The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.

This thesis focuses on the personality of Richard Wagner, on his music and opera reform. After getting acquainted with biographical of the artist this thesis deals with the various stages of formation and development of the artist this thesis deals with the various stages of formation and development of the music festival and the Festspielhaus in Bayreuth.An integral part of this thesis is the inclusion of all sources of inspiration that led Wagner to the reform - from colleagues, composers, formal musical structures inspiration to drama and mythology. The main emphasis inthis thesis is given to the reform itself. This reform is closely related to the theoretical works of Richard Wagner, and is subsequently applied in his operas, which are in this thesis analyzed in detail. Furthemore, the focuses on the number of composers, who were influenced and ispired by the reform of Richard Wagner and who applied this reform in their operas and instrumental works. The conclusion of the thesis is a summary of contribution of the Wagner´s opera reform.

This master thesis of scenography is a study on the play Woyzeck written in 1836 by the German author Georg Büchner. My intention is to examine how the engaging story of a drama written in the 19th century, set into a military background, can be reinterpreted today in our society. The aim of my researches is the elaboration of a contemporary mise en scène of the play set into an ideological factory as the ideal scenario for the developing of the dramatic situations of Woyzeck. My final scenography proposal for the drama is a site-specific project in the Prada Foundation of Milan; an ex-factory of an Italian distillery society, now turned in one of the main art centres of the city. I am starting the thesis with a research about the historical background of the play through a short biography of the author. In this part, I am aiming to explain how the social context, the relationship with his family and a few of actual events happened at the time of Büchner, have inspired him to write, perhaps, his greatest work. I continue by writing an analysis of the dramaturgical structure of the text, of the main themes and situations within the play and the characters. I am highlighting the themes of the play that in the 21th century are extremely contemporary. In parallel, I analyse how the characters behave in different dramatic situations and precisely I try to reveal their real way of being instead of what appear only on the surfaces. Moreover, I write about a few of the greatest reinterpretations of the play that supported my studies and researches. Here, I mainly focus on the directing and dramaturgical aspects of each production that enriched my vision of the play helping me to develop my final version. The last part of my thesis is about my own reinterpretation of Woyzeck. I am explaining which are the aspects and the themes of the play that I find still very connected with our society. I write about my creative process and about how exactly my research led to the final proposal of the comparison between the military system, of two centuries ago, and the factory system of today. Afterward, I take in exam a few of the artworks that encouraged over my personal reinterpretation of directing and dramaturgical aspects. I write about how elements from these artworks inspired me concretely for the realization of my final work. Finally, I explain in details the directing and dramaturgical choices for the disposition of the storyboard as the final result of my personal research.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2012 / Bibliografia: f. 144-147 / O objetivo central desta dissertação é investigar a relação paradoxal entre a liberdade e os diferentes modos de existência em Kierkegaard, com base na relação também paradoxal entre as categorias de possibilidade e necessidade, categorias que ele utiliz / The main purpose of this dissertation is to investigate the paradoxical relationship between freedom and the various ways of existence in kierkegaardian thought. This purpose is based on the equally paradoxical relationship between the categories of possi

