Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Univ. of Toronto, Diss.--Toronto, 2001. / Literaturverz. S. [305] - 324.

Issued also as thesis, Munich. / Bibliography: p. 189-[190].

Issued also as thesis, Munich. / Bibliography: p. 189-[190].

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-16Bitstream added on 2014-06-13T19:34:50Z : No. of bitstreams: 1 gimenez_pr_me_sjrp.pdf: 1226450 bytes, checksum: ee7e53e50333c94342feb3beeec47d5a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O grande comediógrafo, Martins Pena, além de dramaturgo atuou como cronista e crítico na seção folhetinesca intitulada “A Semana Lírica” do Jornal do Commercio, entre setembro de 1846 e outubro de 1847. No presente trabalho, é contemplado o estudo analítico da crítica-folhetinesca de Martins Pena, bem como sua relação com a crítica contemporânea, produzida durante primeira fase do romantismo brasileiro. Assim, pretendemos comprovar que Martins Pena produz uma crítica ativa e conscienciosa, que trabalha a estética e o estilo românticos, em vigor na época, pelo viés irônico-satírico, característicos de sua escrita. Em nossa análise, consideramos que o recurso da ironia reforça a profundidade crítica de suas idéias, transpondo para seu texto as mazelas do teatro-lírico da época. Dessa forma, concluímos que Martins Pena, como crítico teatral, tem um olhar crítico sobre o ambiente cênico e musical mais desenvolvido e apurado do que tal ambiente é de fato (re)produzido e apresentado nos palcos dos dois principais teatros do Rio de Janeiro. Para desenvolver e comprovar nossa hipótese, primeiramente fizemos uma análise geral dos folhetins críticos de Pena; em seguida, explanamos a crítica da época estabelecendo as relações de aproximação e distanciamento com a de nosso crítico, demonstrando, com isso, o papel da ironia nos folhetins. Enfim, o objetivo geral deste estudo é mostrar o habilidoso cronista que foi Martins Pena e, também, a contribuição para crítica e para o teatro (lírico) brasileiros que ele legou, revelando-se um crítico audaz e perspicaz. Com isso, finalmente, pretendemos levá-lo a ser reposicionado diante dos intelectuais a ele contemporâneos, sendo reconhecido como um dos importantes críticos teatrais brasileiros do século XIX. / The great comedy writer Martins Pena dedicated himself to more than playwriting. He was also the author of articles and critical pieces in the feuilleton section A Semana Lírica of Jornal do Commercio, from September of 1846 to October of 1847. This thesis is an analytic study of Martins Pena’s critical feuilletons and his relation to the criticism produced during the first phase of Brazilian Romanticism. It is intended to prove Martins Pena’s criticism as active and conscious, produced through a characteristic ironic-satiric style of writing related to the romanticism mode and aesthetic of his time. The figure of irony emerges in this analyze as the reinforcement of the critical depth of his ideas, exposing in his text the deficiencies of the lyrical drama of that moment. Therefore, Martins Pena as a drama critic shows an overdeveloped and refined view of the musical and theatrical environment. In fact, his critical observation was more sophisticated than the way such environment was (re)produced and performed in the stages of the two main theatres of Rio de Janeiro. In order to develop and verify this hypothesis, a general analyze of Pena’s critical feuilletons was carried out; followed by a comparison between his texts and the ones produced by other critics of the same period. Through this comparison it is possible to establish relations of proximity and distance that demonstrate the meaning of irony in the feuilletons. The general purpose of this study is not only to show how gifted Martins Pena was as a feuilleton critic, but also to assert his legacy to Brazilian criticism and lyrical drama through his audacity and witty. Finally, all of this aims at acknowledging his place among the high intellectuals of his time, recognizing him as one of the most important Brazilian drama critics of the nineteenthcentury.

