SANTOS, Ana Cláudia Veras. Representações do caldeirão do Beato José Lourenço na Literatura de Cordel: leituras comparativas. 2012. 173f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-20T11:07:56Z No. of bitstreams: 1 2012_dis_acvsantos.pdf: 3450759 bytes, checksum: 89e0eb4583a002b016014c00f0ebac6d (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-20T13:26:02Z (GMT) No. of bitstreams: 1 2012_dis_acvsantos.pdf: 3450759 bytes, checksum: 89e0eb4583a002b016014c00f0ebac6d (MD5) / Made available in DSpace on 2014-05-20T13:26:02Z (GMT). No. of bitstreams: 1 2012_dis_acvsantos.pdf: 3450759 bytes, checksum: 89e0eb4583a002b016014c00f0ebac6d (MD5) Previous issue date: 2012 / A presente dissertação tem como objetivo cotejar as representações do Caldeirão do beato José Lourenço na literatura de cordel através de um corpus constituído para esta pesquisa. Dos dezesseis folhetos catalogados, oito foram analisados e são distribuídos cronologicamente entre os anos de 1935 e 1992. No decorrer desse período se insinuaram três décadas de silêncio da poética popular sobre o fenômeno. Destarte, conjecturações acerca das narrativas foram tecidas sem juízos de valor ou buscas pelas verdades, e sim estabelecendo entre elas relações de verossimilhança e “efeito de real”, conforme apontado por Roland Barthes e Antoine Compagnon (1999). A apreciação se deu pela forma através da qual o poeta cordelista (re)criou sua história sobre o Caldeirão, de modo a compará-la à luz dos aspectos considerados por ele determinantes, como por exemplo: a religião, a política, a sociedade, a história, a cultura, o misticismo ou outros textos. Constatamos ainda que a época escolhe suas verdades e o poeta as desenvolve, confirmando a sentença balizada por Antonio Candido (2006), na qual texto e contexto são indissociáveis. De modo que temos relatos pautados em aspectos determinados, prevalecendo entre as representações o modelo de “benfeitorias” experimentado por José Lourenço e sua comunidade no início do século XX. Diante disso, a história do Caldeirão vem sendo elaborada, fundamentada, por vezes refutada, e não concluída, visto que está em construção também, por uma geração de cordelistas que “inventa” o seu Caldeirão, seguindo a perspectiva de presente em relação ao passado, em acordo com Durval Muniz (1999) / Cette dissertation a comme objectif l’étude comparative des représentations du Caldeirão du Beato José Lourenço dans la littérature de cordel, à partir d’un corpus constitué à cette fin. Des seize titres répertoriés, huit ont été analysés. Leurs dates de publication suivent une chronologie qui s’étend de 1935 à 1992. Au cours de cette période, il s’est écoulé trois décennies pendant lesquelles la poétique populaire a fait silence sur le phénomène en question.Soulignons que les hypothèses que nous avons élaborées sur les récits narratifs se tiennent à l’écart des jugements de valeur ou des quêtes de vérités, cherchant plutôt à établir entre les textes des relations de vraisemblance et d’“effet de réel”, tel que le conçoivent Roland Barthes et Antoine Compagnon (1999). Notre appréciation porte essentiellement sur la forme choisie par le poète de cordel pour recréer son histoire du Caldeirão et vise à mettre en lumière les éléments que celui-ci a considérés déterminants pour l’élaboration de son oeuvre: la religion, la politique, la société, l’histoire, la culture, le mysticisme entre autres. Nous avons constaté que chaque époque élit ses vérités et que le poète les développe, confirmant ainsi la sentence formulée par Antonio Candido (2006), selon laquelle texte et contexte sont indissociables. De cette façon, nous sommes en présence de rapports fondés sur des aspects déterminés de l’expérience menée par José Lourenço et sa communauté au début du xxème siècle, parmi lesquels prévaut le modèle des oeuvres réalisées au bénéfice de cette dernière. Finalement, nous pouvons affirmer que l’histoire de Caldeirão est encore en élaboration, argumentée, réfutée et non achevée, étant donné qu’elle est en construction dans l’oeuvre d’une génération de cordelistas qui invente son Caldeirão, selon la perspective du présent en relation avec le passé, en accord avec Durval Muniz (1999).

