Orientador : Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T19:48:47Z (GMT). No. of bitstreams: 1 Fernandes_LuizEstevamdeOliveira_M.pdf: 525046 bytes, checksum: f27c798b1fc25226cd30361f2d721be3 (MD5) Previous issue date: 2004 / Mestrado

Orientador: Valeriano Mendes Ferreira Costa / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-31T15:26:03Z (GMT). No. of bitstreams: 1 CostaJunior_LuizRobertoGuimaraesda_M.pdf: 11720451 bytes, checksum: 7253780c5a4c07943b9e04e1ae907768 (MD5) Previous issue date: 2002 / Resumo: o chefe de Estado desempenha importante papel durante o Segundo Reinado (1840-1889). A análise das características do sistema de governo mostra como Dom Pedro II exerce a função de conduzir (ou arbitrar) o processo político ao decidir (ou influir) na aprovação de várias leis ao longo de quase meio século. Há uma relação de diarquia de poder entre o chefe de Estado e o chefe de governo que não é constante, pois esta muda ao longo do período analisado. Além da análise jurídica de jure da Constituição de 1824, há a necessidade de uma análise política defacto sobre o Segundo Reinado. Após se estabelecer os critérios teóricos e analíticos, a análise empírica mostra a variação de poder e quais os motivos e conseqüências disso para o sistema político, o qual baseava-se na figura do Imperador para manter a possibilidade de alternância de poder entre Liberais e Conservadores. O Poder Moderador criou condições para mudanças na legislação ao longo do Segundo Reinado, mas, ao mesmo tempo, impediu reformas políticas que dependiam de mudanças constitucionais. O fim do Segundo Reinado marca o embate das reformas políticas versus as reformas sociais. A República para se estabelecer convoca uma Assembléia Constituinte para escrever uma nova Constituição. As novas regras institucionais garantem a reforma política com o fim do Poder Moderador, a criação da República, da Federação, de mandatos temporários dos Senadores e do presidencialismo como sistema de governo. Sem o Poder Moderador, agora na República, há a volta dos conflitos intra-elites pela disputa do poder político que haviam marcado o período da Regência (1831-1840). A reforma social não se toma realidade, pois quem se beneficiaria dela não está representado na arena política / Abstract: Not informed. / Mestrado / Mestre em Ciência Política

The purpose of this master's thesis is to examine Frances Harper's narrative strategy and moral didacticism in Iola Leroy: or Shadows Uplifted (1892) as she strives to achieve consubstantiality and a "heightened consciousness" within her characters and her audience while adhering to the literary and feminist paradigms of the late nineteenth century. Harper identifies with her African-American male audience's dilemma of "double-consciousness" and their veil of androcentrism. She also identifies with her Euro-American female audience's delicate and matriarchal roles, while also attempting to uplift their position of the "Other" to the "One." Finally, with her African-American female audience, Harper identifies with their complex situatedness of "double-consciousness" and the "Other," while also attempting to uplift them from a historically imposed position of selflessness to one of empowerment.

No description available.

No description available.

No description available.

