This thesis examines the early military career and life of Lieutenant General Sir Frank Berryman from 1894 through to the end of his involvement in the Middle East campaigns. It begins with his family background and education on the outskirts of Melbourne before tracing, in detail, his personal life and military career until the end of 1941. The specific focus of this investigation is not just his military education and his role in the Cyrenaica and Syrian campaigns, but also the development of his personality and character. Personality and character provides a window of insight that not only helps to illuminate Berryman?s performance as an officer and his professional relationships but it also allows for a deeper understanding of this complex individual. This thesis argues that these, the 'lost years' and 'forgotten battles' , are integral to developing an understanding of this exceptional officer. In Berryman we see an important staff officer and commander whose place in Australia's military history has been largely overlooked. One of the central themes of this work is that Berryman has been misunderstood and misrepresented within the existing historiography. He was one of the most important figures in the Australian Army during the Second World War and it was during the period covered in this thesis that he established his reputation as a commander and staff officer. Key to this investigation, therefore, is the themes of Berryman's developing leadership and culture of command. This work seeks to reveal the nature and experience of a highly successful officer who is also, to a great extent, representative of a generation of permeant Staff Corps officers who have largely been ignored within the genre of Australian military biography. Ultimately this thesis concludes that Berryman was a central figure in the Australian Army's success in Cyrenaica and Syria. He demonstrated all of the qualities essential for a successful commander and senior officer and it was in these battles and his earlier military and life experiences that set the stage for his exceptional performance and contribution to the success of the Australian Army, not only in the Middle East but also later in the South West Pacific Campaigns.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-03Bitstream added on 2014-06-13T18:30:51Z : No. of bitstreams: 1 souza_ccr_me_sjrp.pdf: 1040702 bytes, checksum: a573de64b7a05adb9b394d110a516835 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Antônio de Alcântara Machado e Norman Rockwell são figuras representativas da produção artística das sociedades em que viveram. Machado engajou-se no modernismo brasileiro e inovou a narrativa do conto. Já Rockwell representou a cultura norte-americana por quase todo o século XX, sem utilizar, contudo, formas tão inovadoras como fez Alcântara. Esta dissertação de mestrado pretende analisar a existência de relações formais e temáticas entre os autores, ainda que haja poucas ligações artísticas, sociais ou econômicas entre eles. Valendo-se da teoria da intermidialidade e das funções da linguagem de Jakobson, busca-se estruturar um quadro comparativo e aumentar as possibilidades de leituras relativas a cultura e literatura expostas em parte da obra de Alcântara Machado e da de Norman Rockwell / Antônio de Alcântara Machado and Norman Rockwell were representative figures when we think about Brazilian and American artistic production. Machado was engaged in the Brazilian modernism and innovated the narrative structure of short-stories. Rockwell, on the other hand, represented the American culture on his canvases for almost the entire twentieth century, without using, however, the same innovative way of production as Alcântara did. This dissertation aims to analyze the existence of formal and thematic links between those artists, even with few artistic, social or economic connection between them. Drawing on the theories about Intermidiality and Jakobson’s functions of language, our intent is to structure a comparative panel and to increase the possibilities of readings related to culture and literature exhibited in the artistic production by Alcântara Machado and Normal Rockwell

The aim of the present thesis is to analyze the works of the composers belonging to the groupe referred to as Les Six (G. Auric, D. Milhaud, L. Durey, A. Honegger, F. Poulenc a G. Tailleferre), with particular reference for the compositions written for flute. In the opening part of the text, we concentrate on delimiting the cultural and artistic context in which the group in question was established, including the musical (collaboration with E. Satie) and literary (J. Cocteau) influences. In the following part, we present a brief individual chapter on each of the members, provide a fundamental information on his/her life and work and propose a more detailed analysis of the compositions for flute.

