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

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Orientador: Alvaro Gabriel Bianchi Mendez / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T13:04:33Z (GMT). No. of bitstreams: 1 Aquino_Arthurde_M.pdf: 1984246 bytes, checksum: 56075ea128709e1c609955b8b32e394c (MD5) Previous issue date: 2011 / Resumo: Essa dissertação discorre sobre os efeitos que a 'Controvérsia' entre Roberto Simonsen e Eugênio Gudin tiveram na consolidação do projeto político industrialista. O célebre debate entre eles ocorreu em dois momentos: em 1943, na Comissão de Redação do I Congresso Brasileiro de Economia; e entre 1944-1945 durante o debate travado na Comissão de Planejamento Econômico. Planejamento, protecionismo, atividades econômicas do Estado, pobreza, e industrialização, foram os principais temas discutidos nesses espaços de tomada de decisão, e mesmo o momento é crítico, em vista do Estado Novo em vias de desagregação e a perspectiva do fim da II Guerra Mundial. Defende-se aqui que o debate consistiu numa disputa pela hegemonia entre dois projetos de nação concorrentes / Abstract: This dissertation concerns about the effects nettle by 'Controversy' between Roberto Simonsen and Eugênio Gudin has been in industrialist political project's consolidation. The renowned debate between they has been in two moments: in 1943, in the Editorship Comission of I Congresso Brasileiro de Economia; and between 1944-1945 until the debate maked in the Comissão de Planejamento Econômico. Planning, protectionism, States' economic actives, poverty, and industrialization, was be the main issues discussed on this policy-making arenas, and in fact the moment is critical, because of the Estado Novo in straightened circumstances and end' perspective of II World War. I argue with the debate concerns in hegemony struggle between two nations' project competitors / Mestrado / Ciencia Politica / Mestre em Ciência Política

For many years newspapers were locally owned by editors and publishers. However, today many are run by corporations from out of state. As a result, many communities have lost the personal relationship between the family owned publication and the community. Gene Howe, who served as editor, publisher and columnist of the Amarillo Globe-News from 1926 until his death in 1952, believed the community was where the focus should be and the newspaper should do all that it can to help their readers. Despite the fact that Howe was not born in Amarillo, Texas, his passion and love for the city and its inhabitants compensated for it. During the Dust Bowl and Great Depression Howe and the Globe-News helped Amarillo survive the dust and economic storms that blew through the Texas Panhandle, an area that has not been written as much as other parts of Texas. Through his “Tactless Texan” column, which served as a pulpit to the community, to the various contests and promotions the newspaper sprang up, including the creation of Mother in Law Day, Gene Howe gave the newspaper another dimension little has been studied about, the role of the editor and publisher in guiding a community through a dramatic era. Understanding Howe’s ethos can allow others to examine the roles editors and newspapers play in communities throughout the country.

The purpose of this study is to examine three works for the unusual combination of violin and voice. Chamber music for violin and keyboard and violin and other instruments has been extant since the Baroque period. However, three English composers found a unique chamber grouping in the first decades of the twentieth century: Gustav Holst (1874-1934), Rebecca Clarke (1886-1979), and Ralph Vaughan Williams (1872-1958) each wrote works for violin and voice. Holst's Four Songs for Voice and Violin, Op. 35 (1917), Vaughan Williams' Along the Field, Eight Housman Songs for Voice and Violin (1927, revised 1954), and Clarke's Three Old English Songs (1924) each utilize the combination of violin and voice. The violin in each is not relegated to accompaniment but is instead a true partner. This study will investigate these works. A history of each composition will be chronicled. An analytical discussion of formal organization and significant style features will include consideration of the musical structure, harmonic language, and the use of text in select movements of each work. Finally, performance suggestions pertaining to technical and artistic issues offer specific recommendations as an aid in performance preparation. In order to provide historical and musical context, a brief overview of Late Romantic and early Twentieth-Century chamber music with strings and voice will be given. This overview will help to illuminate the uniqueness of the pairing of violin and voice. Discovery of the works discussed here makes possible an expanded repertoire of good music for both violinists and vocalists. It is also hoped that through the performance of these works a spark might be set with composers to create more pieces for this most intimate of duos.

James Robert Gillette (1886-1963) was an early advocate for original wind band music at a time when marches and band transcriptions of orchestral music contributed heavily to the wind band repertoire. Primarily known as an influential, in-demand organist and composer, Gillette became the director of the Carleton College band program in Northfield, Minnesota in 1924. Taking an innovative approach to building, organizing, and programming, Gillette transformed that group into the Carleton Symphony Band and led a wider push for the symphonic band movement. In promoting his ideals of the symphonic band, he composed and arranged music specifically for the Carleton Symphony Band. One of his original works, Vistas, was widely performed and well-received in the decade just prior to and after its publication in 1934. Despite the popularity of the piece at that time, it has since gone out of print and is a rarely performed piece from Gillette's repertoire. This dissertation focuses on Vistas, Gillette's second published tone poem. This study starts with the examination of the history of Vistas from its origins as a movement in Gillette's transcription of Paul Robert Fauchet's Symphony in B-flat to its subsequent transformation and publication as an original work for band. Next, the performance history and reception of Vistas in the United States is traced and described from the year of publication to the present day. Finally, discrepancies present in the 1934 publication of Vistas are addressed through the creation of a performance edition. This performance edition also provides modifications to make the piece more widely accessible to wind bands today and the full score is presented at the end of the study.

