew Arnold, Alfred Lord Tennyson, and Algernon Charles Swinburne. Arnold's "Tristram and Iseult" is based, except for the love-death episode, upon the version courtoise. Arnold regarded as the central problem of the narrative, not the love story itself, but Tristram's conflicting loyalties to the two Iseults, and sympathized, not with the ill-fated lovers, but with Iseult of Brittany, the innocent victim of the tragic love. She becomes in his poem symbolic of the Stoic way of life, the compromise which Arnold offered to resolve the conflict of emotion and intellect. Tennyson treated the Tristram legend in "The Last Tournament," one of the Idylls of the King based upon Malory's Morte d'Arthur. The legend is employed in the moral allegory of the Idylls as an illustration of the evil consequences of adultery. In thus regarding the love story merely as a tale of adultery, Tennyson deviated greatly from the traditionally sympathetic treatment of the narrative. Swinburne's Tristram of Lyonesse is, like Arnold's poem, based chiefly upon the version courtoise. In Swinburne’s treatment the love story is again central, the theme being an exaltation of the ennobling and sanctifying power of human love. Along with the explicit exaltation of passionate love is an implied criticism of the hypocritical morality and distrust of passion which Swinburne regarded as prevalent in his age. Although these three Victorian poems differ widely in plot, characterization and purpose, the Tristram legend is employed didactically in each, and the purposes governing its didactic treatment are dictated by the age in which and for which the poems were written. / Arts, Faculty of / English, Department of / Graduate

The purpose of this study is to examine Sonata No. 2 in detail from many analytical perspectives including melodies, rhythms, harmonic progressions, tonal plans, voice leading, and cadential patterns on macro- and micro-levels. It is believed that a more in-depth discussion of the composition from the perspective of harmony and voice leading may provide answer for the questions raised, and correct some misinterpretations in the works of certain writers. Furthermore, through analysis of Sonata No. 2. this study will show the relationship of the use of formal, stylistic, harmonic features between Mendelssohn and other composers of the eighteenth and nineteenth centuries.

In early 1868 William E. Gladstone presented several bills in Parliament to disestablish the Church of Ireland. Prior to 1868 Gladstone had stated his opposition to the official connection between the Church of Ireland and the State. Gladstone, however, had also claimed that he was not in favor of immediate action and instead advocated restraint in attacking the Church of Ireland. The 1860's also saw the rise of the Fenian organization. The Fenians were dedicated to the overthrow of English rule in Ireland and the establishment of an Irish republic. The role that the Fenians played in convincing Gladstone to disestablish the Irish church has received varying interpretations from historians; yet no attempt has been made to look closely at the issue.

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Lo que se conoce acerca de fray Cipriano Aguilar, perteneciente a la Orden de Ermitaños de San Agustín, son algunos datos sobre su vida que constan en los documentos de la orden religiosa a la que perteneció y que aparecieron luego en dos publicaciones de carácter documental. Además, se sabe que participó en el concurso para la elección del Himno Nacional y que José Bernardo Alzedo lo reconoce, en el prologo de su libro Filosofía Elemental de la Música, como su maestro de música durante su infancia. El presente trabajo pretende mostrar evidencias de que fray Cipriano Aguilar, maestro de Capilla del Convento de San Agustín, está empleando la estética de Franz Joseph Haydn para la composición de música litúrgica, dentro del periodo de transición entre el virreinato del Perú y la República. Esto significaría que el estilo clásico austro/alemán fue asimilado en el Perú al igual como lo fue en Cuba, Venezuela y México / Tesis

It is the purpose of this paper to try to show the various methods used by Poe for securing a single unified effect in each of his stories. To facilitate the work, I shall divide his short stories into four groups: stories of effect, stories or ratiocination, stories of pseudo-science, and stories of satire and humor. It is inevitable that the chapters overlap in many instances because some methods are used in more than one type of story. Often a story may be placed in more than one group, since the divisions are so broad. Notwithstanding these difficulties, it is possible to find many methods used by Poe to develop the narrative style, so peculiarly his own, by which he seldom failed to produce a compelling story.