LOPES, Antonio Juliano Ferreira. A superação da moral pelo dever religioso em Kierkegaard. 2016. 111f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-09-23T12:03:33Z No. of bitstreams: 1 2016_dis_ajflopes.pdf: 748015 bytes, checksum: 139200b6117e3543beaaa70890be4b98 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-23T12:21:53Z (GMT) No. of bitstreams: 1 2016_dis_ajflopes.pdf: 748015 bytes, checksum: 139200b6117e3543beaaa70890be4b98 (MD5) / Made available in DSpace on 2016-09-23T12:21:53Z (GMT). No. of bitstreams: 1 2016_dis_ajflopes.pdf: 748015 bytes, checksum: 139200b6117e3543beaaa70890be4b98 (MD5) Previous issue date: 2016 / The philosopher Søren Aabye Kierkegaard will speak in Fear and Trembling, work of the 1943, regarding the issue of act of faith and its existential implications embodied in the biblical account of Genesis, but specifically in the task imposed on Abraham, as him is considered by the author as the authentic knight of faith, given the seriousness with which experienced in its fullness, what the philosopher would name of the paradox of faith. Those who live this paradox would be in a state of suspension of morality. This can be explained in part by the incomprehensibility condition in which is the knight of faith, to those who were still in the moral sphere. The purpose of this dissertation is to examine the grounds that justifying the existential condition of the knight of faith and his relation to the concept of paradox in Kierkegaard and his break with the field of objective morality, and inquire whether he could become understandable by others, taking into consideration the specificity of incomprehensibility so belonging whom were within the religious existential domain and the two domains pointed ethics: the regulatory moral, of generic and social matrix and the we call here of absolute Ethics, based exclusively on the man-God relationship. For this purpose not limit ourselves to the work mentioned, but we going to immerse in the analysis of other key works of the Danish philosopher, so that we can also define and expose the boundaries between these two ethical areas, namely, the general moral and the religious duty, and to see if in Kierkegaard is possible to think of a conciliation of both or in a reciprocal rejection. / O filósofo Søren Aabye Kierkegaard dissertará na obra Temor e Tremor de 1843 a respeito da problemática do ato de fé e de suas implicações existenciais, personificadas no relato bíblico do Gênesis, mas especificamente na tarefa imposta a Abraão, enquanto este é considerado pelo autor como o autêntico cavaleiro da fé, dada a seriedade com que vivenciou em sua plenitude, o que o filósofo viria a nomear de o paradoxo da fé. Quem vive tal paradoxo, se encontraria em um estado de suspensão da moralidade. Isso pode ser justificado em parte pela condição de incompreensibilidade na qual se encontra o cavaleiro da fé, perante aqueles que estariam ainda na esfera da moralidade. O intuito dessa dissertação consiste em analisar os fundamentos que justificam a condição existencial do cavaleiro da fé em relação ao conceito de paradoxo em Kierkegaard e a sua ruptura com o domínio da moral objetiva, e de indagar se aquele poderia tornar-se compreensível por outrem, levando em consideração a especificidade do modo de incompreensibilidade pertencente a quem se situasse no domínio existencial religioso e os dois domínios de eticidade apontados: a moral reguladora, de matriz genérica e social e o que denominamos aqui de Ética absoluta, fundamentada exclusivamente na relação homem-Deus. Para tal propósito não nos limitaremos à mencionada obra, mas adentraremos na análise de outras obras-chaves do filósofo dinamarquês, a fim de que possamos também definir e expor os limites entre esses dois domínios éticos, a saber, o da moral geral e o do dever religioso, e averiguar se em Kierkegaard é possível pensar em uma conciliação de ambos ou em uma rejeição recíproca.

SILVA, Cássio Robson Alves da. Da ironia à seriedade: sobre o tornar-se indivíduo segundo Kierkegaard. 2016. 131f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-09-23T12:50:57Z No. of bitstreams: 1 2016_dis_crasilva.pdf: 2117729 bytes, checksum: ed359844158d03accb733f2075fad1f7 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-23T13:07:12Z (GMT) No. of bitstreams: 1 2016_dis_crasilva.pdf: 2117729 bytes, checksum: ed359844158d03accb733f2075fad1f7 (MD5) / Made available in DSpace on 2016-09-23T13:07:12Z (GMT). No. of bitstreams: 1 2016_dis_crasilva.pdf: 2117729 bytes, checksum: ed359844158d03accb733f2075fad1f7 (MD5) Previous issue date: 2016 / Whereas the philosophy raises problems and works, for times, anchored in the field of possibilities, it becomes necessary the consistent use of any methodology or dialectic taht aimed the realization of the postulated hypotheses. For Søren Kierkegaard (1813-1855) is no different. Thus, this work has as a fundamental principle to show that his enterprise had been able to establish an open dialogue with the philosophical tradition and raise categories that may think both the most intimate questions of the individual as well as the reality that surrounds him. Therefore, based predominantly in the period 1841-1846 (mainly aesthetic Kierkegaard's works), will launch hand of fundamental concepts such as irony, time (instant) and authenticity / seriouness, understanding these as axis that here will call it – individual becomes. Faced with this challenge, as a start-ing point, we find in the works The Concept of Irony (1841), Either/Or - A fragment of life (1843), The Concept of Anxiety (1844) a conceptual proximity that allows we enter in the individual's relationship with time whose seriousness is therefore existential re-sult, the estimated result, and therefore, the condition of its engagement on the world and of itself. Three Discourses on imagined occasions (1845) will allow us to understand the work of Kierkegaard in a global way, especially if interspersed with Concluding Unscientific Postscript to Philosophical Fragments (1846), works without which the latter undertaking would not be possible. / Considerando que a filosofia levanta problemas e trabalha, por vezes, ancorada no campo das possibilidades, torna-se necessário o uso coerente de qualquer metodologia ou dialética que vise a efetivação das hipóteses postuladas. Para Søren Kierkegaard (1813-1855) não é diferente. Desse modo, este trabalho tem como princípio fundamental mostrar que seu empreendimento fora capaz de estabelecer um diálogo franco com a tradição filosófica e levantar categorias que possam pensar tanto as questões mais íntimas do indivíduo, bem como as da realidade que o circunda. Para tanto, com base, predominantemente, no período de 1841 a 1846 (obras de Kierkegaard essencialmente estéticas), lançaremos mão de conceitos fundamentais como Ironia, tempo (instante) e autenticidade/seriedade, entendendo estes como eixo do que aqui chamaremos de tornar-se indivíduo. Diante deste desafio, como ponto de partida, encontramos nas obras O Conceito de Ironia (1841), Ou-Ou - Um fragmento de vida (1843), O Conceito de Angústia (1844) uma proximidade conceitual que permite adentrarmos na relação do indivíduo com tempo, cuja seriedade é, por conseguinte, a consequência existencial, o resultado estimado e, portanto, a condição de seu engajamento diante do mundo e de si mesmo. O uso pontual dos Discursos edificantes para ocasiões supostas (1845) nos permitirá entender a obra de Kierkegaard de maneira mais global, principalmente se intercaladas com Migalhas Filosóficas (1844) e Pós-escrito às Migalhas Filosóficas (1846), obras sem as quais este último empreendimento não seria possível.

