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Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2014. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2014-05-07T14:02:41Z No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-05-13T14:07:50Z (GMT) No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Made available in DSpace on 2014-05-13T14:07:50Z (GMT). No. of bitstreams: 1 2014_RodrigoMirandaBarbosa.pdf: 2835738 bytes, checksum: 8f9bd3fc053b753e9726f79c2e73c082 (MD5) / Na história do campo comunicacional percebemos uma dificuldade em encontrar critérios que estabeleçam o que é preciso para que uma teoria seja considerada como pertencente ao campo comunicacional. Tal fato repercute também no uso de denominações frouxas (escola, tradição, corrente, etc.) sem que haja um engajamento epistemológico a fim de dar rigor às denominações. A presente tese propõe a elaboração de um programa de pesquisa comunicacional tendo como guia a proposta do epistemólogo Imre Lakatos a partir do trabalho dos canadenses Harold Adams Innis e Marshall McLuhan. Autores, estes últimos, que se dedicaram a análise dos meios de comunicação enquanto tecnologias como elementos centrais para compreender a sociedade. Para estabelecer um programa de pesquisa comunicacional sistematizamos as principais teses dos dois autores, assim como as críticas a estas teses e os pontos de contato epistemológico que existem entre ambos os autores. Procuramos então, estabelecer um núcleo duro capaz de sustentar um programa de pesquisa assim como as hipóteses auxiliares que compõe o círculo protetor do mesmo. ______________________________________________________________________________ ABSTRACT / In the history of communication field we perceive a difficulty to find criteria that establish what is needed for a theory to be considered as belonging to the communication field. This fact also affects the use of loose designations (school, tradition, current, etc..) without an epistemological commitment to give rigor denominations. This thesis proposes the development of a communication research program under the guidance of the proposal by the espistemologist Imre Lakatos from the work of the Canadians Harold Adams Innis and Marshall McLuhan. These authors who dedicated themselves to the analysis of media as technologies as central elements to understand society. To establish a communication research program we systematized the main theses of the two authors, as well as the criticisms against their thesis and the epistemological points of contact between them. Thus, we try to establish a core capable of sustaining a research program as well as the auxiliary hypotheses that composes the protective circle around the core.

Orientador: Haquira Osakabe / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-26T16:03:44Z (GMT). No. of bitstreams: 1 Junqueira_RenataSoares_D.pdf: 23434147 bytes, checksum: 2c5b4ce2c4f6ca92989afcc6fdeeb8e9 (MD5) Previous issue date: 2000 / Resumo: Esta tese fundamenta-se numa leitura da prosa literária de Florbela Espanca (1894- 1930), de uma perspectiva que aproxima a escritora dos mais revolucionários modernistas portugueses - Mário de Sá-Carneiro, Fernando Pessoa e Almada- Negreiros -, propondo-se assim uma posição critica alternativa àquela que só vê Florbela como escritora tradicional, não-moderna, obsessivamente ligada à produção literária do século XIX. As afinidades - menos evidentes à primeira vista - entre Florbela Espanca e os seus veros contemporâneos destacam-se aqui através do que se denomina estética da teatralidade: concepção estética inspirada, sem dúvida, pela doutrina da "Arte pela Arte" e pelas tendências esteticistas de escritores decadentes e simbolistas, voltada para a construção de um mundo artificial (onde todas as coisas inclusive as próprias convenções literárias, aparecem ostensivamente marcadas pelo excesso de artificio que as gerou) - um mundo pelo qual se quer substituir os valores do mundo real, burguês e insípido / Abstract: Based on a literary reading of Florbela Espanca'swork from a perspective that brings the author close to the most revolutionary Portuguese Modernist writers - Mário de Sá-Carneiro,Fernando Pessoa and Almada-Negreiros-, this thesis assumes an alternative criticalapproachto the one that considers Florbela Espanca simply as a traditional, non-modemwriter, obsessivelylinked to the nineteenth century literary production. The affinitiesbetweenEspancaand her true contemporaries,less evident at first, are highlightedhere through what will be hence called theatrical aesthetics, that is an aesthetic conception undoubtly inspired by the "Art for Art's Sake"principIe and by the aesthetic tendencies of Decadent and Symbolist writers towards the construction of an artificial world in which everything, including the literary conventions themselves,are intensely markedby the excess of artifice, which should displacethe values of the real, bourgeois and tasteless world / Doutorado / Teoria Literaria / Doutor em Letras

