Orientador: Paulo Ottoni / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T17:54:45Z (GMT). No. of bitstreams: 1 Beato_ZelinaMarciaPereira_D.pdf: 1077094 bytes, checksum: 6d96b0b91f8d05fcefdceb000e93ff84 (MD5) Previous issue date: 2005 / Resumo: Freud e a cena da escrita", de 1966, foi o primeiro texto que Derrida escreveu a partir do pensamento freudiano e, justamente por isso, nele encontramos noções seminais que marcaram de forma profunda tanto o pensamento da desconstrução, quanto tudo o que Derrida, reiteradamente, afirmaria em seus textos subseqüentes a propósito da psicanálise. Esse texto de Derrida trabalha de forma mais incisiva as noções de escrita, arquivo e tradução, importantes para a minha análise da relação que une os pensamentos derridiano e freudiano. Se o sujeito da escrita que Freud descreve "não é a solidão soberana do escritor", não há como garantir um signatário único que daria ao seu arquivo um fechamento atestado por sua assinatura, por seu eu-aqui-agora da enunciação. A escrita já está, pois, contaminada pela assinatura de um outro. Em busca da resposta para uma pergunta específica: "por que Freud se transformou num dos maiores desafios à tradução contemporânea?", encontrei outras implicações, outros questionamentos cujas respostas envolvem a forma particular de Freud se relacionar com a língua e com sua própria escrita, mas também, via Derrida, a possibilidade que a psicanálise abre de pensar numa noção de arquivo que não se reduza à memória como reserva consciente, nem como rememoração. Derrida encontra, em de Freud, uma cena de escrita. Minha leitura-tradução desse texto derridiano encontra nele uma cena de tradução / Abstract: Derrida's "Freud and the scene of writing" (1966) was the first text he wrote on freudian thinking approaching the seminal themes that profoundly influenced both, deconstruction and everything he would affirm and state in his further texts on psychoanalysis. In this specific text he drives his focuses on the notions of writing, archive and translation, which is crucial for my analysis on the relation which gathers both derridian and freudian thoughts. If the subject of writing described by Freud "is not the souverain solitude of the writer", there is no how to assure a sole signer which would give to his archive a closure testified by his signature, by his self present entity by the moment of enunciation. Therefore, writing is already contaminated by the signature of the other. Trying to answer to the question "Why is Freud a major challenge to contemporary translation?", I found other questions related to Freud's way of approaching his own language and writing, but also the possibility of thinking a notion of archive which is not reduced to memory as a conscient reservoir, neither as remembering. Derrida depicts, in Freud's scene of writing, a scene of writing. On my side, in reading-translating Derrida's text, I discovered a scene of translation / Doutorado / Tradução / Doutor em Linguística Aplicada

Robert Schumann's dramatic music remains, for the most part, undiscovered and therefore performed infrequently. Genoveva, Das Paradies und die Peri, Manfred, and Scenen aus Goethes Faust are comprised of some of Schumann's most beautiful music from his last stylistic period. Schumann envisioned a national German opera that had a complete union of text and music and a plot based upon the supernatural and mythical German legends. His lofty aspiration was to raise the dramatic music of his time to the high standards of the literary culture. Composing dramatic music for Goethe's Faust was a challenging endeavor for Schumann. Scenen aus Goethes Faust was a project that he struggled with from 1844-1853 because of both the text and the grand scale of the piece. One purpose of an analysis of the structure and content of Schumann's Scenen aus Goethes Faust and Goethe's poetry is to facilitate the solo vocal performer's interpretation. Utilizing selected scenes from Scenen aus Goethes Faust; "Scene im Garten" from Part I, "Sonnenaufgang," and "Mitternacht" from Part II and "Hier ist die Aussicht frei" from Part III, this research paper will define important recurring musical motives, assess Schumann's usage of contrasting vocal genres and their relationship to the unfolding drama, explore important vocal performance issues for the baritone and soprano soloists and investigate the manner in which Schumann uses the orchestra to depict and communicate the meaning of Goethe's text. Schumann's method of setting Goethe's text will also be examined, as the ability to comprehend the poetic text was of primary importance.

Orientador : Angel Pino Sirgado / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-15T20:07:43Z (GMT). No. of bitstreams: 1 Lajonquiere_Leandrode_D.pdf: 16586986 bytes, checksum: d3e2cc63cbaa8e36fae689c75ae9d2c1 (MD5) Previous issue date: 1992 / Doutorado / Psicologia Educacional / Doutor em Educação

Orientador: Osmyr Faria Gabbi Jr / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-19T05:10:26Z (GMT). No. of bitstreams: 1 Banzato_ClaudioEduardoMuller_M.pdf: 38114764 bytes, checksum: edf098c2915da6a3f8aa65281e19be13 (MD5) Previous issue date: 1994 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Filosofia