SAMPAIO, Laura Cristina Ferreira. A exigência religiosa e os limites da ética: considerações acerca da continuidade ou ruptura entre os estágios ético e religioso em Kierkegaard. 2004. 122f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2004. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-05T13:20:04Z No. of bitstreams: 1 2004-DIS-LCFSAMPAIO.pdf: 354990 bytes, checksum: 8a6ca20652240fe8181fe6a583035009 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-05T14:02:21Z (GMT) No. of bitstreams: 1 2004-DIS-LCFSAMPAIO.pdf: 354990 bytes, checksum: 8a6ca20652240fe8181fe6a583035009 (MD5) / Made available in DSpace on 2013-11-05T14:02:21Z (GMT). No. of bitstreams: 1 2004-DIS-LCFSAMPAIO.pdf: 354990 bytes, checksum: 8a6ca20652240fe8181fe6a583035009 (MD5) Previous issue date: 2004 / The present study, based on the theory of Kierkegaard´s stages, has as a proposal to expound the ethical and religious existence in Kierkegaard, considering critically the religious exigency and the limits of the ethics. Putting the relation between the ethic and the religious, Kierkegaard with the use of the pseudonyms shows several conceptions. It was searched, then, to identify if and until what point one can think, starting from certain writings of Kierkegaard, on a conciliatory mention, notably, between the ethical and religious stages. To complete this analysis, they were surveyed secondarily the critical and studious authors who could support a confirmation or an information of the antagonism between the referred stages. In other words, it was wanted to clear if there was a total exclusion or if it could be thought about conciliation coming from some essential relation, intrinsic between the ethical and religious spheres. / O presente estudo, fundamentado na teoria dos estágios kierkegaardianos, tem como proposta abordar a existência ética e religiosa em Kierkegaaard, avaliando criticamente a exigência religiosa e os limites da ética. Ao colocar a relação entre o ético e o religioso, Kierkegaard com o uso da pseudonímia apresenta concepções variadas. Buscou-se, então, a identificar se e até que ponto se pode pensar, partindo de certos escritos de Kierkegaard, numa abordagem conciliatória, notadamente, entre os estágios ético e religioso. Para completar essa análise, percorreram-se secundariamente autores críticos e estudiosos do corpus kierkegaardiano que pudessem sustentar uma confirmação ou uma infirmação do antagonismo entre os referidos estágios. Em outras palavras, procurou-se esclarecer se havia uma total exclusão ou se poder-se-ia pensar numa conciliação advinda de alguma relação essencial, intrínseca entre as esferas ética e religiosa.