Orientadores: Maria Margaret Lopes, Lea Maria Leme Strini Velho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociencias / Made available in DSpace on 2018-08-09T00:58:26Z (GMT). No. of bitstreams: 1 Sombrio_MarianaMoraesdeOliveira_M.pdf: 2045757 bytes, checksum: dd317b802816e7d1c6ad779501d51f7e (MD5) Previous issue date: 2007 / Resumo: A dissertação discute a participação das mulheres nas ciências com o objetivo de compreender quais condições, fatores e estratégias influenciaram o acesso feminino às instituições científicas brasileiras no início do século XX. Para elaborar esse estudo foi analisada a trajetória da cientista e militante feminista, Bertha Maria Júlia Lutz (18941976), contemplando principalmente sua atuação como representante do Museu Nacional do Rio de Janeiro no Conselho de Fiscalização das Expedições Artísticas e Científicas do Brasil, entre os anos de 1939 e 1951. Bertha Lutz foi uma das primeiras mulheres brasileiras a ingressar oficialmente em uma instituição científica, depois de ser aprovada em concurso público para o cargo de ¿secretário¿ do Museu Nacional, em 1919. Nesse mesmo ano, fundou uma associação feminista intitulada Liga Pela Emancipação Intelectual da Mulher e, desde então, dedicou-se intensamente às ciências e ao movimento feminista. Com o passar dos anos, deixou o cargo de ¿secretário¿ para assumir o de naturalista, consolidando uma carreira estável e bem-sucedida em ciências naturais. Como membro do Conselho de Fiscalização, participou do processo de construção da nascente política científica nacional, fiscalizando e licenciando expedições científicas realizadas em território brasileiro. Apoiando-se na idéia recorrente na bibliografia sobre gênero e ciências e história das mulheres de que a participação feminina nas ciências foi maior do que imaginamos, mas poucos são os registros existentes e os olhares lançados sobre essa experiência, consideramos que resgatar e analisar trajetórias de mulheres que atuaram como cientistas, relacionando essas experiências com seus contextos específicos, é um passo importante para que possamos compreender os diferentes modos pelos quais o gênero influenciou e continua influenciando a construção de práticas científicas, e para refletir sobre as influências sociais, políticas e econômicas que atingem essas práticas / Abstract: This dissertation discusses the participation of women in sciences with the objective of understand which conditions, factors and strategies had influenced the feminine access to Brazilian¿s scientific institutions at the beginning of 20th century. To elaborate this study we analyzed the trajectory of the scientist and feminist, Bertha Maria Júlia Lutz (18941976), contemplating mainly its performance as representative of the National Museum of Rio de Janeiro in the ¿Brazilian Inspection Council on Artistic and Scientific Expeditions¿, between the years of 1939 and 1951. Bertha Lutz was one of the first Brazilian women civil servant, after being approved in a public competition for the position of ¿secretary¿ of the National Museum, in 1919. In this same year, she created a feminist association entitled ¿League for the Intellectual Emancipation of Woman¿ and, since then, dedicated herself intensely to practice sciences and to the feminist movement. A few years later, she left the position of ¿secretary¿ to assume the position of naturalist, and consolidated a steady and well-succeeded career in natural sciences. As member of Inspection Council, she took part in the process of formulating national scientific policies, process that was just starting in Brazil. Based on the recurrent idea present in the bibliography on gender and sciences and women¿s history that the feminine participation in sciences was more important than we imagine, but there are few registers and a small number of analyses about this experiences, we consider that to rescue and to analyze trajectories of women that had worked as scientists, relating these experiences with its specific contexts, are an important contribution and can help the understanding of the different ways in which the gender influenced and it continues to influence the construction of sciences, and to reflect about the social, economical and political influences, that affects the scientific activity / Mestrado / Mestre em Política Científica e Tecnológica

Orientadores: Eduardo Augusto Ostregren, Luiz Britto Passos Amato / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T21:01:35Z (GMT). No. of bitstreams: 1 Feichas_LeonardoVieira_M.pdf: 191949762 bytes, checksum: 1e4f0639932d6b4c6aae28e71c632044 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa tem por finalidade fornecer ao intérprete subsídios para o entendimento e a execução da obra "Os 26 Prelúdios Característicos e Concertantes para Violino Só" do compositor Flausino dos Reis Rodrigues Valle (1894-1954), que objetivam um maior comprometimento com as intenções do compositor. Busca contribuir para um melhor entendimento da linguagem característica que Valle utiliza, através da contextualização histórica do compositor, do desenvolvimento da literatura para violino solo, da análise harmônica e fraseológica e de reflexões de cunho interpretativo das principais características dos Prelúdios. Todos estes aspectos abordados geram subsídios para elaboração das Fichas Interpretativas / Abstract: It is the aim of this research to offer the performer subsidies for the understanding and interpretation of the "Twenty-six Character and Concertizing Preludes for violin alone" by composer Flausino dos Reis Rodrigues Valle (1894-1954). It is hoped that it may contribute to an understanding of the musical language that Valle uses in his music through historical contextualization, the development of the violin solo literature, harmonic and phrasal analyses and observations of interpretive nature about the main characteristic elements of the Preludes. All these have been considered and are of fundamental importance for the elaboration of Interpretive Tokens / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador : Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T19:48:47Z (GMT). No. of bitstreams: 1 Fernandes_LuizEstevamdeOliveira_M.pdf: 525046 bytes, checksum: f27c798b1fc25226cd30361f2d721be3 (MD5) Previous issue date: 2004 / Mestrado

