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Esta investigación constituye una aplicación de la teoría de los marcos interpretativos al análisis de los textos redactados, publicados y difundidos por la Facción Roja, organización antecesora de lo que será el PCP- Sendero Luminoso. El análisis de marcos, perspectiva vinculada a la sociología interpretativa, resulta relevante para comprender la elaboración de esquemas mentales, que determinados grupos, en el contexto de una teoría de la acción colectiva, utilizan a fin de lograr simpatías y adherencias. Por otro lado, la investigación existente sobre el discurso político brinda herramientas complementarias para la identificación de estrategias de posicionamiento ideológico que permiten reforzar la identidad del endogrupo. Bajo dichos lineamientos teóricos, y otros de carácter secundario, se ha realizado el análisis de textos senderistas de las décadas de 1960 y 1970, a fin de determinar un “marco maestro” de la representación de José Carlos Mariátegui, fundador del Partido Socialista en el Perú. Se ha concluido que se trata de una representación heroica que busca establecer una identificación entre Abimael Guzmán Reynoso, líder de dicho grupo subversivo, y el fundador del socialismo peruano. Para ello, se han analizado las estructuras discursivas rentables para la legitimación de dicho marco, en el contexto de una audiencia conformada básicamente por estudiantes universitarios de la Universidad San Cristóbal de Huamanga (UNSCH), bastión inicial de dicha organización. / Tesis

In 1890, famed Scottish novelist Robert Louis Stevenson settled with his family at an estate called Vailima, outside Apia, Samoa, following two years of cruising around the Pacific. While in Oceania, the family assembled a large collection of tapa, or barkcloth, from various islands, the majority of which were received as gifts from Indigenous associates, staff, and dignitaries. These textiles are evidence of, witnesses to, and participants in a remarkably global and interwoven history of Victorian-era colonial exchange. My dissertation utilizes this suite of objects to reposition Stevenson’s legacy in the region as well as to challenge existing methodological norms in the history of collecting, expanding the possibilities of how we determine provenance in the colonial Pacific. Drawing on the framework of collaborative collecting, or co-collecting, established by Sean Mallon, I expand the attribution of this collection to multiple actors, recognizing many proactive Pacific Islanders who strategically gave the family gifts of barkcloth, including chief Mata’afa Iosefo. I also argue that Stevenson’s wife Fanny should be viewed as a passionate collector of barkcloth and I situate her activities in a broader conversation about gender and the controls frequently imposed on female collectors. I turn in closing to contemporary Samoan writers and thinkers, centering their explorations of Stevenson’s legacy in Samoa. The tapas I center are revelatory objects, and studying their exchange illuminates their givers and receivers, as well as the social and cultural networks in which they circulated.

Le présent mémoire se veut être une étude critique portant sur un thème qui n’a pas été traité à ce jour : l’œuvre sculptural d’Irma Stern (1894-1966), artiste d’ascendance juive-allemande née en Afrique du Sud. Il s’agit de dégager des perspectives nouvelles sur l’art, la carrière et l’importance historique d’une personnalité qui est d’ordinaire acclamée pour sa contribution à l’essor de la peinture sud-africaine moderne. Notre visée est double. Nous proposons d’abord le premier catalogue exhaustif des sculptures d’Irma Stern : sont présentées environ trente à cinquante œuvres qui furent réalisées entre 1922 et 1955 dans divers média et dont le trait commun est de représenter des femmes africaines. Nous proposons en second lieu une analyse interprétative du corpus, dans son intégralité. Il s’agit de corréler l’œuvre sculptural d’Irma Stern aux méandres de sa vie et de son travail de peintre déterminée à représenter des sujets africains. Notre but est de parvenir à une compréhension fine des désirs, des préoccupations et des angoisses qui animèrent l’artiste dans sa confrontation, longue de trente années, avec des thèmes africains ainsi que des dynamiques de pouvoir qui se dégagent de son œuvre. En portant tour à tour notre attention aux sculptures en argile (1922), en ciment (1936-45) et enfin, en pierre à savon et en verdite (1936-45), et en empruntant aux cadres conceptuels fournis par les théories postcoloniale, phénoménologique et sculpturale, nous mettons en évidence les évolutions qu’a connues le rapport de l’artiste à son sujet et ce qu’elles nous disent sur la relation, mouvante, qu’elle entretenait avec ses modèles. Les analyses que nous proposons sont susceptibles d’ouvrir de nouvelles pistes et de modifier le regard porté à Irma Stern et à sa place dans l’histoire de l’art sud-africain. / This thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.