Made available in DSpace on 2016-11-30T14:54:56Z (GMT). No. of bitstreams: 2 111306_Olivia.pdf: 4605543 bytes, checksum: c970c2e0d3df7ef2497a6943283b1059 (MD5) license.txt: 214 bytes, checksum: a5b8d016460874115603ed481bad9c47 (MD5) Previous issue date: 2015 / Na presente pesquisa objetivamos compreender o papel do professor de primeiras letras no século XIX tendo por base o Manual de Ensino do francês Jean Baptiste Daligault, traduzido em Santa Catarina, em 1870, como Curso Prático de Pedagogia. Para alcançar esse objetivo identificamos os requisitos que, de acordo este Manual, eram necessários para ser professor no século XIX; analisamos o tipo de profissional que os requisitos instituídos pelo Manual sugere; e analisamos o tipo de formação proposto por Daligault para as escolas de ensino primário (escolas de primeiras letras) a partir das indicações de conteúdos e métodos de ensino. Uma das etapas anteriores à análise foi a realização do levantamento bibliográfico na intenção de conhecer quais foram os estudos já realizados sobre a tradução do Manual publicada em Santa Catarina e evitar, com isso, repetição de pesquisa. Ademais, esta etapa possibilitou levantar uma lista de referências importantes para a construção da história da Educação brasileira. Também realizamos um comparativo entre a tradução do Manual publicada em Santa Catarina (1870) e outra publicada no Rio de Janeiro em 1874, para identificar semelhanças e diferenças entre as traduções realizadas por diferentes tradutores. Através das leituras sobre a organização escolar no Império brasileiro, realizadas na intenção de conhecer a totalidade em que o objeto está inserido, identificamos que a Educação, no quadro de mudanças do Brasil, acontecia com intencionalidade de unificar o pensamento e o comportamento da população em tornos dos ideais de nação, no ponto de vista que os fizesse aceitar e contribuir para uma organização prevista pelos dirigentes do período. Constatamos, ao final da pesquisa, que o papel do professor está vinculado a ideais concernentes a uma natureza religiosa e virtuosa, voltada para a formação de sujeitos submissos às ordens sociais estabelecidas, com propostas de transformação social que vislumbram o trabalho do professor como um mantenedor das ideologias dominantes do período. / In the present research we aim to understand the role of the teacher of first letters in the nineteenth century based on the Teaching Manual of Frenchman Jean Baptiste Daligault, translated in Santa Catarina, in 1870, as a Curso Prático de Pedagogia. To achieve this goal we identified the requirements which, according to this Manual, were necessary to be a teacher in the nineteenth century; we analyzed the type of professional that the requirements imposed by the Manual suggests; and we analyzed the type of training proposed by Daligault for primary schools (schools of first letters) from the indications of contents and teaching methods. One of the previous steps to the analysis was the completion of the bibliographic survey in intention to know what were the studies already carried out on the translation of the Manual published in Santa Catarina and avoid, with this, repetition of research. Furthermore, this step has enabled raise a list of important references for the construction of the history of Brazilian Education. We also perform a comparison between the translation of the Manual published in Santa Catarina (1870) and one published in Rio de Janeiro in 1874, to identify similarities and differences between the translations carried out by different translators. Through the readings about school organization in the Brazilian Empire, carried out in order to meet all the object is inserted, we identified that the education, in the changing frame of Brazil, happened with intentionality to unify the thought and behavior of the population at lathes of the ideals of the nation, at the point of view that would accept and contribute to an organization envisaged by the leaders of the period. We contacted, at the end of the research, that the role of the teacher is bound to ideals concerning religious and virtuous nature, geared towards the training of submissive social orders established subjects, with proposals for social transformation to see the work of professor as a maintainer of the dominant ideologies of the period.

