AFRICAN LANGUAGES / MA (AFRICAN LANGUAGES)

CARNEIRO, Leonardo Lima Vasconcelos. Belo Monte: religiosidade e luta no sertão semiárido. 2013. 105f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-21T12:42:03Z No. of bitstreams: 1 2013-DIS-LLVCARNEIRO.pdf: 4041031 bytes, checksum: c8ce81b97187a7b011ecc7220ba0059d (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-03-21T12:42:47Z (GMT) No. of bitstreams: 1 2013-DIS-LLVCARNEIRO.pdf: 4041031 bytes, checksum: c8ce81b97187a7b011ecc7220ba0059d (MD5) / Made available in DSpace on 2014-03-21T12:42:47Z (GMT). No. of bitstreams: 1 2013-DIS-LLVCARNEIRO.pdf: 4041031 bytes, checksum: c8ce81b97187a7b011ecc7220ba0059d (MD5) Previous issue date: 2013 / Despite the vast and diverse bibliography and academic production about the movement led by Antonio Conselheiro in the backlands of Bahia, there are still gaps and issues to be completed and unveiled and even other interpretations to be made. Religious dimension, for example – a fundamental element of the genesis and structuring of Canudos – needs further studies. The wrong way with that aspect was approached by our literary tradition and even by latest intellectuals is a proof of this shortage. As a result of these perceptions, the movement of Belo Monte is still rated by many as a manifestation of "millenarianism" or "messianism", an interpretation can not be sustained from closer examination of the phenomenon. Through a conjunctural analysis of the historical period in which the Belo Monte community emerged – including social, political, economic and cultural – the study of the training and the specifics of catolicismo popular sertanejo, and finally, through a consistent examination of religious dimension of the social phenomenon in question, with this work I seek to better understand Canudos, contributing to uncover aspects of its genesis, and especially of its religiosity. / Apesar da existência de vasta e diversificada bibliografia e produção acadêmica sobre o movimento liderado por Antonio Conselheiro no sertão baiano, ainda há lacunas e questões a serem preenchidas e desvendadas e, até mesmo, outras interpretações a serem realizadas. Sua dimensão religiosa, por exemplo, – elemento fundamental da gênese e estruturação de Canudos – ainda carece de maiores estudos. A forma equivocada com que esse aspecto foi abordado por nossa tradição letrada e até mesmo por estudiosos mais recentes, é uma prova dessa carência. Como consequência dessas percepções, o movimento de Belo Monte continua sendo classificado por muitos como uma manifestação de “milenarismo” ou “messianismo”, interpretação essa que não se sustenta a partir de exame mais minucioso do fenômeno. Por meio de uma análise conjuntural do período histórico em que emergiu a comunidade de Belo Monte – incluindo aspectos sociais, políticos, econômicos e culturais –, do estudo da formação e das especificidades do catolicismo popular sertanejo e, por fim, mediante um exame consistente da dimensão religiosa do fenômeno social em questão, busco com este trabalho melhor compreender Canudos, contribuindo para descortinar aspectos de sua gênese e, principalmente, de sua religiosidade.