CASTRO, Franklin Roosevelt Martins de. O problema da linguagem em S. Kierkegaard. 2009. 106f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2009. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-06T12:15:41Z No. of bitstreams: 1 2009-DIS-FRMCASTRO.pdf: 907530 bytes, checksum: 9c6c407aeffcf8c882768246dfec79fc (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-07T10:52:39Z (GMT) No. of bitstreams: 1 2009-DIS-FRMCASTRO.pdf: 907530 bytes, checksum: 9c6c407aeffcf8c882768246dfec79fc (MD5) / Made available in DSpace on 2013-11-07T10:52:39Z (GMT). No. of bitstreams: 1 2009-DIS-FRMCASTRO.pdf: 907530 bytes, checksum: 9c6c407aeffcf8c882768246dfec79fc (MD5) Previous issue date: 2009 / O objetivo desta pesquisa foi investigar a categoria da linguagem no pensamento de Sören Kierkegaard (1813 – 1855). No primeiro momento, analisamos como a relação método e linguagem é uma estratégia de reflexão irônica das categorias dialéticas do pensador dinamarquês. Depois, verificamos que a linguagem é marcada pelo conceito de queda e devir, portanto, está perpassada pela história e pelo paradoxo. Por fim, problematizamos os impasses que a linguagem apresenta ao tentar criar um sistema absoluto e/ou explicar a interioridade subjetiva. Desse modo, a linguagem em Kierkegaard se constitui em uma tensão entre os limites da razão e o conhecimento da diferença absoluta, ou seja, no paradoxo entre o silêncio e a palavra. / L´objectif de ce travail est d´enquêter au sujet de la catégorie de langage dans la pensée de Soren Kierkegaard ( 1813-1855). Dans un premier temps, nous analysons comment la relation entre la méthode et le langage devient une stratégie de réflexion ironique en relation aux catégories didactiques du penseur danois. Ensuite nous vérifions que le langage est empreint des concepts de chute et de devenir, et est ainsi traversé par l´histoire et le paradoxe. Enfin nous réfléchissons au sujet des impasses auxquelles lève le langage quand il essaye de créer un systéme absolu et/ou d´expliquer l´intériorité subjective. De cette manière Kirkegaard construit une tension entre les limites de la raison et la connaissance de la différence absolue, qui peut être le paradoxe entre le silence et la parole.

SANTOS, Maria Deiviane Agostinho dos. Angústia e história um reencontro da liberdade em Kierkegaard. 2014. 129f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-10-20T16:14:49Z No. of bitstreams: 1 2014_dis_mdasantos.pdf: 893500 bytes, checksum: a8aa0882a9945cbd1149e027d4bf1af8 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-10-20T16:34:15Z (GMT) No. of bitstreams: 1 2014_dis_mdasantos.pdf: 893500 bytes, checksum: a8aa0882a9945cbd1149e027d4bf1af8 (MD5) / Made available in DSpace on 2014-10-20T16:34:15Z (GMT). No. of bitstreams: 1 2014_dis_mdasantos.pdf: 893500 bytes, checksum: a8aa0882a9945cbd1149e027d4bf1af8 (MD5) Previous issue date: 2014 / Kierkegaard discusses the fundamental metaphysical categories through human existence. It is not, in this work, only to establish ontological relations, but to discover, if possible, how Kierkegaard puts the interiority to the externality in an earlier conception of the History itself. This effort is the key issue facing the condition of the individual in history, since their absence to their historical and current can overcome. Focused on the implication of the concept of anxiety, of freedom and the history itself. This work aims to establish the foundations of freedom for its reunion, giving through the dialectical conception and, at the same time, the possibility of rupture that the man is able to establish in the history, an answer to the questions that pertain to freedom and anxiety. This work touches finally the question of the ethics of love, as the reconciliation of the man with himself. / Kierkegaard discute categorias metafísicas fundamentais através da existência humana. Não se trata, neste trabalho, de estabelecer apenas relações ontológicas, mas de descobrir, se possível, como o homem passa de sua interioridade para sua exterioridade em uma concepção anterior à própria história. Este esforço, por sua vez, é voltado à questão fundamental da condição do indivíduo na história, desde sua ausência até sua atualidade histórica e possível superação. Voltado à implicação do conceito de angústia, da liberdade e da própria história. Este trabalho tem como objetivo estabelecer as bases da liberdade para seu reencontro, dando, através da concepção dialética e ao mesmo tempo da possibilidade de ruptura que o homem é capaz de estabelecer na história, uma resposta às questões que dizem respeito a liberdade e a angústia. Este trabalho toca, finalmente, a questão de uma ética do amor, como reconciliação do homem consigo mesmo.

This thesis deals with nthe emergence of the summer festival Nabucco. The first part introduces the opera by Giuseppe Verdi and opera storyline and characters. The second important part is focused on the actual implementation of the project and interviews with key personalities involved in the performance itself. The aim is to outline the work processes that lie behind the final performances of Nabucco productions.