Orientador: Adelia Toledo Bezerra de Meneses / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-08T09:03:32Z (GMT). No. of bitstreams: 1 Veratti_NelsonSamuelPorto_M.pdf: 1167836 bytes, checksum: 0c69a907ec6083e5ebe70538b1937d34 (MD5) Previous issue date: 2007 / Resumo: Este trabalho busca a revitalização da obra Admirável Mundo Novo, de Aldous Huxley, por meio de uma leitura que não apenas reconhece o seu mérito literário como também resgata o seu teor crítico, cujo valor vem sendo desconsiderado por aqueles que recusam alguns de seus aspectos. Procuramos examinar e reconsiderar os prováveis motivos que levam a obra à margem da crítica literária para, em seguida, apontar a importância desse romance que permite reflexões relevantes sobre o mundo contemporâneo / Abstract: This thesis argues for a renewed reading of Aldous Huxley's ¿Brave New World¿. The interpretation carried out therein not only aknowledges the novel's literary merit, but also recuperates its critical tenor, whose import has been ignored by those who refuse to accept some of its most relevant aspects. The thesis examines and reconsiders the most probable motives which led to this marginal position in critical discourse; following this, it highlights the importance of the novel, which allows one to develop revelant reflections on the contemporary world / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Orientador: Alvaro Gabriel Bianchi Mendez / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T16:49:24Z (GMT). No. of bitstreams: 1 MeloJunior_SydneiUlissesde_M.pdf: 1057253 bytes, checksum: 54984ae1a8b2c4ded25a88e5d6fca9ae (MD5) Previous issue date: 2014 / Resumo: Esta dissertação é dedicada ao estudo dos trabalhos do marxista peruano José Carlos Mariátegui (1894-1930) e, especialmente, à análise da importância política assumida pelos conceitos de mito e religião no conjunto de sua obra. Os capítulos referem-se a três etapas da vida do autor ¿ a juventude (1914-1919), o exílio (1919-1923) e o regresso e posterior militância socialista no Peru (1923-1930) ¿ e por meio da exposição de sua formação intelectual e política procuramos compreender as preocupações do Amauta com os conceitos acima mencionados. A pesquisa mostra que, contrastado a outros autores clássicos do marxismo, Mariátegui assume um olhar mais sensível ao papel histórico e social cumprido por diferentes manifestações religiosas ¿ contribuindo para isto a referência a sua formação pessoal e familiar, marcada por mística e religiosidade. Em seu desenvolvimento como socialista, o Amauta incorpora ao seu discurso termos como mito, fé e religiosidade, que passam a constituir o horizonte de sua reflexão revolucionária. Por outro lado, ao demonstrar uma preocupação criteriosa com a análise das manifestações políticas e históricas de atores e instituições religiosas ¿ tanto na Itália, quanto no Peru e no continente latino-americano ¿ Mariátegui não deixa, porém, de distanciar-se de críticas racionalistas e anticlericais, afirmando uma "nova concepção" de religião, mais ampla e profunda, que se descola de adjetivações obscurantistas / Abstract: This dissertation is dedicated to the study of Peruvian Marxist José Carlos Mariátegui (1894-1930) works and especially to the analysis of the political relevance of concepts such as myth and religion in his work. The chapters refer to the three phases of Mariátegui's life ¿ his youth (1914-1919); exile (1919-1923); return and posterior socialist activism in Peru (1923-1930) ¿ we aim at a better understanding of Amauta¿s concerns regarding the aforementioned concepts by evaluating his intellectual and political formation. The research shows that, in contrast with others classical Marxist authors, Mariátegui assumes a more sensitive vision of the social and historical roles performed by different religious expressions ¿ for which his personal and family education, marked by religiosity and mystique, are a great contribution. In his socialist development, Amauta incorporates to his speech expressions such as myth, faith and religiosity, which constitute the horizon of his revolutionary thought. On the other hand, by demonstrating a careful concern in his analysis about political and historical manifestations of religious actors and institutions ¿ in Italy as well as in Peru and Latin America ¿ Mariátegui distances himself from rationalists and anticlerical critics, affirming a "new conception" of religion, wider and deeper, and detached of obscurantist adjectives / Mestrado / Ciencia Politica / Mestre em Ciência Política

No description available.

Substantial contributions to flute literature of the twentieth century were made by the Dutch composers Willem Pijper (1894-1947) and Henk Badings (b. 1907) in the Sonata per Flauto e Pianoforte (1925) and the Concerto for Flute and Wind Symphony Orchestra (1963), respectively. This paper is an examination of the compositional devices employed by Pijper and Badings in these two selected works, with a discussion of the elements of form, tonal language, rhythm, motivic usage, orchestration, and innovative flute techniques. Emphasis on Pijper as teacher and mentor to a generation of Dutch composers, including Badings, gives the basis for a comparison of the Sonata and the Concerto.

This study documents and analyzes cyclic patterns used as melodic vocabulary in John Coltrane's improvisations from compositions of 1965 to 1967. The analysis is categorized in two distinct sections. The first section analyzes melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section analyzes melodic vocabulary that is derived from Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. Musical examples consist of patterns from the Thesaurus and excerpts from selected improvisations of John Coltrane as transcribed by Andrew White. Important scholarly contributions relevant to the subject by Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Every effort has been made to cite interviews with musicians and commentaries by writers contemporary to that period of time with special emphasis on the important influence of Thelonious Monk, Miles Davis, and Ornette Coleman. Chapter headings include: Literature Review and Methodology; Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences; Analysis: Coltrane's Major Thirds Harmonic Cycles Used as Melodic Vocabulary; Interval Cycles in Coltrane's Melodic Vocabulary Based on Patterns from Slonimsky's Thesaurus; Summary and Conclusion.