This dissertation examines the contributions of Basil Manly Jr. to the congregational song of Southern Baptists. Chapter 1 provides an overview of the study, introduces the hymnals compiled by Basil Manly Jr., and identifies his contribution of original texts and tunes to the repertory of Southern Baptist hymnody. Chapter 2 focuses on the collaboration of Manly Jr. with Basil Manly Sr. in the compilation of The Baptist Psalmody (1850). The first Southern Baptist hymnal was developed in response to the dominance of The Psalmist (1843) in Northern states and the need for a comprehensive hymnal suited to congregational singing of Baptists in the South. The Psalmist's omission of popular hymns and the opposition to this hymnal are discussed in detail. "Standard hymns" among Southern Baptists of the mid-nineteenth century are identified through comparative analysis of the period's most significant Southern Baptist hymnals and tunebooks. The Manlys' editorial values are discussed and the contents of The Baptist Psalmody are contrasted with those of The Psalmist . Chapter 3 concerns Manly Jr.'s first musical compilation, Baptist Chorals (1859). It was intended to promote congregational singing among Baptists at large and designed to serve as a tune complement for both The Baptist Psalmody and The Psalmist . Notable aspects of Baptist Chorals include Manly Jr.'s philosophical preface on congregational song, the juxtaposition of old and new tunes with multiple texts at each opening of the hymnal, and a standardized musical format. Chapter 4 examines Manly's Choice (1891) and its musical edition, The Choice (1892), as compendiums of evangelical hymnody. Manly Jr.'s efforts to disseminate their repertories of historic texts and tunes among Southern Baptists of the late nineteenth century are discussed. Finally, the contents of The Choice are compared with Southern Baptists hymnals of the twentieth century. Chapter 5 draws conclusions on the significance of Basil Manly Jr. in the development of Southern Baptist hymnody. The twelve appendixes include first-line indexes and tune indexes to Manly Jr.'s hymnals, lists of "standard" hymns among nineteenth-century Southern Baptists, the complete prefaces to his hymnals, and a presentation of his original hymn texts and tunes. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Made available in DSpace on 2015-04-14T13:48:01Z (GMT). No. of bitstreams: 1 450538.pdf: 13632533 bytes, checksum: 0e55fe6b03df5105531d154bfd93ffa4 (MD5) Previous issue date: 2013-08-01 / The present research conducts a study of two portuguese publications produced in 1872 about the first travel of the Brazilian Emperor Dom Pedro II in Europe. Through the analysis of the caricatures album Apontamentos de Raphael Bordallo Pinheiro sobre a picaresca viagem do Imperador de Rasilb pela Europ, from Raphael Bordallo Pinheiro, and the february issue of As Farpas, written by E?a de Queiroz and Ramalho Ortig?o, it seeks to understand how the construction of these narratives are part of the questioning about Portugal at the end of the nineteenth century. The monarch's travel to the european continent and the Brazilian production of these works took place in a moment of reflection by some portuguese intellectuals, known as "gera??o de 70" (1870 s generation), about society and portuguese identity. Assuming that these narratives have a direct connection with the interrogation conducted by these individuals about their country, the research is divided into two main. The first attempts to understand the worldview of the intellectuals from the "gera??o de 70", in which the authors belong, from the interpretation of texts produced during the Quest?o Coimbr? (1865-1866) and the Confer?ncias do Casino (1871). The second will examine the representations of the Emperor s figure and portuguese society in both works, performing, therefore, a dialogue between the two sources, comprising the convergences and peculiarities of each narrative. / A presente pesquisa realiza um estudo de duas obras portuguesas produzidas em 1872 sobre a primeira viagem do Imperador brasileiro D.Pedro II ? Europa. Atrav?s da an?lise do ?lbum de caricaturas Apontamentos de Raphael Bordallo Pinheiro sobre a picaresca viagem do Imperador de Rasilb pela Europa, de Raphael Bordallo Pinheiro, e da edi??o de fevereiro da publica??o As Farpas, escrita por E?a de Queiroz e Ramalho Ortig?o, busca-se compreender a forma como a constru??o destas narrativas se integra ? problematiza??o sobre Portugal ao final do s?culo XIX. A ida do monarca brasileiro ao continente europeu e a produ??o destas obras se deram em um momento de reflex?o por parte de alguns intelectuais portugueses, conhecidos como gera??o de 70, acerca da sociedade e identidade portuguesa. Partindo da hip?tese de que estas narrativas possuem uma rela??o direta com o questionamento realizado por estes indiv?duos sobre seu pa?s, a pesquisa divide-se em dois eixos. O primeiro tentar? compreender a cosmovis?o dos intelectuais da gera??o de 70, na qual os autores se inserem, a partir da interpreta??o de textos produzidos por ocasi?o da Quest?o Coimbr? (1865-1866) e das Confer?ncias do Casino (1871). O segundo analisar? as representa??es acerca da figura do Imperador e da sociedade portuguesa em ambas as obras, realizando, para tanto, um di?logo entre as duas fontes, compreendendo as converg?ncias e peculiaridades de cada narrativa.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-02T12:36:18Z No. of bitstreams: 1 Rafael Balseiro Zin.pdf: 977499 bytes, checksum: a07f571be72801b63d070a7834cc630d (MD5) / Made available in DSpace on 2016-12-02T12:36:18Z (GMT). No. of bitstreams: 1 Rafael Balseiro Zin.pdf: 977499 bytes, checksum: a07f571be72801b63d070a7834cc630d (MD5) Previous issue date: 2016-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study aims to carry out an investigation about the intellectual trajectory of Maranhão’s writer Maria Firmina dos Reis (1825-1917), from the analysis of bio-bibliographical records and literary fragments taken from the novel Úrsula, published in 1859; Gupeva tale, 1861-2; and the tell A escrava, 1887, with the purpose of achieving, critically, the senses that the author has assigned to the abolitionist cause in effect at that time. A venture like this, soon, allows the offset of the literary work for a social science research, more specifically, in an interdisciplinary perspective, who converses the literary studies with studies of brazilian social thought. In this direction, the literature assumes significance as a privileged object of investigation, able to cross time and offer the researcher significant clues about the political thought of the writer, the ways that group of people lived in society and not least, the way they dealt with the underlying issues of its generation / O presente estudo tem por objetivo realizar uma investigação acerca da trajetória intelectual da escritora maranhense Maria Firmina dos Reis (1825-1917), a partir da análise de registros biobibliográficos e de fragmentos literários extraídos do romance Úrsula, publicado em 1859; do conto Gupeva, de 1861-2; e do conto A escrava, de 1887, com o intuito de alcançar, criticamente, os sentidos que a autora atribuiu à causa abolicionista em vigência naquele momento. Uma empreitada como essa, logo, permite o deslocamento da obra literária para uma pesquisa em ciências sociais, mais especificamente, numa perspectiva interdisciplinar, que dialoga os estudos literários com os estudos de pensamento social brasileiro. Nessa direção, a literatura assume relevância como um objeto privilegiado de investigação, capaz de atravessar o tempo e de oferecer ao pesquisador pistas significativas sobre o pensamento político da escritora, as formas como aqueles sujeitos viviam em sociedade e, não menos importante, a maneira como lidavam com as questões mais latentes de sua geração

This dissertation situates the works of Anglo-Swiss artist Henry Fuseli and French artist Anne-Louis Girodet within a vast and heterogeneous epistemological transformation occurring in the late eighteenth and early nineteenth centuries. It examines three distinct but interlocking case studies—physiognomy, electricity, and the guillotine—each of which constellates scientific discourses, representational practices, and popular attractions. Although working in separate contexts and different modalities, Fuseli and Girodet both engaged with these discourses and practices. Yet they did so in ways that also tested and undermined them. They painted bodies that emphatically failed to conform to the scientific discourses they cited; they painted bodies that were similarly unable to represent heroic virtues or legible narratives. In this way Fuseli and Girodet compel us to read the stylistic shift from neoclassicism to romanticism as participating in a significant realignment of the relationship between knowledge, representation, and the body. By the first decades of the nineteenth century, the body no longer served as a privileged agent of knowledge production within the scientific discourses and artistic practices under consideration. The physiognomic body was no longer self-identical; the electric body was no longer internally continuous. The guillotine offered, in their places, bodies without heads and heads without bodies, whose mechanisms of sensation and cognition were only ever partially and provisionally aligned.