The influence of Martin Luther on the Idealist philosophy and historical writing of Johann Gottfried Herder and Leopold Ranke Is part of a broader inquiry into the significant impact of the Protestant Reformation on the modern Western world. Herder and Ranke, whose work In historical research and writing spanned a period from the later eighteenth century to the close of the nineteenth century, represented an Idealist generation which sought a new meaning in human history to replace the view of the Enlightenment.

This dissertation works against the longstanding literary critical premise that aesthetics and ethics are at odds. I challenge this notion by foregrounding the verse of four nineteenth-century-born and Northeastern-based poets who unapologetically prioritize aesthetic perception and experience in their writing. These poets—Frederick Goddard Tuckerman, Emily Dickinson, Olivia Ward Bush, and William Stanley Braithwaite—were well aware of the criticism politicians, social reformers, educators, business proponents, and even other writers leveled against the functional and ethical utility of poetry in an era when transatlantic industrial revolutions and innovations in manufacturing and transportation technology contributed to a national ethos that celebrated progress and productivity in the most concrete terms. These developments, coupled with moral and political divisions over slavery and the economic and psychic strain of a nationwide war that brought life’s precariousness into relief, spurred citizens to contemplate their sense of purpose in contexts ranging from the vocational to the existential. Writers and poets in particular faced continual pressures to defend the practical value of their work. What makes the four poets in this dissertation unparalleled, I suggest, is the way they challenge readers to revise and expand their understanding of the aesthetic by devoting poetic attention to unsettling and unsightly products and processes in the natural world. Moldering plant matter, heaps of manure, broom-ravaged spiderwebs, and fragments of driftwood; the kinds of waste and remains normally deemed indecorous for nineteenth-century verse become vibrant and arresting in the work of these poets. Yet while each poet approaches humble and neglected phenomena as worthy of aesthetic treatment, they do so without idealizing the unpalatable and disregarded subjects they portray in verse. The attention they devote to the abject—a witnessing they extrapolate from literal to human nature—is, as I show over the course of this dissertation, an ethical and political act. In addition to upholding the unsettling and unglamorous qualities of the natural subjects they honor, these poets also abstain from sentimentalizing the elements of lived experience that inform their writing, and refuse to downplay the often demanding process of poetic composition itself. While this dissertation’s insistence on regarding aspects of nature that nineteenth-century poetry has traditionally neglected is, in part, an ecocritical intervention, my project is also a call to dignify the artistic labors that reframe overlooked natural phenomena as worthy of aesthetic attention. To portray writing as work is to regard the craft as just as substantial and legitimate a pursuit as occupations whose effects are more straightforwardly measurable in practical terms. Indeed, each poet in this dissertation insists upon depicting poetic making as a labor that requires the same dexterity as the construction of an architectural structure and that has as dramatic and far-reaching effects as military and legislative developments. Far from posing an escapist diversion from the social and civic realities of their day, I argue, these poets frame aesthetic creation and experience as fundamental to human nature, especially during wartime and periods of political upheaval.

This dissertation centers around the impact that geology and its ideas had on nineteenth writers just as it was defining itself from other natural sciences. Geological questions about how rocks and dirt were formed, where they came from, and what kinds of forces act on them are at the heart of the texts I engage here: the writings of Orra White Hitchcock in her travel journals, Emily Dickinson, Edmund Ruffin, and Charles W. Chesnutt; along with the stories told about spirits who inhabit bodies of water in South Carolina, and the illustrations and paintings of Orra Hitchcock. The central concept that the dissertation explores is geopoetics: the modelling of literary and artistic form on geologic processes. In its formal strategies, geopoetic writing aims to establish relationships, explicitly or implicitly, between many changing conditions and across many different temporal moments, all at once. As geologists and average people alike struggled to understand the place of the human in developing theories of how the planet was formed and reformed, the writers I engage here used these theories in their own texts as models for thinking about a series of relationships, both between persons and between humans and the nonhuman world. Though informed by geological research and ideas, geopoetics are not the static transposition of geology’s theories onto the texts I engage with here. Instead, these texts are the means by which their writers explore geologic ideas and the longue dureé natural processes that shape them. Geopoetics occur when an author’s writing strategy recalls the connections between natural and human-made networks in its form, by creating an interplay of literary or poetic structure and geologic imagery. What I mean by this is that the majority of these texts don’t simply feature allusions to geologic features, but, as I show, fundamentally engage with understandings of geological processes in their formal composition. If a volcano in a Dickinson poem, for example, is the vehicle of a metaphor, the volcano doesn’t simply take on the meanings which the metaphor aims to convey. It also causes Dickinson to write in ways that are particularly volcanic – through expansive, oozing analogies that ingest the external world. Hitchcock, Ruffin and Chesnutt, along with believers in bisimbi all make use of the ecosystemic layers that are embodied by rock formations in their writings. For Chesnutt, this looks like the gradual accumulation of conjure stories in his imagination which, though heard when he was a child, come back to retell their stories in his writing as though they had possessed him. In his narratives, conjure stays imbedded in locations throughout his landscapes, catching characters off-guard and radically changing them, sometimes with no clear origin point or conjurer to attribute the spells to. As the above paragraph suggests, Chesnutt, Dickinson, Hitchcock, Ruffin, and tellers of simbi stories each have specific geopoetic strategies with which they explore geologic theories. Subsequently, they each create the interplay of geologic allusion and literary form I describe above in their own, particular ways.

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