American politics from 1832 to 1848 underwent a profound transformation. Whereas in the early years of the republic politics had been based on deference and elitism, by the early 1830's a definite change in the political arena had occurred. With the coming of the "Age of Jackson, " the political rules and styles of the older era began to change. The politics of deference began to give way to the politics of "availability." Because this study is a discussion, examination, and analysis of Webster's and Clay's "appeal to reason, " the sources most heavily consulted were the published and microfilmed correspondence, speeches, and papers of these two statesmen. Other personal papers, correspondence, memoirs, and biographies of other central personalities of the middle period, both protagonists and antagonists, were used in order to place Webster and Clay in proper historical perspective. This dissertation is organized chronologically, and it traces and analyzes the evolution of the candidacies of Webster and Clay for the presidency from the early 1830's through the four presidential elections from 1836 to 1848. Each chapter includes an examination of Clay's and Webster's attempts to secure the Whig nomination and gain the presidency through forceful appeals to the voters' sense of logic and reason. Each chapter also includes a discussion and analysis of why these two men always failed.

Postcolonial theory teaches us that the Empire was as much a textual as a physical undertaking: the Empire was (and is) experienced through its texts. Anthony Trollope was an enthusiastic traveller and helped to "write the Empire" in both his travel narratives and in his novels. This study examines his travel narrative South Africa, and explores how the colony is depicted in this work and in Trollope's "colonial" novels: Harry Heathcote of Gangoil, John Caldigate, An Old Man's Love and The Fixed Period. Trollope's colonies are places of moral danger where the value systems instilled by English society provide the only means for overcoming the corrupting influences of the colonial space. He writes the colonies as images of Britain, but these images are never true reflections of the homeland: there is always an element of distortion present, which serves to subvert the "Englishness" of his colonial landscapes. / English Studies / MA (ENGLISH)

Made available in DSpace on 2015-09-17T15:24:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-03-05. Added 1 bitstream(s) on 2015-09-17T15:48:03Z : No. of bitstreams: 1 000844434_20170130.pdf: 182001 bytes, checksum: 867d91ec831b7bd3aeefbea8cb1ce0db (MD5) Bitstreams deleted on 2017-02-03T10:35:37Z: 000844434_20170130.pdf,. Added 1 bitstream(s) on 2017-02-03T10:36:27Z : No. of bitstreams: 1 000844434.pdf: 22172874 bytes, checksum: 3ab529d4cf02bcf5136fe3a7c27ccdad (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dans le cadre des études sur presse et littérature et sur les transferts culturels, cette recherche présente une étude comparative entre les feuilletons dramatiques français, d'Hector Berlioz et de Théophile Gautier, et les feuilletons de théâtre lyrique écrits par le dramaturge brésilien Martins Pena. Il a écrit la série « Semaine Lyrique », parue au Jornal do Commercio en 1846-1847. Sous une perspective diachronique qui prend en compte le processus de mondialisation médiatique de la presse périodique au XIXe siècle, cet examen se propose de retracer et d'observer les transferts de pratiques culturelles médiatiques de la presse française vers la brésilienne qui ont déterminé l'acclimatation des feuilletons dramatiques au Brésil. En privilégiant l'analyse de la méthode, de la construction du discours critique et du style des feuilletonistes français et de Martins Pena, nous avons centré notre étude sur les aspects littéraires ainsi que sur la répercussion de leur adaptation dans la presse brésilienne. Particulièrement, les formes et la manifestation de l'ironie (journalistique) dans l'écriture des feuilletonistes constituent le cerne des analyses. Notre hypothèse est que Martins Pena a adapté les aspects de l'écriture littéraire des critiques français en créant une poétique autonome et légitime. En plus d'être la première série de chroniques de contenu culturel de la presse quotidienne de Rio de Janeiro, la « Semaine Lyrique » se distingue aussi des feuilletons dramatiques brésiliens précédents grâce à l'écriture ironique et fictionnelle assimilée et recrée au fil de la série par Martins Pena / Com base nos estudos sobre imprensa e literatura e sobre as transferências culturais, a presente pesquisa é dedicada a um estudo comparativo entre os folhetins teatrais franceses, de Hector Berlioz e de Théophile Gautier, e os folhetins sobre o teatro lírico do dramaturgo brasileiro Martins Pena. Ele escreveu a série Semana Lírica, publicada no Jornal do Commercio em 1846-1847. Sob uma perspectiva diacrônica, que considera o processo de globalização midiática da imprensa periódica do século XIX, esse estudo se propôs a retraçar e examinar as transferências das práticas culturais midiáticas da imprensa francesa para a imprensa brasileira, as quais determinaram a aclimatação dos folhetins dramáticos no Brasil. Privilegiando a análise do método, da construção do discurso crítico e do estilo dos folhetinistas franceses e de Martins Pena, o estudo se centra nos aspectos literários, bem como na repercussão de sua adaptação na imprensa brasileira. As formas e a manifestação da ironia (jornalística) na escrita na escrita dos folhetinistas constituem, particularmente, o cerne de nossas análises. Assim, verificamos que Martins Pena adaptou os aspectos da escrita literária das críticas francesas, criando uma poética autônoma e legítima. Além de ser a primeira série de crônicas de conteúdo cultural da imprensa diária do Rio de Janeiro, a Semana Lírica também se distingue dos folhetins teatrais precedentes, graças à escrita irônica e ficcional assimilada e recriada ao longo da série por Martins Pena / In the perspective of researches about literature and press theory and about cultural transfers, this study presents a comparative analysis between Hector Berlioz' and Théophile Gautier's theater serials and Brazilian dramatic writer Martins Pena's serials about lyric theater wrote by the Brazilian dramatic writer Martins Pena. He wrote the series Lyric Week published in Jornal do Commercio in 1846-1847. In a diachronic perspective which consider the process of periodical press globalization in the 19th century, this investigation aimed to reconstruct and observe the transfers of media cultural practices from the French press to the Brazilian press which determined the acclimatization of the theater serials in Brazil. Emphasizing the method analysis, the construction of critical discourse and style of French theater serials and that of Martins Pena, we focused our study on the literary aspects as well as on the impact their adaptation had in the Brazilian press. Specifically, the form and manifestation of the (journalistic) irony in the writing of the columnists constitute the focus of the analysis. In this way we established that Martins Pena adapted aspects of the French columnists' literary writing, creating an autonomous and legitimate poetic. In addition to being the first cultural content chronicle series of the daily press of Rio de Janeiro, the Lyric Week distinguishes itself from previous Brazilian theater serials through the ironic and fictional writing assimilated and recreated throughout the series by Martins Pena

