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Orientador: José Luis Bendicho Beired / Banca: Maria Ligia Coelho Prado / Banca: Clodoaldo Bueno / Resumo: Neste trabalho analisamos o discurso dos periódicos A Província de São Paulo e Jornal do Commercio sobre os Estados Unidos e a Argentina entre os anos de 1875 e 1889. Objetivamos, fundamentalmente, compreender como esses órgãos de imprensa se posicionaram em relação aos países supracitados, quais foram as suas propostas quanto à inserção brasileira no continente americano e como se utilizaram destas interpretações no debate político em torno da crise do regime monárquico. Buscamos articular nesta pesquisa o estudo da identidade nacional, dos embates ideológicos e dos processos políticos, econômicos e sociais brasileiro, argentino e norte-americano no final do século XIX / Abstract: This study analyses the discourse of the newspapers A Província de São Paulo (Province of Sao Paulo) and Jornal do Commercio (Commerce Newspaper) about the United States and Argentina between the years 1875 and 1889. We aim to fundamentally understand how these media outlets are positioned in relation to the above countries, what their proposals regarding the inclusion of Brazil in the Americas were, and how these interpretations were used in the political debate around the crisis of the monarchy. We seek to articulate in this research the study of national identity, the ideological struggles and the political, economic and social Brazilian, Argentine and American processes in the late nineteenth century / Mestre

Orientador: Claudinei Magno Magre Mendes / Banca: Danilo José Zioni Ferretti / Banca: Tania Regina de Luca / Resumo: O estudo por nós apresentado propõe revelar a presença da figura inconfidente, especialmente de Joaquim José da Silva Xavier, muito antes da ascensão do regime republicano no Brasil. Desde o fim do século XVIII, a história da Conjuração Mineira foi na rrada por alguns estudiosos estrangeiros. Assim como houve testemunhas que descreveram os momentos finais e a execução de Tiradentes. Ao longo do século XIX, obras literárias, livros de instrução (compêndios) e de história descreveram alguns aspectos daque la conjura. Nossa pesquisa visa demonstrar ainda que algumas décadas antes da queda da Monarquia brasileira, especificamente entre os anos de 1877 e 1889, a memória relativa aos conjurados mineiros estava bastante presente entre os brasileiros. Por meio da historiografia e, principalmente, a partir de alguns jornais partidários de Minas Gerais, mostramos que já havia uma apropriação do imaginário e a representação de alguns membros da Conjuração Mineira. Para tanto, analisamos seis jornais das cidades de Ou ro Preto e São João del - Rei, sendo que os três partidos políticos de então estavam representados por esses órgãos de imprensa - ao menos regionalmente. É interessante salientar que tanto monarquistas quanto republicanos se valeram da imagem dos conjurados e que o contexto das décadas de 1870 e 1880 determinou o uso político desse imaginário. Desta maneira, contestamos a formulação geralmente aceita de que Tiradentes, a figura vista como o expoente da Conjuração Mineira, só teve seu reconhecimento como márti r e herói após a mudança de regime político. A pesquisa se concentra também na tentativa de compreender como se deu a difusão da imagem dos conjurados mineiros por meio das páginas dos jornais analisados. E de que modo seus redatores procuraram modelar es te imaginário com fins político - partidários, precipuamente pelo estabelecimento ... / Abstract: In our study, we intent to show the presence of conjurados mineiros , especially of Joaquim José da Sil va Xavier, much time before the raise of the Republic in Brazil. Since the latest years in eighteenth century the history about Conjuração Mineira has been told by foreign studious. Although some witness were describing and telling some stories and facts about Conjuração Mineira , during the nineteenth century there were some books that report this. Our research pursuit to show that the memory related with the conjurados mineiros were alive and strongly present among the Brazilians of the last half of nineteenth century, mainly between 1877 and 1889. Through the historiography and also using some political journals of Minas Gerais, we demonstrate which the appropriation, imaginary and representation of some members of conjurados mineiros ha d been used. To confirm that we analysed six journals of two towns: Ouro Preto and São João del - Rei. About those journals, they used to be representative of the three parties, at least in Minas Gerais. This research concentrate, as well, in attempt of unde rstanding how the images of conjurados mineiros spread through the pages of analysed journals. Besides, the way which their editors searched to handle that imaginary with political intentions, mainly for the establish of the celebrating of April 21. Furthe rmore, we exposed that the image and symbolism inconfidente have been used for a long time and the most important thing, without opposition of the Monarch / Mestre