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-15Bitstream added on 2014-06-13T20:26:34Z : No. of bitstreams: 1 aissa_jc_dr_sjrp.pdf: 1179416 bytes, checksum: 0d39e12059beafe9a0a212661c32f9de (MD5) / O propósito desta tese é o de estabelecer analogias e contrastes entre Edgar Allan Poe e Alphonsus de Guimaraens em relação aos preceitos estéticos que decidiram imprimir a sua produção poética, mormente quanto aos temas de amor (Eros) e morte (Tânatos). Procuramos demonstrar que esses matizes temáticos são trabalhados sob a angulação do góticomelancólico a fim de se atingir o sublime. Nos quatro primeiros capítulos, teorizamos sobre como o gótico, a melancolia e o sublime podem ser alinhavados poeticamente. No quinto e sexto capítulos, discutimos os modi operandi que Poe e de Alphonsus empregam nessa triangulação entre traços góticos, melancolia e o sublime. No último capítulo, valemo-nos em grande parte das teorias freudianas para demonstrar qual o resultado do jogo góticomelancólico entre Eros e Tânatos na poesia romântico-simbolista desses artistas. / The intent of this study is to draw analogies and contrasts between Edgar Allan Poe and Alphonsus de Guimaraens vis-à-vis the aesthetic principles they decided to impress upon their poetic work, chiefly as far as the themes of love (Eros) and death (Thanatos) are concerned. We have endeavored to describe that these poetic overtones are addressed from a gothic-melancholic angle in order to reach the sublime. In the first four chapters, we theorize on how the gothic, melancholy and the sublime can be intertwined poetically. In the fifth and sixth chapters, we discuss the modi operandi that Poe and Alphonsus employ in this tripartite relationship of gothic motifs, melancholy and the sublime. In the last chapter, we make use of Freudian theories to a large extent so as to demonstrate the outcome of this gothicmelancholic interplay between Eros and Thanatos in the romantic-symbolist poetry of these artists.

O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital. / The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.

Orientador: Renê José Trentin Silveira / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-19T14:11:06Z (GMT). No. of bitstreams: 1 Rodrigues_JeffersonVasques_M.pdf: 1000150 bytes, checksum: 7304092c9acdec8d1221ac284e53fd94 (MD5) Previous issue date: 2011 / Resumo: Partindo da compreensão de que, por determinações materiais e históricas, a direção partidária se apresenta como pólo teórico no papel de educador-dirigente, e a base partidária, como pólo prático no papel de educando-dirigido, busco analisar as características dessa relação dentro da estrutura organizativa do partido revolucionário (proposto originalmente por Lênin) e, conseqüentemente, a importância da práxis educativa nessa relação-eixo (dirigente-dirigido) para o processo revolucionário como um todo. Interessa avaliar as possibilidades de uma práxis educativa emancipadora entre esses dois sujeitos, em que se desenvolva a autonomia dos educandos (base/classe) e se garanta a educação do próprio educador (direção/partido). Para tanto, realizo uma pesquisa bibliográfica através do instrumental conceitual de Antonio Gramsci, abordando, no primeiro capítulo, a presença da práxis educativa no processo revolucionário como um todo; no segundo capítulo, o partido revolucionário como educador coletivo; e, no terceiro capítulo, o objeto desta pesquisa, a práxis educativa entre direção e base em seu interior. Por fim, avalio, de forma preliminar, o partido revolucionário e sua práxis educativa no Brasil atual. Ao final deste estudo, concluo pela vigência e validade dos princípios organizativos e educativos do partido revolucionário, apesar da conjuntura de crise que assola as organizações da classe. Também reafirmo a importância fundamental da práxis educativa entre direção e base, que pode potencializar, através da unidade dinâmica entre teoria e prática, o processo revolucionário, ou pô-lo em risco, se apresenta deformações que separam de forma estanque dirigentes (polo teórico) e dirigidos (pólo prático). / Abstract: Based on the understanding that, for historical and material determinations, the party leadership is presented as a theoretical pole in the role of educator-leader, and the party base, as a practical pole in the role of learner-followers, I analyze the characteristics of this relationship within the framework organization of