Orientadores : Jose Antonio de Almeida Prado , Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-13T22:14:36Z (GMT). No. of bitstreams: 1 Pascoal_MariaLuciaSennaMachado_D.pdf: 7534551 bytes, checksum: b7212ad76f9190cc72764d409cad2c9b (MD5) Previous issue date: 1989 / Resumo: Existem peças musicais que se constituem em conjutos homogeneos e seu estudo pormenorizado nos leva a compreender o pensamento musical de um compositor. Um desses conjuntos de peças são os 24 Prelúdios de Claude Debussy, escritos entre 1909/1912, representativos de sua plena maturidade. Obra das mais importantes na literatura pianistica pelo maneira nova de tratar o instrumento, é também pela própria composição que nos revela como Debussy, utilizando-se de ténicas antigas, outras estranhas ao repertório europeu, cria sua linquagem original: amplia os códigos de sua epoca, inventa novos que se projetam e abrem caminhos para a música do século xx. O que este trabalho demonstra: através da análise e levantamento das técnica, faz ligações e comparações dos Prelúdios de Debussy com músicas de diversas épocas, sistemas e estilos musicais/pianisticos, considerando-os portanto, como reflexo e projeção / Abstract: Some musical works may be considered as an homogeneous whole and by studying them in detail, the composer's musical thought will be revealed. One of these pieces are DEBUSSY'S 24 PRELUDES, written between 1909- 12. Representing the culmination of his artistic maturity, they are an important work in the pianistic literature because of the new treatment that is given to the instrumento Also regarding the composition itself, Debussy makes use of ancient as well as foreign techniques, that until then did not belong to the European repertoire. In these PRELUDES the composer shows how he creates his original language, by increasing the codes of his time and inventing new ones, which outstood and have opened the way for the outcome of the twentieth century's music. That's what is demonstrated here, comparing DEBUSSY'S PRELUDES to music of different times as well as musical/pianistic systems and styles, considering them in view of alI that as REFLECTION and PROJECTION / Doutorado / Doutor em Artes

Thesis (M.A.)--Indiana University, 2007. / Title from screen (viewed on Apr. 27, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 83-85)

Orientador : Maria Clementina Pereira Cunha / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-19T05:16:31Z (GMT). No. of bitstreams: 1 Grangeiro_CandidoDomingues_M.pdf: 6152504 bytes, checksum: 70136d349417e17bef255d9ffbb2b76c (MD5) Previous issue date: 1993 / Resumo: Não informado / Abstract: Not informed / Mestrado / Mestre em História

On découvre en Maeterlinck deux hommes: le poète et le naturaliste: le poète avec sa délicatesse et sa sensibilité, et le paysan flamand d`une constitution lourde et carrée. Maurice Maeterlinck naquit en 1862 dans la villa familiale d‘Oostacker, près de Gand. Le paysage belge lui fournit la scène pour Les Sept Princesses: une terre noire de marais, avec des chênes et des saules, des châteaux sombres sur des voûtes, et des canaux sinueux où flottent des cygnes. Le milieu mélancolique de Gand l’inclinait vers le fatalisme de ses premiers ouvrages. Il cherchait toujours la solitude; il aimait beaucoup le silence. Même les sports qu’il choisissait le menèrent d`être seu1: en été, il faisait de longues promenades en barque sur les sombres canaux, il fuyait en bicyclette au bord des grandes prairies solitaires; en hiver, il patinait. Il resta paysan toute sa vie. Il reçut son éducation au Collège des Jésuites aux bords de la Lys. Il détestait les Jésuites; leur enseignement religieux terrifiait son imagination de petit garçon sensible. La peur de l’enfer, qu’ils lui enseignaient laissa indélébile une marque sur sa vie, et sur son être. “On ne devrait pas avoir le droit,” disait-il, “de déformer ainsi de futurs hommes.” (l) Pour faire plaisir à ses parents, il devint avocat, mais son inaptitude à la profession juridique était bien apparente. Après son dernier procès: “C’est fini, je ne plaiderai plus [...]

徐啓章. / 稿本 / 論文(碩士)--香港中文大學硏究院歷史學部,1992. / 附參考文獻 / Xu Qichang. / 前言 --- p.1 / Chapter 第一章 --- 邁涅克與德國社 / Chapter 1.1 --- 帝國的光榮˘Ưđ歲月 --- p.1-1 / Chapter 1.2 --- 從共和到極權 --- p.1-4 / Chapter 第二章 --- 世紀末德國的文化危機 / Chapter 2.1 --- 世紀末的吶喊 --- p.2-1 / Chapter 2.2 --- 危機與轉機 --- p.2-4 / Chapter 2.3 --- 思想涵義 --- p.2-9 / Chapter 2.4 --- 社會基礎 --- p.2-13 / Chapter 第三章 --- 自由主義中的國家與民族 / Chapter 3.1 --- 大同主義與民族國家 --- p.3-1 / Chapter 3.2 --- 從洪堡到俾斯麥 --- p.3-3 / Chapter 3.3 --- 自由主義與民族精神 --- p.3-5 / Chapter 3.4 --- 藏身的惡魔 --- p.3-8 / Chapter 第四章 --- 理想主義的權力觀 / Chapter 4.1 --- 近代史中的國家理性觀念 --- p.4-1 / Chapter 4.2 --- 強權與道德 --- p.4-3 / Chapter 4. 3 --- 理想主義與歷史主義 --- p.4-6 / Chapter 4.4 --- 惡魔現身 --- p.4-8 / Chapter 第五章 --- 文化價值與歷史 / Chapter 5.1 --- 因果與價值 --- p.5-1 / Chapter 5.2 --- 文化與文化史 --- p.5-3 / Chapter 第六章 --- 歷史主義的危機 / Chapter 6.1 --- 批判與危機 --- p.6-1 / Chapter 6.2 --- 世界觀的崩漬 --- p.6-3 / Chapter 6.3 --- 狂傲的惡魔 --- p.6-5 / Chapter 第七章 --- 文化的重生 / Chapter 7.1 --- 德國的災劫 --- p.7-1 / Chapter 7.2 --- 回歸十八世紀 --- p.7-2 / Chapter 7.3 --- 惡魔共生 --- p.7-3 / 結語

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Nowadays, the discourse tn Maeterlinck's dramas seems to be a web of faults concerning the story levels as well as the meanings. L'Organisation du recit dans Pelleas et Melisande de Maeterlinck analyses the text regarding these aspects which confer to the play a dreamlike character. The dream atmosphere is mainly suggested by a narrative background interfering into the plot: the symbolic message. / Our survey of the play tends to examine the paradoxal and incomplete nature of the events in their accounts. The reports also contain potential new facts and stories' material to be developped. It is the laborious introduction, the many repetitions and the unanswered questions that involve the play into the quest of a story. This process puts the reader into the experience of the theatre de l'attente. Consequently we suggest the following hypothesis: the audience, or the reader, does not assist to what the play seems to show, but to the symbolization of the characters' subconscious created by the story levels and intertextuality. The traditional scene is relegated far beyond the reality and the reflexive conclusion of the play reiterates the initial scene. / We think that the rehabilitation of the Ancestral Order creates a new potential narrative background--a story to come--since the play showed many motives borrowed to prior legends, the Bible, and other dramas. The symbolic complexity muddle up the play and converge mainly to draw a late feodal submission to fate.