Made available in DSpace on 2014-06-11T19:25:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-09Bitstream added on 2014-06-13T19:12:41Z : No. of bitstreams: 1 ferreira_jcd_me_prud.pdf: 533939 bytes, checksum: bcf3a95d1c3fad5c58edb320f5ac9160 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Buscamos uma aproximação entre dois campos do conhecimento que envolvem diferentes gêneros de linguagem: a literatura de ficção científica e a física. Partimos do pressuposto de que todo professor é professor de leitura, e como decorrência, todas as formas de leitura se relacionam e criam entre si pontos de apoio para a construção de sentidos. Assim, na obra de Júlio Verne, procuramos por elementos associados ao conteúdo de física do Ensino Médio. Nos livros Viagem ao Centro da Terra, Vinte Mil Léguas Submarinas e A Volta ao Mundo em Oitenta Dias, tomando Bakhtin como referencial de análise, encontramos em Júlio Verne o que denominamos didática das ciências: uma sistematização e intencionalidade de ensinar conceitos por parte do autor. Existe uma proximidade entre as situações descritas por Júlio Verne e os enunciados de fenômenos físicos típicos de livros didáticos do Ensino Médio, com algumas diferenças: a riqueza e complexidade nas quais os textos de Verne são produzidos, com enredos que tornam os conceitos científicos altamente contextualizados e favorecem a constituição do tema, ampliando as possibilidades de compreensão do leitor. Essas e outras diferenças, marcadas por elementos comuns, tornam promissora a aproximação entre a leitura de ficção e o ensino de física, com o objetivo mais amplo de formar o leitor, um dos papéis centrais da escola. A leitura de livros de ficção, como os de Júlio Verne, não substitui o ensino de física e de ciências com seus conceitos, expressões matemáticas, esquemas e gráficos, entre outros itens... / We seek a rapprochement between two fields of knowledge that involve different genres of language: the science fiction literature and physics. We assume that every teacher is a teacher of reading, and as a result, all forms of reading are related to each other and create points of support for the construction of meaning. Thus, in the work of Jules Verne, we search for elements associated with the content of high school physics. In the books Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea and Around the World in Eighty Days, taking Bakhtin as reference for analysis, we found in Jules Verne's what we call teaching science: a systematic and intentional teaching of concepts by the author. There is a closeness between the situations described by Jules Verne and the statements of physical phenomena typical of high school textbooks, with some differences: the richness and complexity in which the texts of Verne are produced, with storylines that make scientific concepts highly contextualized and favor the establishment of the theme, expanding the possibilities for the reader's understanding. These and other differences, marked by common elements, promising to make links between the reading fiction and the teaching of physics, with the broader goal of educating the reader, one of the central roles of the school. The reading of fiction books such as Jules Verne does not replace the teaching of physics... (Complete abstract click electronic access below)

Informe de Seminario para optar al grado de Licenciado en Historia

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T19:56:12Z : No. of bitstreams: 1 biancolino_t_me_ia.pdf: 8518794 bytes, checksum: e0883b41634079e4cc679ac8ef255b1d (MD5) / Os escritos estéticos dos autores do Frühromantik (Primeiro Romantismo), surgidos a partir das duas últimas décadas do século XVIII, constituíram a base do pensamento do Romantismo musical alemão. De vital importância dentro desta nova concepção estética foi o entendimento da música instrumental como a manifestação mais nobre das artes, algo que ia contra o preceito que vigorara até então, segundo o qual a música sem voz possuía pouco valor, por ser incapaz, apenas por meio de sons, de imitar o mundo físico e despertar sentimentos nos ouvintes. Paralelamente a esse processo, o piano - cujos primeiros modelos bem sucedidos surgiram entre 1698 e 1730 - ganhou maior repertório no último quarto do século XVIII e, ao mesmo tempo, passou a ser utilizado como substituto de formações instrumentais maiores, em reduções de sinfonias e óperas. Este trabalho trata da importância que os fenômenos de valorização da música instrumental, da formação da linguagem do piano e da utilização deste instrumento enquanto redutor da orquestra exerceram no aparecimento do Lied em princípios do século XIX, um gênero híbrido entre música e poesia e entre música vocal e música instrumental, que se contrapôs à tradição da canção estrófica setecentista. Mais especificamente, esta pesquisa investiga em qual medida a composição da parte do piano do ciclo de canções Winterreise (1827) de Franz Schubert foi realizada sobre a idéia de evocação de sonoridades de outros instrumentos, tomando por base similaridades de escrita entre determinadas passagens da obra de Schubert e aquelas retiradas de obras sinfônicas e de câmara, do próprio Schubert e de outros compositores que representaram grandes influências suas, especialmente Haydn, Mozart e Beethoven. / The aesthetic writings by Frühromantik (Early Romantic) authors, which appeared during the last decades of the eighteenth century, became the basis of German musical conception of Romanticism. Fundamentally important that new aesthetic idea was the undestanding of instrumental music as the noblest manifestation of arts, which was against the old precept that music without singing was worthless, as it was incapable of imitating the physical world and reviving the listener's sentiments. Simultaneously, the repertoire for piano - which early successful model appeared between 1698 and 1730 - was substantially increased during the last quarter of the eighteenth century and, at the same time, gradually started to be used as a substitute for larger instrumental groups, and reductions of symphonies and operas. The present work discusses how the phenomena of instrumental music valorization, piano idiom formation and its use as a substitute for an orchestra (piano reduction) influenced the advent of Lied at the beginning of the nineteenth century - a hybrid genre between music and poetry - and between vocal and instrumental music, in opposition to the eughteenth century strophic song tradition. More specifically, this research examines how much of the piano accompaniment of Fraz Schubert's song cycle Winterreise (1827) was based on the idea of the evocation of the sonorities of other instruments, using as evidence stylistic similarities between some of the passages from Schubert's works and those extracted from symphonic and chamber pieces - by both Schubert himself and other composers, notably his major influences: Haydn, Mozart and Beethoven.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-28Bitstream added on 2014-06-13T19:27:48Z : No. of bitstreams: 1 oliveira_srm_me_ia.pdf: 3367855 bytes, checksum: d8b28ad336f25c88adc37255b01c951a (MD5) / A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico / The current dissertation accosts the concept of “Grotesque” in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view

Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2018-08-23T12:37:11Z No. of bitstreams: 1 texto completo.pdf: 1434490 bytes, checksum: 06a22c19b684fcb1bbbd187caf343a81 (MD5) / Made available in DSpace on 2018-08-23T12:37:11Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1434490 bytes, checksum: 06a22c19b684fcb1bbbd187caf343a81 (MD5) Previous issue date: 2018-03-28 / No ápice das explorações da África, em 1863, Jules Verne publica sua primeira viagem extraordinária, Cinco semanas num balão. Aproveitando-se da onda de interesse crescente do público francês pelas regiões “bárbaras”, o autor elabora um romance inovador, cujo ponto chave se encontra exatamente neste fascínio pelo desconhecido, envolto, pela então, efervescente temática da “ciência moderna”. O principal aspecto a ser aqui abordado seria a possibilidade de representação de uma África desnudada em todos os seus aspectos inconvenientes – etnográficos e geográficos –, os quais são, na maioria das vezes, perpetuados por exploradores, viajantes, naturalistas e literatos. Destarte, à luz de uma abordagem interdisciplinar, no qual os Estudos Pós-Coloniais encontram maior destaque, o presente trabalho objetiva analisar como o texto de estreia de Verne se circunscreve dentro de uma tradição europeia de representação das zonas consideradas “primitivas”, ou seja, demonstrar como representar “o diferente” redunda, sempre, na delimitação de uma clara fronteira entre “nós” e “eles”, com seu correspondente juízo de valor. Essa divisão, de natureza ideológica, estabelece, então, uma hierarquia, na qual o objeto representado se constitui como um desvio a ser identificado. Sendo assim, nota-se que, na obra em questão, a representação adquire uma função absolutamente pragmática, projetando o continente africano de maneira a, sobretudo, reivindica-lo para as potências ditas colonialistas. Estudos tais como de Edward Said, Albert Memmi, Eric Hobsbawm dentre outros, servirão de guia a este estudo. / In the apex of the exploration of the 1860s Africa, Jules Verne publishes his first “extraordinary” journey, Five Weeks on a Balloon. Aware of the growing interest of the French public in the so-called “barbarian” regions, the author elaborates an innovative novel, whose key of interest lies exactly in such fascination with the unknown, intertwined with the appealing thematic of “modern science”. The main focus of this research is rather to reveal another Africa, devoided of all its inconvenient aspects – ethnographic and geographic ones – mostly perpetuated by explorers, travelers, naturalists and writers in general. Therefore, under the perspective of an interdisciplinary approach, in which Post-colonial Studies are projected, the present work intends to analise Verne’s above mentioned début as a writer, showing to what extent it can be framed within the European tradition of representation of world zones considered “primitive”. Thus it intends to show to what extent the process of representing the “different” always ends up in a move of delimitation of a clear cut division between us and them. Such an ideologically- oriented division, establishes a hierarchy in which the represented object constitutes itself as a detour to be identified. By the same token, in Verne’s novel, representation acquires the pragmatic function: of projecting the African Continent with rather the purpose of claiming it to the colonialist enterprise. Studies of Albert Memmi, Edward Said, Eric Hobsbawm among others will guide this dissertation.

