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Juan Facundo Quiroga: um homem, vários personagensPapeschi, Muryel Silva [UNESP] 12 December 2014 (has links) (PDF)
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000824406.pdf: 459695 bytes, checksum: 7e7b717ab800a3c2c392298fddbd771b (MD5) / Uma das obras mais conhecidas e comentadas de Domingo Faustino Sarmiento (1811-1888), Civilización y barbarie. Vida de Juan Facundo Quiroga, y aspectos físicos, costumbres y ámbitos de la República Argentina, foi publicada inicialmente no periódico chileno El Progreso, em 1845, quando seu autor buscou refúgio político no Chile. A partir dela, as dicotomias civilização x barbárie, campo x cidade, homem x animal, passaram a ser estudadas sob o viés historiográfico, antropológico e, principalmente, literário. Personagem central da obra sarmientina, Juan Facundo Quiroga (1788-1835) é a representação da barbárie e do instinto selvagem e, a partir dele, Sarmiento constrói a imagem do homem rural argentino. No entanto, esta visão pejorativa do homem retratado por Sarmiento sofre, ao longo dos anos, diversas (re)interpretações e sua imagem é reconstruída. Assim faz María Rosa Lojo (1954- ) ao produzir em seus textos um profundo diálogo entre a literatura e a história, oferecendo ao leitor um novo olhar sobre a Argentina do século XIX. A partir dos contos El general Quiroga vuelve en coche al muere, presente na obra Historias ocultas en la Recoleta (2000) e Ojos de caballo zarco, Facundo y el Moro, El Maestro y la reina de las Amazonas e Amar a un hombre feo, publicados em Amores insólitos de nuestra historia (2001), em que Facundo Quiroga surge ora como personagem principal, ora como secundário, este trabalho pretende discutir a perspectiva particular da autora e, sobretudo, a variedade interpretativa que a literatura proporciona de fatos particulares da história e também identificar e compreender a (re)construção do personagem histórico no texto literário. Atribuindo aos textos de Lojo a categorização cunhada por André Luis Gonçalves Trouche (2006), narrativa de extração histórica, identificamos que a autora reposiciona Facundo Quiroga... / Una de las obras más conocidas y comentadas de Domingo Faustino Sarmiento (1811-1888), Civilización y barbarie. Vida de Juan Facundo Quiroga, y aspectos físicos, costumbres y ámbitos de la República Argentina, se publicó inicialmente en el periódico chileno El Progreso, en 1845, cuando su autor buscó refugio político en Chile. A partir de ella, las dicotomías civilización x barbarie, campo x ciudad, hombre x animal, pasaron a ser estudiadas bajo la mirada historiográfica, antropológica y, principalmente, literaria. Personaje central de la obra sarmientina, Juan Facundo Quiroga (1788-1835) es la representación de la barbarie y del instinto salvaje y, a partir de él, Sarmiento construye la imagen del hombre rural argentino. Sin embargo, esta imagen negativa del hombre retratada por Sarmiento sufre, a lo largo de los años, diversas (re)interpretaciones y su imagen es reconstruida. Así lo hace María Rosa Lojo (1954-) al producir en sus textos un profundo diálogo entre la literatura y la historia, ofreciendo al lector una nueva mirada sobre la Argentina del siglo XIX. A partir de los cuentos El general Quiroga vuelve en coche al muere, presente en la obra Historias ocultas en la Recoleta (2000) y Ojos de caballo zarco, Facundo y el Moro, El Maestro y la reina de las Amazonas y Amar a un hombre feo, publicados en Amores insólitos de nuestra historia (2001), en que Facundo Quiroga surge ora como personaje principal, ora como secundario, este trabajo pretende discutir la perspectiva particular de la autora y, fundamentalmente, la variedad interpretativa que la literatura proporciona de hechos particulares de la historia, además de identificar y comprender la (re)construcción del personaje histórico en el texto literario. Atribuyendo a los textos de Lojo la categorización creada por André Luis Gonçalves Trouche (2006), narrativa de extracción...