This thesis deals with the beginnings of the Japanese nationalism. It examines the role of the Sino- Japanese war of 1894-1895 in these beginnings in relation to other national consciousness forming factors. Govermental activities, such as education system and army reforms, and the effort to stress the emperor as a symbol of the Japanese people, and also activities of the intelectual strata, who influenced the society mainly through journalism, were especially prominent among them. It stresses the importance of the period media (newspapers, illustrated magazines, woodcut prints) and early modern theatre to the spread of the national consciousness among masses. It also shows how the way the war was conveyed in the media influenced the view the Japanese had of themselves and of the neighbouring countries. Powered by TCPDF (www.tcpdf.org)

在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。 / 本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。 / There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics. / There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 盧敏芝. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 135-157). / Abstracts also in English. / Lu Minzhi.

四個男作家指王統照, 許地山, 葉聖陶及鄭振鐸 / 論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994. / 參考文獻: leaves 322-342 / 陳亞鳳. / 提要 / Chapter 第一章 --- 緒諭 --- p.1 ´ؤ16 / Chapter 第二章 --- 研究的範圍與方法 --- p.17 ´ؤ20 / Chapter 第三章 --- 由“人的文學´ح到“婦女解放´ح題材 --- p.21 ´ؤ31 / Chapter 第四章 --- 王統照小說中的女性 --- p.32 ´ؤ74 / 小引 --- p.32 / Chapter 第一節 --- 王統照的“愛´ح和“美´ح的美學觀 / Chapter 第二節 --- 王統照對婦女的期望 --- p.37 / Chapter 第三節 --- 王統照的文學觀 --- p.39 / Chapter 第四節 --- 王統照小說中的女性 / Chapter 一 --- “美´ح和“愛´ح的化身 --- p.45 / Chapter 二 --- 為愛情而自我犧牲的女性 --- p.56 / Chapter 三 --- 王統照理想中的妻子 --- p.65 / Chapter 四 --- 無夢可紀的霍君素 --- p.69 / Chapter 第五節 --- 小结 --- p.73 / Chapter 第五章 --- 許地山小說中的女性 --- p.75´ؤ145 / 小引 --- p.75 / Chapter 第一節 --- 許地山的創作三寶 --- p.76 / Chapter 第二節 --- 許地山的宗教精神 --- p.79 / Chapter 第三節 --- 許地山對愛情的執著 --- p.85 / Chapter 第四節 --- 許地山的婦女觀 --- p.89 / Chapter 第五節 --- 許地山小說中的女性 / Chapter 一 --- 愛情理想的追求者 --- p.96 / Chapter 二 --- 理想人生哲學的追隨者 --- p.108 / Chapter 三 --- 對男性忠心耿耿的女性 --- p.123 / Chapter 四 --- 被“愛父母的民族´ح犧牲的女性 --- p.133 / Chapter 五 --- 走上絶路的母親 --- p.139 / Chapter 第六節 --- 小結 --- p.142 / Chapter 第六章 --- 葉聖陶小說中的女性 --- p.146´ؤ196 / 小引 --- p.146 / Chapter 第一節 --- “真實´ح與“真誠´ح的文學觀 / Chapter 一 --- “不能超越認識與理解´ح的創作 --- p.149 / Chapter 二 --- 講求創作獨特的作品 --- p.150 / Chapter 三 --- 本著真情實感創作 --- p.154 / Chapter 第二節 --- 葉聖陶對女子人格的重視 --- p.156 / Chapter 第三節 --- 葉聖陶小說中的女性 / Chapter 一 --- 體現母愛的女性 --- p.160 / Chapter 二 --- 願為男人奴僕的女性 --- p.169 / Chapter 三 --- 處在家庭矛盾中的母親 --- p.181 / Chapter 四 --- 保持人格獨立的萬女士 --- p.192 / Chapter 第四節 --- 小結 --- p.194 / Chapter 第七章 --- 鄭振鐸小說中的女性 --- p.197 ´ؤ236 / 小引 --- p.197 / Chapter 第一節 --- 鄭振鐸的“文學為人生´ح的思想體糸 / Chapter 一 --- 文學是感情的產物 --- p.200 / Chapter 二 --- 表現個性的文學 --- p.203 / Chapter 三 --- 血和淚的文學 --- p.205 / Chapter 四 --- 推崇悲劇文學 --- p.207 / Chapter 第二節 --- 《新社會》旬刊與改革社會的熱忱 / Chapter 一 --- 熱忱之火燃於五四運動 --- p.208 / Chapter 二 --- 言論涉及婦女解放的《新社會》 --- p.212 / Chapter 第三節 --- 鄭振鐸小說中的女性 / Chapter 一 --- 追逐理想愛情的女性 --- p.215 / Chapter 二 --- 以婚姻為唯一出路的女性 --- p.224 / Chapter 三 --- 自願為丈夫犧牲的紫涵 --- p.231 / Chapter 第四節 --- 小结 --- p.234 / Chapter 第八章 --- 總結 --- p.237 ´ؤ243 / 〔附錄1〕-〔附錄6〕 --- p.244´ؤ263 / 第一章注釋-第八章注釋 --- p.264 ´ؤ321 / 參考書籍 --- p.322 ´ؤ331 / 參考論文 --- p.332 ´ؤ341 / 後記 --- p.342