the revolutionary party (originally proposed by Lenin) and, consequently, the importance of educational praxis that this relationship-axis (leader-follower) to the revolutionary process as a whole. I want to evaluate the possibilities of an emancipator educational practice between these two subjects able to develop the autonomy of learners (base/class) and ensuring the education of the educator himself (leadership/party). For this purpose, I make a bibliographic survey through the conceptual instruments of Antonio Gramsci, covering in the first chapter, the presence of educational practice in the revolutionary process as a whole; the revolutionary party as a collective educator in the second chapter and, the object of this research, the educational praxis between leadership and base in the third chapter. Finally, I evaluate, on a preliminary basis, the revolutionary party and its educational praxis in Brazil nowadays. At the end of the study, I conclude the actuality and validity of educational and organizational principles of the revolutionary party, despite the context of crisis affecting class organizations. I also reaffirm the fundamental importance of the educational praxis between leadership and base, which can enhance, through the dynamic unity of theory and practice, the revolutionary process, or put it at risk if deformations separate and isolate leaders (theoretical pole) and followers (practical pole). / Mestrado / Filosofia e História da Educação / Mestre em Educação

Orientador: Suzi Frankl Sperber / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T06:31:31Z (GMT). No. of bitstreams: 1 Hirson_RaquelScotti_D.pdf: 2988136 bytes, checksum: c54c0496f18c6048e8787d5dfd42915a (MD5) Previous issue date: 2012 / Resumo: "Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo" é uma pesquisa que engloba memória e atuação como alimentos para uma escrita que possa adentrar em um campo de sensações que, embora não possa traduzir, pelo menos toque em pontos semelhantes ao da efemeridade da experiência cênica. O texto, portanto, é o resultado da maneira que encontrei de exprimir as recriações - experimentadas no corpo - das memórias pessoais que me conectam ao meu bisavô, o poeta simbolista mineiro Alphonsus de Guimaraens (1870-1921). A tese escrita é um exercício de criação tanto quanto o é a prática em sala de trabalho. Através da poesia cheguei ao homem e, então, à curiosidade de saber quem foi esse homem capaz de poetar, em meio à monotonia de seus longos dias provincianos. No decorrer da pesquisa, percebi que a fantasia seria elemento fundamental para a recriação dessa memória e para a criação de uma dança cheia de imagens, em um devir outro, próprio do trabalho do ator. A apreensão do sentido de singularidade cultivado na trajetória de vinte e seis anos do Lume, dos quais eu tenho acompanhado dezoito de dentro (como membro integrante e em atividades de criação e pesquisa), foi tomada ao "pé da letra" neste trabalho - foi o que o impulsionou e o tem mantido em intensidade. Houve necessidade de um mergulho solitário, porém conectado com a prática de dezoito anos de descobertas coletivas. O que é novo é a constelação de fatores que compõem a especificidade desta pesquisa, mas a experiência vem de anos. A repetição potencializa a diferença e é capaz de gerar novas nuances, sustentadas, construídas e compostas de vários elementos. Desta forma, revisito a metodologia da mímesis corpórea e adentro em uma questão diferencial, a mímesis da palavra como possibilidade de preenchimento de espaços. A palavra em ação pode conter todas as dimensões das conexões de imagens que detona e, ainda, as dimensões do corpo, jogando Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo com espaço e tempo. A junção dos elementos escolhidos para a pesquisa torna possível a estruturação de metodologias e caminhos de codificação e criação / Abstract: "Alphonsus de Guimaraens: Reconstructions of Memory and Recreations within the Body" is a survey that includes memory and performance as sources for a text able to enter in a field of sensations, which it may not be able to translate, but may at least touch some points similar to the ephemeral scenic experience. The text is therefore the result of the way I found to express recreations - experienced in the body - of personal memories that connect me to my great-grandfather, the symbolist poet Alphonsus de Guimaraens (1870-1921). The written thesis