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Los conceptos de lengua y educación en José Ramón Saavedra, Adolfo Valderrama y Domingo Faustino Sarmiento : un estudio de historiografía lingüísticaBustos Ramírez, Tamara Belén, Valladares Cabrera, Juan Carlos January 2013 (has links)
Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Lingüistica / La investigación que aquí ofrecemos se plantea como un estudio de carácter
exploratorio en torno a las ideas concernientes a la interrelación entre lenguaje y educación entre distintos ideólogos del Siglo XIX chileno. En ese ámbito, se pretende revisar y describir en un grupo específico de autores sus ideas tanto lingüísticas como educativas relacionadas con los
contextos sociopolíticos en los que fueron producidas considerando especialmente la influencia de las ideas de Andrés Bello. El análisis se perfila además como un análisis discursivo centrado en el contenido y trabajado con un enfoque estrictamente cualitativo.
En ese sentido debemos, en primer lugar, entender el Siglo XIX chileno a partir de su carácter
transformador. Nos enfrentamos a un contexto de profundos cambios que inician con las
independencias de la América hispana y que se van desarrollando en todos los ámbitos humanos. A
partir de aquello, ponemos el interés en ese contexto de construcción nacional, en el que las diferentes ideas lingüístico-educativas se pusieron en diálogo, configurando así el inicio de una
lingüística pre-científica chilena y un sistema nacional de educación que estuvieron fuertemente
ligados entre sí.
Para abordar los elementos mencionados en un contexto tan complejo y
dinámico se utilizarán los conceptos de ideología y actitudes lingüísticas, siguiendo las
definiciones de Gee, Van Dijk, Kroskity, Milroy, entre otros. Asimismo, para tales fines recurrimos a los estudios de Coseriu sobre corrección idiomática y lengua estándar. El manejo de dichos conceptos nos permitirá comprender en profundidad las ideas que fueron barajadas durante ese siglo y entenderlas desde una perspectiva historiográfico-lingüística.
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A força política na grandeza das formas : o século XIX em diálogo nas obras de Sarmiento e Hernández / The strength in the greatness of the forms : the 19th century in dialogue inside the oeuvres of Sarmiento and HernándezMinelli, Ivia, 1985- 22 August 2018 (has links)
Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T13:49:28Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013 / Resumo: O estudo do gênero gauchesco para a análise das obras de Domingo F. Sarmiento (1811-1888) e José Hernández (1834-1886), fundamentais na história da literatura argentina devido ao intenso debate que seus escritos promovem desde o século XIX, suscita a reflexão sobre as manifestações artísticas e estratégias discursivas desprendidas em Facundo: civilização e barbárie (1845) e Martín Fierro (1872/79), reveladoras de um fervoroso universo simbólico em meio às disputas políticas do período pós-independência. As diferentes acepções sobre gaúchos e indígenas encontradas em cada texto são representativas da heterogeneidade dos projetos civilizacionais oitocentistas, diversidade esta que encontramos em Sarmiento e Hernández na análise de suas perspectivas sobre a intelectualidade argentina, a expressão política relativa ao campo e à cidade, os projetos e rumos civilizatórios para novo país, a adoção de símbolos nacionais, entre outras. Na abordagem aqui proposta, política e cultura se encontram e rompem as forjadas assimetrias entre esses dois autores, indicando na complexa formação do discurso nacional argentino o esforço de manutenção das premissas civilizacionais do século XIX dentre a historiografia até os dias de hoje. Dessa forma, deslocar as análises de Facundo e Martín Fierro com na inserção da temática indígena, por exemplo, é pensar as fissuras de um discurso que homogeneíza o passado da Argentina / Abstract: The studies of gauchesco literary gender to analyze Domingo F. Sarmiento (1811-1888) and José Hernández (1834-1886) oeuvres, which are the bed rock of Argentinean Literary, due to the intense debate that their writings allow since the middle 19th century, raise some reflections about the artistic out comes and the reasoning strategies used in Facundo: civilization y barbarism (1845) and Martín Fierro (1872-1879), both revealing a vivid symbolical universe during the post-independence political period. The different conceptions about gauchos and indigenous people found in each writing also represent the heterogeneity of 19th century civilizing projects, whose diversity is found in Sarmiento and Hernández's perspectives about: the Argentinean intellectuality, the political representation related to the countryside and the city, the civilizational directions to the fresh born nation, the usage of national symbols and so on. In this approach, culture and politics intersect themselves and clash the asymmetries forged between this two authors, pointing the complex formation of Argentinean national discourse and the effort in preserving the 19h century civilizational assumptions among historiography up to date. Thereby, displacing Facundo and Martín Fierro's analysis, by adding the indigenous thematic for instance, is thinking the disruptions in a discourse that standardize the Argentinean past / Mestrado / Politica, Memoria e Cidade / Mestra em História