Orientador: Francisco Foot Hardman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-03T23:12:28Z (GMT). No. of bitstreams: 1 Gomide_Bruno_D.pdf: 6773198 bytes, checksum: 582cba31ba64de34f7288c6bfe0573d8 (MD5) Previous issue date: 2004 / Doutorado

Franz Peter Schubert (1797-1828) created the accompanied art song as we know it. His achievement as a composer of Lieder stands at the very core of his labors as a creator. Franz Liszt (1811-1886) in addition to being a composer of genius, was also the greatest virtuoso pianist of the nineteenth century. He had a particular affinity for Schubert's music, which led him to transcribe as many as 54 of the Lieder for piano solo. These transcriptions are faithful recreations of Schubert's musical thought, yet the pianistic layout is completely Lisztian. Franz Schubert was hardly a public figure during his lifetime, and he gave just one public concert of his works, on March 26, 1828 in Vienna. According to Hans Gal: "In 1828 there were the beginnings of an improvement in his circumstances. His songs were becoming more widely known, German publishers were beginning to show an interest in his music, and Schubert was induced by his friends to give a public recital of his works. It was his first and last... Schubert's supporters could easily fill a hall, and the undertaking was both artistically and financially a great success."

Following a general historical discussion of the idea of nature, the study continues with an analysis of the main sources for Tennyson's nature, concept. Here some stress is put upon the temperament of the poet as well as upon his scientific, philosophical and religious affinities with the doctrines of progress and evolution. Chapter three deals with the view of nature in Tennyson's poetry. That Tennyson regarded nature merely as the physical world interpreted by science is demonstrated by a treatment of his poetry that recognizes the different moods of the poet. The conclusion arrived at is that, no matter what mood he was in, Tennyson viewed nature with suspicion. His attempts to embrace pantheism or to escape actuality through mysticism, transcendentalism, or romantic primitivism indicated his failure to reconcile his idea of nature with religious beliefs that demanded personal immortality and absolute morality for man. Because of these emotional needs, Tennyson, especially after the publication of Darwin's scientific treatises on evolution, was forced into a dualism that separated moral (or spiritual) man from a vast, cruel, immoral (or amoral) nature that Tennyson saw as antagonistic to both man and God. For Tennyson man's progress had nothing to do with nature. Chapter four argues that Meredith adopted Goethe's idea that nature is a vital, benevolent being that includes man and God in a unity of the real and ideal worlds. Because Meredith avoided the contradictions that science and Kantian transcendentalism introduced into Tennyson's philosophy, he was able to attain to a conception of the creative and ethical oneness of Earth. Hence he could use Darwinism to clarify his basically Goethian concept of nature, for he abjured the ideas of personal immortality and absolute morality and saw man as a creature of Earth who was progressing toward the harmonious altruistic balance of blood, brain, and spirit that existed in essential humanity. Meredith could rejoice in the struggle of life, which he saw as a struggle for balance and not for existence, because he had from the beginning accepted nature as a beneficent Earth to whose operations man must adjust himself. The last chapter discusses the different approaches of Tennyson and Meredith to nature, their attitudes to nature's law, and their ideas concerning man's place in nature. One argument resulting from this comparison is that Tennyson, applying Kant's transcendental theories and his own emotional reactions to his scientific interpretation of nature, was pessimistic about nature, whereas Meredith, approaching nature by way of the Goethian synthesis and a happy outlook that discerned a desirable mean in all nature's operations, was optimistic about her. Moreover, Meredith's idea of nature was more modern than Tennyson's, for Meredith's belief in altruism and co-operation being the primary law of nature is supported by certain present-day biological and sociological theories. / Arts, Faculty of / English, Department of / Graduate