is an exercise in creation, as much as the praxis in the staging room. Through poetry I arrived at the man, thus, at the curiosity to know who this man was, able to write poetry amid the monotony of his long provincial days. During the research, I realized that fantasy would be fundamental to recreate that memory and to create a dance full of images, in a different becoming, inherent to the actor's work. The seizure of a sense of uniqueness, cultivated along the trajectory of twenty-six years by Lume, eighteen of which I myself have followed from within (as an active member, creating and researching), was taken at "face value" in this task - which maintained Lume and promoted its intensity. A kind of individual submersion was needed, but connected with the practice of eighteen years of collective discoveries. New is the constellation of factors that make up this specific research, but my experience was built up along many years. Repetition enhances the difference and is able to generate new nuances, sustained, constructed and composed of various elements. Thus, I revisit the methodology of corporeal mimesis and penetrate into a different issue, mimesis of the word as the possibility of filling empty spaces. An active word can contain all the dimensions of the connections of the images it generates, as well as the dimensions of the body, playing with space and time. The Alphonsus de Guimaraens: Reconstruções da Memória e Recriações no Corpo combination of elements chosen for the survey makes it possible to structure methodologies and ways of coding and creation / Doutorado / Artes Cenicas / Doutor em Artes

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This paper examines the synchronization of business cycles across the G7 countries during US recessions since the 1870's. Using a dynamic measure of business cycle synchronization, results depend on the globalisation period under consideration. On average, US recessions have significantly positive effects on business cycle co-movements only in the period following the breakdown of the Bretton Woods system of fixed exchange rates, while strongly decoupling effects among the G7 economies are documented during recessions that occurred under the classical Gold Standard. During the 2007-2009 recession, business cycles co-movements increased to unprecedented levels. (author's abstract) / Series: Department of Economics Working Paper Series

O presente trabalho objetiva elaboraruma edição de performance da Improvisação Coral sobre Victimae Paschali de Charles Tournemire, transcrita pelo seu aluno Maurice Duruflé. A edição de performance foi construída através da análise, escolha de registração e elaboração de exercícios técnicos para os trechos difíceis. O livro Guidelines to Style Analysis de Jan La Rue (1970) foi usado como ferramenta analítica, enfocando os cinco parâmetros fornecidos pelo autor: Som, Harmonia, Melodia, Ritmo e Crescimento. A escolha da registração foi delineada a partir de um estudo do órgão da Igreja Sainte Clotilde de Paris e do órgão da Capela São José do Centro Universitário La Salle (Unilasalle) em Canoas, RS (Brasil). Os exercícios técnicos para os trechos difíceis foram gerados a partir de passagens que apresentaram maior demanda durante meu estudo. Por fim, a edição de performance reúne essas informações junto à partitura de maneira sucinta como síntese do trabalho e da construção da minha performance da obra para recital. / The purpose of this study is to present a performance edition of the Choral Improvisation on Victimae Paschali by Charles Tournemire, transcribed by his pupil Maurice Duruflé. The performance edition was constructed based on analysis, choice of registration and the elaboration of technical exercises for the difficult passages. The book Guidelines to Style Analysis by Jan La Rue (1970) was used as an analytical tool, focusing on the five parameters presented by the author: Sound, Harmony, Melody, Rhythm and Growth. The choice of registration was decided based on a study of the organ at the Sainte Clotilde Church in Paris and the organ at St. Joseph´s Chapel of the La Salle University Center (Unilasalle) in Canoas, RS (Brazil). Technical exercises were generated from the passages that proved to be more demanding for me during my practice. Finally, the performance edition contains all of this information as a summary of my work and the preparation of the piece for performance.