Orientador: Ana Archangelo / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-26T20:09:18Z (GMT). No. of bitstreams: 1 Villela_FabioCamargoBandeira_D.pdf: 1899050 bytes, checksum: 7f9dded505c4243ca085f8ec9ea0b233 (MD5) Previous issue date: 2015 / Resumo: A presente tese - Psicanálise, investigação clínica e Educação - constitui-se de duas classes de pesquisa que se articulam no final. A primeira delas refere-se à discussão da investigação clínica em Freud, e abrange tanto sua gênese, como seu papel e sua importância ao longo da obra freudiana, especialmente após o advento do método de associação livre. A segunda classe de pesquisa refere-se às relações entre os campos da Psicanálise e da Educação, especificamente sobre as contribuições do campo teórico - e clínico - da Psicanálise à prática educativa do professor em sala de aula. Em relação à pesquisa sobre investigação clínica em Freud, discute as várias formas que essa investigação assume até a constituição do método de associação livre. Em sua gênese, a investigação clínica não se mostra como um pressuposto da atividade clínica de Freud, mas uma aquisição importantíssima, cujo percurso permitiu a compreensão mais acurada de processos e representações mentais que serviram de base à constituição da Psicanálise. Uma vez incorporada no tratamento das neuroses, Freud nunca mais a abandonaria: a investigação clínica passou a ser não apenas condição necessária para o tratamento, como se confundiu com o próprio tratamento. O lugar teórico ocupado pela investigação clínica e seus resultados como telos do tratamento psicanalítico, encontrado em Freud, não se constituiu como marca do campo psicanalítico, o que impacta a segunda classe de pesquisa da presente tese, referente às relações entre os campos da Psicanálise e da Educação. Não há uma relação de necessidade lógica envolvendo a contribuição da Psicanálise ao campo da Educação, no entanto, pode haver diversas contribuições profícuas da Psicanálise à Educação. Quatro classes de contribuições da Psicanálise em relação à atuação do professor em sala de aula foram investigadas que são, sinteticamente, as seguintes: 1. compreensão dos alunos e de situações de sala de aula; 2. aprimoramento na forma de lidar com os alunos; 3. promoção de ganhos terapêuticos em sala de aula e 4. contribuição ao desenvolvimento emocional dos alunos através das atividades didáticas. O destaque recai sobre a terceira contribuição apresentada acima. Sobre esse ponto, conclui-se que, quanto mais se atrelam as possibilidades psicoterapêuticas à investigação clínica, mais difícil ou mesmo impossível se torna ao professor alcançar ganhos terapêuticos em sala de aula. Não há restrição, entretanto, à Psicanálise para as outras classes de contribuições destacadas na tese, bem como as contribuições do psicanalista ou do docente universitário de orientação psicanalítica e seus auxiliares discentes destinadas ao professor, aos alunos e às suas atividades ¿ em sala de aula ou desenvolvidas em projetos especiais extraclasse ¿, modalidades que também estão discutidas na presente tese / Abstract: This thesis - Psychoanalysis, clinical investigation and education - consists of two research sets that are articulated in the end. The first refers to the discussion of clinical investigation in Freud, and covers its genesis, its role and its importance throughout Freud's work, especially after the advent of the free association method. The second research set refers to the relationship between the fields of Psychoanalysis and Education, specifically on the contributions of the theoretical - and clinical - field of Psychoanalysis to the educational practice of the teacher in the classroom. Regarding the research on clinical investigation in Freud, it discusses the various ways in which this investigation is shaped until the constitution of the free association method. In its genesis, clinical investigation does not show itself as a presupposition for the clinical activity of Freud, but a very important acquisition, whose route allowed more accurate understanding of mental processes and representations that were the basis of the formation of Psychoanalysis. Once incorporated into the treatment of neuroses, Freud never abandoned it: clinical research has become not only a necessary condition for treatment, but it also was confused with the treatment itself. The theoretical place occupied by clinical investigation and its results as telos of psychoanalytic treatment, found in Freud, was not constituted as a mark of the psychoanalytic field, and this impacts on the second set of the research of this thesis, concerning the relations between the fields of Psychoanalysis and Education. There is no relation of logical necessity involving Psychoanalysis contribution to the field of Education; however, there may be several fruitful contributions of Psychoanalysis to Education. Four Psychoanalysis contribution sets in relation to teacher performance in the classroom were investigated, which are, synthetically, as follows: 1. understanding of students and classroom situations; 2. improvement in dealing with students; 3. promotion of therapeutic gains in the classroom and 4. contribution to the emotional development of students through educational activities. The highlight is on the third contribution presented above. On this point, we conclude that the more you attach psychotherapeutic possibilities to clinical investigation, the more difficult or even impossible it becomes for the teacher to achieve therapeutic gains in the classroom. There is no restriction, however, to Psychoanalysis for the other contribution sets presented in the thesis, as well as the contributions of the psychoanalyst or university professors of psychoanalytic orientation and their assistants for the teacher, the students and their activities - in the classroom or developed in special extracurricular projects - arrangements that are also discussed in this thesis / Doutorado / Psicologia Educacional / Doutor em Educação

The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 48) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and performance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal literature of the Romantic period.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Lingüística

This thesis presents a study of Andrejs Jurjāns' significant symphonic works as informed by a native musicologist, Professor Jānis Torgāns, and illuminates Jurjāns' role within the cosmopolitan framework of nationalism in music.

This dissertation consists of three solo recitals and one lecture recital. The repertoire of all programs is composed of music written specifically for the trombone plus two transcriptions of works for voice. The purpose of this paper is to investigate the use of selected vocal pedagogical material as a means of developing musicianship for the trombonist. The historical relationship of the voice and the trombone is traced through written documentation and musical composition. Similarities between the development of legato technique for the vocal student and the trombonist are examined. A brief history of the vocalise and its pedagogical function is presented. The development of expressive musical performance for the trombonist is explored through the use of examples from three different vocalises of Marco Bordogni.

An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by Weingartner and their perceived effectiveness in achieving a noticeably improved aural outcome.