Tesis para optar al grado de Magíster en Estudios Latinoamericanos

Throughout her life Christina Rossetti was pursued by the thought of death. Many of her poems, especially her later poems, display her concerns about death. Her early poems show death as the destroyer of mortal things, reflecting her pessimism and her sometimes naturalistic views on life. Her death wish is sometimes associated with her thwarted desire for absolute love in the world. Her religious poems describe death as the gate to heaven or to hell, the final resting place from the pains of her life. Either as her religious yearning for a better place of Resurrection or as her way of expressing her unfulfilled desire in the world, her persistent theme of death is an expression of the conflict between a sometimes skeptical, sometimes religious view.

Notre recherche débouche sur une analyse thématique de la scène alimentaire dans deux romans québécois: La Scouine d'Albert Laberge et Un homme et son péché de Claude-Henri Grignon. Vers la fin, nous étudions rapidement Trente arpents de Ringuet. Les trois romans ont été écrits à l'époque où l'idéologie traditionnelle terrienne restait le discours social dominant, alors que la terre était généralement perçue comme une mère nourricière avec ses attributs de générosité et de fécondité, et sa valeur de fondement de la survie nationale lorsque fleurit le roman régionaliste. Notre approche emprunte son modèle de lecture à la théorie sémiotique de la Logigue de Port-Royal telle que comprise par Louis Marin dans La Parole mangée. Ce qui nous intéresse plus particulièrement dans cette étude, c'est la richesse sémiotique que la pensée théologique investit dans la formule rituelle eucharistique par l'énoncé consécratoire <<ceci est mon corps>>. Louis Marin a su découvrir la dimension sémiotique du dogme catholique en recourant au concept de <<la double-représentation>> du signe et en décrivant un processus selon lequel chaque signe "enferme deux idées, l'une de la chose qui représente, l'autre de la chose représentée et sa nature consiste à exciter la seconde par la première". Dans ce sens-là, le signe est à la fois <<objet>> et <<opération>> et le fonctionnement spécifique de son insertion dans un système signifiant où gravitent les formes esthétiques et les discours sociaux, offre des pistes intéressantes à la lecture des oeuvres littéraires. En nous servant des concepts mis au point par Louis Marin, nous allons tâcher d'abord de découvrir ce que signifie la nourriture dans la scène alimentaire des romans de Laberge, de Grignon et de Ringuet et puis de trouver quelle <<idée de chose>> est à la fois cachée et représentée par le signe, afin de mettre à jour l'arrière-plan idéologique des trois romans que nous étudions. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This is a study of what I argue is a neglected side of Aestheticism. A standard definition of Aestheticism is that its practitioners turn away from the general current of modernity to protest its utilitarian and materialistic values, but this generalization ignores the profound influence of contemporary philosophical and scientific thought on such major figures of British Aestheticism as Walter Pater and Oscar Wilde. This study focuses on Aesthetes who are not in flight from modernity. I call their type of Aestheticism "Epicurean Aestheticism" and argue that since this temperament is characterized by a willingness to engage with the flux of modern times it must be distinguished from the more familiar, escapist form of Aestheticism I call "Platonic Aestheticism." I propose that Aestheticism be viewed as a spectrum with Epicurean Aestheticism on one side and the Platonic variety on the other. While Platonic Aesthetes like W. B . Yeats and Stephane Mallarme continue the Romantic project of trying to counter modernity with various idealist and absolutist philosophies, Epicurean Aesthetes adopt materialist and relativistic strategies in their desire to make the most of modern life. I argue that the first unmistakable signs of Epicurean Aestheticism are to be found in Thomas De Quincey, that the sensibility is fully formulated be Pater, continued by Wilde, and finds a current representative in Tom Stoppard. All Aesthetes are dedicated to the pursuit of beauty, but Platonic Aesthetes seek beauty in an eternal and transcendent realm, while Epicurean Aesthetes have given up such absolutist habits of thought. Pater writes: "Modern thought is distinguished from ancient by its cultivation of the "relative" spirit in place of the "absolute." Epicurean Aesthetes want a new aesthetic that will parallel the paradigm shift from absolutism to relativism. While a nostalgic, quasi-religious longing for a purely ideal realm characterizes Platonic Aesthetes, Epicurean Aesthetes accept that the high, idealistic road to eternal beauty is closed. Instead of lamenting this fact, they start looking for beauty among the uncertainties of the phenomenal world: by viewing life as an aesthetic spectacle to be observed and experimented on with playful detachment they become Epicureans of the flux of modernity. / Arts, Faculty of / English, Department of / Graduate