Orientador : Osmyr Faria Gabbi Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-13T22:46:35Z (GMT). No. of bitstreams: 1 Durante_SandraBassi_M.pdf: 33101587 bytes, checksum: 97cbd7ed26e957d3345425b13ee9bd7b (MD5) Previous issue date: 1991 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Filosofia

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Traditional readings of George Bernard Shaw's texts suggest that he is not a pure Marxist socialist because of the spiritual and nationalist aspects of his vision. This thesis attempts to confront Shaw's politics in order to demonstrate that he indeed offers a viable socialist program. Overlaying his socialism with Louis Althusser's concepts of "overdetermination," "structural causality," and "ideology" reveals that Shaw uses relatively autonomous instances of the superstructure toward socialist ends. This reevaluation of Shaw is best achieved through a combined reading of three of his major plays -- John Bull's Other Island, Man and Superman, and Major Barbara. In John Bull, Shaw incorporates the controversy of nationalism into his socialist vision by explaining it as an inevitable step in the development of an oppressed nation toward socialism. Man and Superman discusses the need for spirituality in the form of Shaw's concepts of Creative Evolution and the Life Force, which drive toward the development of a consciousness that recognizes socialism as the only sustainable internationalist program. Major Barbara combines Shaw's socialist and spiritual views by showing that both stand in reciprocal relation to each other; they are equally necessary to the Shavian world, one providing the ideal social system, the other the most enlightened human sensibility. This project demonstrates that Shaw's integration of these elements usually considered contradictory to Marxism becomes a way to understand him as practicing the Althusserian idea that any displacements of the infrastructure are economic in the last instance. / Graduation date: 1999

This study has attempted to observe and understand the reorchestrations of the four Robert Schumann symphonies through the analysis of revisions found in the edited scores of several eminent conductors. To provide a faithful and effective performance of Schumann's orchestral conception, the conductor may find it necessary to alter certain features in his scores. Conductors have complained that Schumann's symphonies are ineffectual in many passages. This is the reason they are less frequently performed than they deserve. Four performance editions of the complete Schumann symphonies were chosen to form the basis for this study. They are: Gustav Mahler, Arturo Toscanini, George Szell, Felix Weingartner. The revisions of other conductors were incorporated as available and appropriate. These include: Fritz Reiner, Bruno Walter, Wilhelm Furtwangler, Georg Solti, Joseph Keilberth, Gotthold Lessing, Willem Mengelberg, Eugene Ormandy, Hans Pfitzner, Theodore Thomas, Max Reger, Fritz Busch. The study of Schumann's orchestration involved the investigation of his development as an orchestral composer, including the influence of the piano on his scoring and his understanding of the orchestra. The state of the orchestra in Schumann's time and his development as an orchestral composer were also studied in order to better understand his technique in terms of his orchestral experience. The study of the revisions reveals that Schumann's scoring was less successful than many other composers in providing an orchestration which supports and clarifies the structural logic of the composition. It thus becomes the conductor's responsibility to assume the role of editor to provide a faithful performance of the work. Analysis of the reorchestrations reveals changes concerning dynamic balance, clarity, timbre and style, as well as manner of performance. This study has attempted to provide vital information about the performing editions and the aesthetic effect achieved through alteration of the original Schumann scores.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partial fulfilment of the Degree of Master of Arts. / The topic of this dissertation is self-deception. It involves a general analysis of the problem, however, the central discussion centres on an agency-type approach to the problem, and in particular on Freudian-type approach. / Andrew Chakane 2018

This study analyzes the way in which Freud presents psychoanalysis as a science. From the review of the published work of Freud we would select and analyze the most important passages on the subject. Through this analysis we would be able to show that Freud presents psychoanalysis as a non-prototypical revolutionary science. We will show how Freud describes important features of his notion of psychoanalysis and its notion of science and that the fact that Freud present psychoanalysis as science does not necessarily refer to the clinical practice but rather to theoretical research. / El presente estudio analiza la forma en la que Freud presenta al psicoanálisis como una ciencia. A partir de la revisión de textos de la obra publicada de Freud seleccionamos y analizamos los pasajes más importantes sobre el tema. A través de dicho análisis podremos mostrar que Freud presenta al psicoanálisis como una ciencia no-prototípica y revolucionaria. Mostraremos como en esta presentación Freud describe características importantes de su noción de psicoanálisis y su noción de ciencia y mostraremos que el hecho de que Freud presente al psicoanálisis como ciencia no hace necesariamente referencia a la práctica clínica sino más bien a la investigación teórica. / Tesis

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A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea.

2 v. (iii, 625 p.) : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / A thesis which examines Schumann's secret musical language and the development of that language into a highly complex system of extra-musical meanings expressed in tones, special motifs, harmonic progressions and keys. This study traces the development of Schumann's procedures by first analysing the songs of 1840 to see which repeated musical devices connected with texts. Once they have been identified, the application of these devices is then examined, retrospectively, in selected works for solo piano. Relying heavily on Schumann's diaries and letters, as well as a detailed analysis of selected works for voice and solo piano, this study shows the extra-musical meaning to be ultimately concerned with Schumann's wish to marry Clara Wieck and her father's unyeilding opposition to the idea. / Thesis (Ph.D.)--University of Adelaide, Elder School of Music, 2001