Made available in DSpace on 2014-12-17T14:35:50Z (GMT). No. of bitstreams: 1 GiselleCS_tese.pdf: 1424263 bytes, checksum: 0a3b291c39e9d1dfd7f82f5c1ef897a3 (MD5) Previous issue date: 2008-06-13 / The present study has as objective to explaining about the origins of the mathematical logic. This has its beginning attributed to the autodidactic English mathematician George Boole (1815-1864), especially because his books The Mathematical Analysis of Logic (1847) and An Investigation of the Laws of Thought (1854) are recognized as the inaugural works of the referred branch. However, surprisingly, in the same time another mathematician called Augutus of Morgan (1806-1871) it also published a book, entitled Formal Logic (1847), in defense of the mathematic logic. Even so, times later on this same century, another work named Elements of Logic (1875) it appeared evidencing the Aristotelian logic with Richard Whately (1787-1863), considered the better Aristotelian logical of that time. This way, our research, permeated by the history of the mathematics, it intends to study the logic produced by these submerged personages in the golden age of the mathematics (19th century) to we compare the valid systems in referred period and we clarify the origins of the mathematical logic. For that we looked for to delineate the panorama historical wrapper of this study. We described, shortly, biographical considerations about these three representatives of the logic of the 19th century formed an alliance with the exhibition of their point of view as for the logic to the light of the works mentioned above. In this sense, we aspirated to present considerations about what effective Aristotelian?s logic existed in the period of Boole and De Morgan comparing it with the new emerging logic (the mathematical logic). Besides of this, before the textual analysis of the works mentioned above, we still looked for to confront the systems of Boole and De Morgan for we arrive to the reason because the Boole?s system was considered better and more efficient. Separate of this preponderance we longed to study the flaws verified in the logical system of Boole front to their contemporaries' production, verifying, for example, if they repeated or not. We concluded that the origins of the mathematical logic is in the works of logic of George Boole, because, in them, has the presentation of a new logic, matematizada for the laws of the thought similar to the one of the arithmetic, while De Morgan, in your work, expand the Aristotelian logic, but it was still arrested to her / O presente estudo tem como objetivo uma elucida??o das origens da l?gica matem?tica. Esta tem seu in?cio atribu?do ao matem?tico ingl?s autodidata George Boole (1815-1864), especialmente porque seus livros The Mathematical Analysis of Logic (1847) e An Investigation of the Laws of Thought (1854) s?o reconhecidos como as obras inaugurais do referido ramo. Contudo, curiosamente, na mesma ?poca um outro matem?tico chamado Augutus de Morgan (1806-1871) tamb?m lan?ou um livro, intitulado Formal Logic (1847), em defesa da matematiza??o da l?gica. Mesmo assim, tempos depois neste mesmo s?culo, uma outra obra nomeada Elements of Logic (1875) surgiu evidenciando a l?gica aristot?lica a partir da figura de Richard Whately (1787-1863), considerado o maior l?gico aristot?lico da ?poca. Desta forma, nossa pesquisa, permeada pela hist?ria da matem?tica, prop?e estudar a l?gica produzida por estes personagens imersos na idade ?urea da matem?tica (s?culo XIX) a fim de compararmos os sistemas vigentes no referido per?odo e clarificarmos as origens da l?gica matem?tica. Para isso buscamos delinear o panorama hist?rico envolt?rio deste estudo. Descrevemos, brevemente, considera??es biogr?ficas destes tr?s representantes da l?gica do s?culo XIX aliadas ? exposi??o de seus pontos de vista quanto ? l?gica ? luz das obras citadas acima. Neste sentido, aspiramos ainda apresentar considera??es acerca do que existia de l?gica aristot?lica vigente no per?odo de Boole e De Morgan comparando-a com a nova l?gica emergente (a l?gica matem?tica). Al?m disso, diante da an?lise textual das obras citadas acima, buscamos ainda confrontar os sistemas de Boole e De Morgan a fim de chegarmos ao motivo pelo o qual o de Boole ter sido considerado melhor e mais eficiente. ? parte desta preponder?ncia, almejamos estudar as falhas constatadas no sistema l?gico de Boole frente ? produ??o de seus contempor?neos, verificando, por exemplo, se elas se repetiram ou n?o. Conclu?mos que as origens da l?gica matem?tica residem nas obras de l?gica de George Boole, visto que, nelas, h? a apresenta??o de uma nova l?gica, matematizada pelas leis do pensamento an?logas ?s da aritm?tica, enquanto De Morgan conseguiu em seu trabalho expandir a l?gica aristot?lica, mas ainda esteve preso a ela