The purpose of this portion of the thesis project was to make a study of the Sonata in A major for violin and piano by Cesar Franck, presented as one of the major works on the second of the two recitals performed in partial fulfillment of the thesis requirement for the degree, Specialist in Education. Of the music performed on the two recitals, the writer felt that the most challenging, from the standpoint of interpretation and of the violin technique involved, was the Franck sonata. Therefore, she has made a formal analysis of the composition as well as an investigation into the technical and musical problems arising in actual performance. It is the writer's belief that the results of the investigation will not only affect her own future performances of the sonata, but ray also be of benefit to other violinists in their study of this sonata.With Cesar Franck the cyclic treatment of thematic material was established as an important principle of composition. The writer presents a thematic analysis of the sonata in which she points out the various ways in which the composer makes use of the cyclic principle. Particular attention is given to the process of motivic development in the transformation of thematic material. The investigation shows that in the Sonata for violin and piano by Franck a single basic idea seems to dominate the entire composition, i.e., the rising and falling inflection of a germ-motive which characterizes the principal themes of the four movements. The movements are further interrelated by the appearance of common thematic material, in either identical or altered form.The formal structure of each movement was determined, and a complete thematic analysis is given. A synopsis of this analysis appears at the end of Chapter V, Analysis of the Sonata in A Major.There is an unusual departure from the "standard" sonata movement scheme in that the first movement, Allegretto ben moderato, serves as an extended "prologue" to the principal movement which appears second. Thus movement II, Allegro, is in fully developed sonata form. It contains two main themes of contrasting character, each theme having three distinct parts. The third movement, which is free and improvisatory in mood and structure, is aptly titled, Recitativo-Fantasia. The finale, Allegretto poco mosso, appears as a unique kind of rondo in which the theme of the refrain is treated as a canon at the octave.In the study of the sonata, harmonic analysis was aimed chiefly toward determining the. structural framework of the composition as a means of understanding the musical progression although a chordal analysis was presented where it seemed significant. The harmonic material is highly chromatic, as is characteristic of the Romantic period, with much use being made of the dominant ninth chord, diminished seventh chord and augmented sixth chord.Problems of violin technique, including those of bowings and fingerings, were investigated and suggestions as to their solution are offered. It is seen that a mastery of the basic detache stroke, smooth legato bowing and accuracy in the high positions are required above all. There is a noticeable absence of the use of special effects, which are unnecessary for the projection of the work. A few double and triple stops occur in the second movement while the only four-note chord is in the third movement. Trills occur at the end of the second movement and also in the Recitativo. For uniform tone color several passages require the player to play in an extended range on the same string.Great demands in the way of energy and physical stamina are required of the violinist in order to provide the variety and quantity of sustained tone necessary for proper balance with the piano.Suggestions relating to dynamics, subtleties of phrasing and accent, as well as reference to tempo and mood are made to aid in the projection of the music.This study supports the belief that in the performance of duosonata music there are no requirements separate from those for other concerted music. An effective interpretation, based on a thorough understanding of the music and a scholarly approach to the composer's musical intentions are basic requirements in both forms of music making. In addition, it is up to each player to extend his understanding of the complete score in order to perceive his role as both soloist and accompanist as the music demands.

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This dissertation examines George MacDonald's preoccupation with his literary predecessor Percy Shelley. While eminently Victorian in many ways, MacDonald was equally a late Romantic, who was inspired by the Romantic poets and positioned himself as the heir to their radical tradition. While he channeled their visionary ardor, he also made it his duty to correct what he saw as their flaws. I read MacDonald through the figure of Shelley, with whom MacDonald seems to have personally identified, but to whose atheism MacDonald, a devout believer, objected. MacDonald's fascination with Shelley works its way into his fiction, which mythologizes literary history, offering fables about the transmission of the literary spirit down through the generations. Throughout his work, MacDonald resurrects Shelley in various guises, idealizing and reshaping Shelley into an image that is startlingly like MacDonald himself. This project contributes to MacDonald scholarship by offering a new approach to his work. It positions MacDonald, who is often portrayed as an ahistorical myth-maker, in an explicitly historical light, revealing him as a Victorian mythographer who was deeply invested in questions of literary criticism and historical succession. / Chapter 1 introduces MacDonald's concern with literary genealogy, and discusses how his work as a literary critic and historian idealizes Shefey. Chapter 2 examines how MacDonald's Phantastes portrays literary history as romantic quest, featuring Shelley as a heroic but fallen knight, and opening questions about literary fatherhood. Chapter 3 interprets the gothic tale "The Cruel Painter" as a myth about the transition from the Enlightenment to Romanticism, in which MacDonald rewrites the story of Shelley's involvement with Mary Godwin and her father William Godwin. Chapter 4 considers Sir Gibbie and Donal Grant, works in which MacDonald explicitly critiques Shelley, and implicitly positions himself as the savior of the English literary tradition. Chapter 5 investigates MacDonald's later works, The Flight of the Shadow and Lilith, in which Shelley---and evil itself---become more complex entities. Throughout the dissertation, particular attention is given to the issue of repeating history vs. redeeming history, a tension that is reflected in MacDonald's use of vampire imagery to portray the unredeemed past.

Entre 1860 et 1869, Edmond et Jules de Goncourt publient six romans : Charles Demailly (1860), Soeur Philomène (1861), Renée Mauperin (1864), Germinie Lacerteux (1865), Manette Salomon (1867), Madame Gervaisais (1869). C'est la totalité de la production romanesque des deux frères.Ces volumes forment un ensemble bien groupé dans le temps, où se retrouve une évidente unité d'intention, de ton, d'écriture. Les historiens de la littérature sont aujourd'hui d'accord pour classer ces oeuvres sous la rubrique "Romans réalistes". Mais ils diffèrent dans leur analyse et leur appréciation du "réalisme" de ces ouvrages. A quoi tient réellement ce "réalisme" ? Telle est, présentée de la façon la plus sommaire, la question à quoi le présent mémoire se propose de répondre. [...]