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Liszt's Schubert Lieder Transcriptions: A Study of Liszt Pianistic Idoms in the Transcriptive Procedure. A Lecture Recital, Together with Three Recitals of Works by Mozart, Debussy, Schumann, Griffes, and Other ComposersKu, Hsiao-hung 08 1900 (has links)
Franz Liszt, who was the greatest virtuoso pianist in the nineteenth-century, was also a productive composer. But his tremendous technique brought the misunderstanding that his compositions were just flashy and superficial, thus creating an obstacle for appreciating his music. The purpose of this study is to encourage an understanding of the value of Liszt's music, especially his Schubert Lieder transcriptions. The study starts with an introduction, which states the revival of the art of transcription, gives the muscial background of Liszt and describes the instruments that were available to him. Then follows a discussion about his experimentation with the conventional piano techniques and how he applied them to the song transcriptions. Two transcriptions "Hark, Hark, the Lark" and "Der Lindenbaum" are analyzed in detail to show the transcriptive procedure and the relation between the poetry and the musical expression. A conclusion summarizes the study.
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Strong-minded woman figures in a time of crisis : Maria Stuart, Penthesilea, SapphoOlsen, Inger M. 01 January 1984 (has links)
The strong-minded woman as a character capable of genuine self-determination has not received nearly as much literary attention and study as the less psychologically and socially aware sublime woman, the innocent woman, and the femme fatale. Consequently, the strong-minded woman is only an occasional literary phenomenon and is absent entirely during some literary periods.
Thus the purpose of this thesis is to establish that the strong-minded woman exists as a literary figure, that she is a fully developed character capable of forming meaningful and even traditional relationships when allowed by circumstances. She is capable of relying on her own abilities and is willing to take the consequences stemming from her actions.
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The Pratt-Newman DebateHatch, Robert Duane 01 January 1960 (has links) (PDF)
The colorful history of Mormon polygamy has many interesting stories to tell, and one of the most interesting is that of Rev. Dr. J. P. Newman's debate with the Mormon Apostle Orson Pratt on "Does the Bible Sanction Polygamy?" This debate was held at the New Tabernacle in Salt Lake City, Utah, on August 12, 13, and 14, 1870. Newman was the Chaplain of the United States Senate and one of the foremost preachers of Washington, D.C. His appearance in Salt Lake City to debate the question of polygamy was a national topic. Probably never before, nor since, has so much been said in such a short time by non-Mormon presses on a question respecting Mormonism. And never before, as far as the author has been able to discover, has a chaplain of the Senate engaged in a public debate of such wide-spread interest.
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La profession de médecin à Québec au XIXe siècle : la carrière du Dr. Olivier RobitailleMc Cutcheon-Leroux, Danielle 11 April 2018 (has links)
Olivier Robitaille, médecin pratiquant dans le faubourg Saint-Jean-Baptiste de 1838 à 1896, est une figure dominante de la profession médicale de Québec. Il eut une carrière bien remplie qui lui apporta visibilité et crédibilité auprès de la population et du corps médical. Les principaux facteurs qui lui permirent d'accéder à l'élite médicale résident dans sa volonté de réussir, l'exemple familial, sa formation pratique, ses études universitaires, le cumul de nombreuses fonctions médicales et l'opportunité qu'il a eue, particulièrement grâce au Dr Joseph Morrin, d'occuper des postes importants. Malgré son appartenance Indéniable à cette élite, il ressort qu'Olivier Robitaille fut davantage un médecin pleinement engagé au sein de sa communauté qu'un éminent médecin. / Québec Université Laval, Bibliothèque 2013
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Liszt's songs : a reflection of the man and a microcosm of his musical styleMoodie, Noreen Charlotte 11 1900 (has links)
"Liszt's music, unlike that of Mozart, projects the man.