Orientadores: Neyde de Castro Veneziano Monteiro, Sara Pereira Lopes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T22:56:31Z (GMT). No. of bitstreams: 1 Candeias_ManoelLevy_D.pdf: 8062817 bytes, checksum: be6f8503dfe8f65842fff7ba3423d5af (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa teve como finalidade identificar de que maneira algumas especificidades histórico-sociais brasileiras se projetaram na dramaturgia cômica de Martins Pena e Arthur Azevedo. Tendo como ponto de partida estudos reconhecidamente importantes sobre o país, foram analisadas as comédias desses dois autores, buscando destacar os pontos em que as peculiaridades locais estivessem refletidas na estrutura da forma dramática, como assimilação e/ou alteração dos modelos de dramaturgia adotados por eles. Muitas características das obras de Pena e Azevedo mostraram ter correspondência com fundamentos sociais brasileiros apontados por Sérgio Buarque de Holanda e Maria Sylvia de Carvalho Franco, entre outros estudiosos de sociologia, história e estética do Brasil / Abstract: This research was conducted to identify how some social-historical Brazilian specificities stood out in the comic dramaturgy work of Martins Pena and Arthur Azevedo. With acknowledged important studies of the country as a starting point, the comedy work of those two authors were analyzed with the purpose of identifying where the local characteristics were reflected in the structure of the dramatic work, as assimilation and/or change of the dramaturgy models adopted by them. Many characteristics of the works of Pena and Azevedo have shown similarities with the Brazilian social foundations mentioned by Sérgio Buarque de Holanda and Maria Sylvia de Carvalho Franco, among other Brazilian researchers of Sociology, History and Aesthetics / Doutorado / Teatro, Dança e Performance / Doutor em Artes da Cena