“Missing Homes” examines three nineteenth-century authors whose experiences of displacement from home, professions and/or class influenced their literary innovations. Displacement is not a new theme to scholars of nineteenth-century literature, who have established it as a defining experience of an era characterized by financial crises, industrial development, migration and empire. However, scholarship on displacement has often focused on how novels train readers to manage the experience of displacement and has depicted the emotions like nostalgia that arise from it as potentially compensatory or reconciliatory to the dynamics of capitalism. “Missing Homes” departs from these narratives to explore authors who found displacement anything but manageable or liberating and whose works illustrate a more unstable spectrum of emotional responses to displacement and its dire long-term consequences. Attention to these authors, I argue, offers a parallel theory of nostalgia in which the unsettled longing for a place to call home registers political discontent with the relationship between the individual and the collective rather than reconciles the individual to displacement. Departing from critics who have focused primarily on the work performed by metaphors and figures of the domestic, “Missing Homes” engages in biographical readings of the lives, economic circumstances and fiction of Edgar Allan Poe, Charlotte Brontë and Charles Dickens to show how they pursued fantasies of securing homes that could remove them from undesirable personal, economic and political conditions. The failures of these fantasies reveal how conventional narratives describing how individuals might attain security often fail in the face of collective economic conditions in which attaining objects like a home is both economically challenging and often emotionally unfulfilling. Although the variables of their lives were different, I suggest that these authors’ stories of displacement fail to perform therapeutic or intervening work, because the problem of displacement is rooted in material conditions that narrative innovation alone cannot resolve. Instead, readers should derive from these texts and their failures the need for more collective forms of security.

“Human/Nature: American Literary Naturalism and the Anthropocene” examines works of fiction from the genre of American literary naturalism that sought to represent the emergence of the environmental crisis known today as the Anthropocene. Reading works by Jack London, Frank Norris, Charlotte Perkins Gilman, and Charles W. Chesnutt, I show how the genre’s well-known tropes of determinism, atavism, and super-individual scales of narration were used to create narratives across vast scales of space and time, spanning the entire planet as well as multi-epochal stretches of geologic time. This reading expands existing definitions of American literary naturalism through a combination of literary analysis, engagement with contemporary theory, and discussion of the historical context of proto-Anthropocenic theories of the late-19th and early-20th centuries. Whereas most earlier understandings of naturalism have focused on human nature as it is determined by environmental conditions, I follow the inverse: the impact of collective human action on the physical environment. Previous definitions of naturalism have only told part of the story of determinism, making it impossible to recognize until now the genre’s unusual capacity to aesthetically capture humanity’s pervasive impact on the planet. Each of the dissertation’s four chapters focuses on a single author, a single aesthetic strategy, and a single problematic in Anthropocene discourse. My first chapter argues that Jack London’s late work (1906–1916) balanced his attempts to understand the human as a species with a growing interest in sustainable agriculture, resulting in a planetary theorization of environmental destruction through careless cultivation. But London’s human-centered environmental thinking ultimately served his well-known white supremacism, substantiating recent critiques that the Anthropocene’s universalism merely reproduces historical structures of wealth and power. Rather than the human per se, Frank Norris put his focus on finance capitalism in his classic 1901 novel The Octopus, embodying the hybrid human/natural force that he saw expanding over the face of the planet in the figure of the Wheat, a cultivated yet inhuman force that is as much machine as it is nature. I show how Norris turned Joseph LeConte’s proto-Anthropocenic theory of the Psychozoic era (1877) into a Capitalocene aesthetics, a contradictory sublimity in which individuals are both crushed by and feel themselves responsible for the new geologic force transforming the planet. While London and Norris focus on the destructive capacities of human agency, Charlotte Perkins Gilman’s 1915 novel Herland takes a utopian approach, depicting a society of women with total control of their environment that anticipates conceptions of a “good Anthropocene.” Gilman built on the theories of sociologist and paleobotanist Lester Ward as well as her own experience in the domestic reform movement to imagine a garden world where the human inhabitants become totally integrated into the non-human background. Yet Gilman’s explicitly eugenic system flattens all heterogeneity of culture, wealth, and power into a homogenous collective. My final chapter builds on the critique of the Anthropocene’s universalism that runs through the preceding chapters by asking whether and how the Anthropocene can be approached with more nuance and less recourse to universals. I find an answer in the stories of Charles W. Chesnutt’s The Conjure Woman (1899) and the theory of the Plantationocene, which sees the sameness of the Anthropocene not as “natural” but as produced by overlapping forms of racial, economic, and biological oppression. Registering this production of homogeneity and its counterforces at once, Chesnutt models what I call Anthropocene heteroglossia, juxtaposing multiple dialects and narrative forms in stories set on a former plantation, depicting heterogeneous social ecologies as they conflict and coexist in markedly anthropogenic environments.