With rare immediacy, it gives away the character
of the composer. ... "
(Brendel 1986, 3)
The purpose of this study is to examine Liszt's song genre from an historical and
stylistic standpoint as a reflection of Liszt's ongoing personality and style development.
this end the following will be presented:
- an overview of Liszt's life circumstances which reflect his personality development
- a chronological classification ofLiszt's song genre
- the songs viewed historically as a reflection of the man
- characteristics in the revisions of the songs which reveal Liszt's ongoing developing
style
- a study of the development ofLiszt's harmonic and tonal language as agents of
colour and textual imagery.
Liszt's song oeuvre will be studied in relation to the man himself in order to revtal his
motives, his values, the experiences that moved him, and the ways in which he
reproduced them in music. / Department of Musicology / M.Mus.
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A Comparison of the Transcription Techniques of Godowsky and Liszt as Exemplified in Their Transcriptions of Three Schubert LiederCloutier, David, 1948- 12 1900 (has links)
This investigation sought to compare the transcription techniques of two pianist-composers, Godowsky and Liszt, using three Schubert lieder as examples. The lieder were "Das Wandern" from Die Schöne Müllerin, "Gute Nacht" from Winterreise, and "Liebesbotschaft" from Schwanengesang. They were compared using four criteria: tonality, counterpoint, timbral effects, and harmony. Liszt, following a practice common in the nineteenth century, was primarily concerned with bringing new music into the home of the domestic pianist. The piano transcription was the most widely used and successful medium for accomplishing this. Liszt also frequently transcribed pieces of a particular composer in order to promulgate them by featuring them in his recitals. The Schubert lieder fall into this category. Liszt did not drastically alter the original in these compositions. Indeed, in the cases of "Liebesbotschaft" and "Das Wandern," very little alteration beyond the incorporation of the melody into the piano accompaniment, occurs.Godowsky, in contrast, viewed the transcription as a vehicle for composing a new piece. He intended to improve upon the original by adding his own inspiration to it. Godowsky was particularly ingenious in adding counterpoint, often chromatic, to the original. Examples of Godowsky's use of counterpoint can be found in "Das Wandern" and "Gute Nacht." While Liszt strove to remain faithful to Schubert's intentions, Godowsky exercised his ingenuity at will, being only loosely concerned with the texture and atmosphere of the lieder. "Gute Nacht" and "Liebesbotschaft" are two examples that show how far afield Godowsky could stray from the original by the addition of chromatic voicing and counterpoint. Godowsky*s compositions can be viewed as perhaps the final statement on the possibilities of piano writing in the traditional sense. As such these works deserve to be investigated and performed.
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Confidence Sans Bound: Staging Trust and Its Vulnerabilities in Tieck, Kleist, Grillparzer, and NietzscheAlbrecht, Tim January 2014 (has links)
This dissertation draws on contemporary philosophical and sociological approaches to trust and engages them in a dialog with literary, poetological, and philosophical texts from the nineteenth century. In doing so it seeks to explore both what other disciplines have to offer to literary studies with regard to the interpretation of trust as a literary motif, as well as to show how literary texts evoke compelling scenarios in which the conceptual and semantic complexities of the phenomenon of trust take on theatrical, rhetorical, and narrative forms that can both illustrate and challenge sociological or philosophical claims. Close readings of texts by Ludwig Tieck, Heinrich von Kleist, Franz Grillparzer, and Friedrich Nietzsche offer new interpretations of canonical texts and discuss the relationship of trust to aesthetics, cultural memory, mythography, and performativity.
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