Le présent mémoire se veut être une étude critique portant sur un thème qui n’a pas été traité à ce jour : l’œuvre sculptural d’Irma Stern (1894-1966), artiste d’ascendance juive-allemande née en Afrique du Sud. Il s’agit de dégager des perspectives nouvelles sur l’art, la carrière et l’importance historique d’une personnalité qui est d’ordinaire acclamée pour sa contribution à l’essor de la peinture sud-africaine moderne. Notre visée est double. Nous proposons d’abord le premier catalogue exhaustif des sculptures d’Irma Stern : sont présentées environ trente à cinquante œuvres qui furent réalisées entre 1922 et 1955 dans divers média et dont le trait commun est de représenter des femmes africaines. Nous proposons en second lieu une analyse interprétative du corpus, dans son intégralité. Il s’agit de corréler l’œuvre sculptural d’Irma Stern aux méandres de sa vie et de son travail de peintre déterminée à représenter des sujets africains. Notre but est de parvenir à une compréhension fine des désirs, des préoccupations et des angoisses qui animèrent l’artiste dans sa confrontation, longue de trente années, avec des thèmes africains ainsi que des dynamiques de pouvoir qui se dégagent de son œuvre. En portant tour à tour notre attention aux sculptures en argile (1922), en ciment (1936-45) et enfin, en pierre à savon et en verdite (1936-45), et en empruntant aux cadres conceptuels fournis par les théories postcoloniale, phénoménologique et sculpturale, nous mettons en évidence les évolutions qu’a connues le rapport de l’artiste à son sujet et ce qu’elles nous disent sur la relation, mouvante, qu’elle entretenait avec ses modèles. Les analyses que nous proposons sont susceptibles d’ouvrir de nouvelles pistes et de modifier le regard porté à Irma Stern et à sa place dans l’histoire de l’art sud-africain. / This thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.

This research aims to analyze both the writer s role in the social context of Brazil of the twentieth century first half as the criticism to the modern Brazilian society in the novel John Tenderness, by Aníbal Machado, denouncing its problems. Qualitative, this work combines the readings of theoretical foundation, emphasizing the names of Roberto DaMatta, Sérgio Buarque de Holanda, Roberto Schwarz, Edward M. Forster, Tveztan Todorov, Roland Barthes and Sérgio Miceli, with the interpretation of the literary object. Firstly, it examines the writer s new active and questioning positioning towards social reality, after the modernist movement. Among this group, it emphasizes the committed action of Aníbal Machado, especially during the First Brazilian Congress of Writers. Sequentially, it analyzes the structural aspects of the novel, as the plot and the space, focusing for the investigation of some national stereotypes represented in the characters of the work. After this structural survey of the work which allowed greater breadth of its meaning, an analysis is made of some common identity features among Brazilians in general, determining the contradictions occurred in the country due to poor planning for the entry into the modernity and the arrival of modernization exposed in the book. With that, having an exclusive national reality, oppressive and stuck to hierarchies, it is clear that Carnival, narrated in chapter six of the novel, holds the compensation function of this everyday world. That s because all the different classes, races and cultures become equal to celebrate the occasion in which everything is permitted. In the end, John Tenderness realizes that the carnival party is just an appointment for joy, everyone returns to the routine where the social position of each one is clearly defined. / Esta pesquisa visa analisar tanto o papel do escritor no contexto social do Brasil da primeira metade do século XX quanto a crítica feita à sociedade brasileira moderna no romance João Ternura, de Aníbal Machado, denunciando seus problemas. De caráter qualitativo, este trabalho articula as leituras de fundamentação teórica, com ênfase para os nomes de Roberto DaMatta, Sérgio Buarque de Holanda, Roberto Schwarz, Edward M. Forster, Tveztan Todorov, Roland Barthes e Sérgio Miceli, com a interpretação do objeto literário. Primeiramente, examina-se o novo posicionamento atuante e questionador do escritor perante a realidade social, após o movimento modernista. Dentre este grupo, enfatiza-se a atuação engajada de Aníbal Machado, sobretudo durante o Primeiro Congresso Brasileiro de Escritores. Em sequência, se analisa aspectos estruturais do romance, como o enredo e o espaço, com foco para a averiguação de alguns estereótipos nacionais, representados nos personagens da obra. Após este exame estrutural da obra que permitiu maior amplitude do seu sentido, é feita a análise de alguns traços de identidade comuns entre os brasileiros de forma geral, determinando-se as contradições ocorridas no país devido ao mau planejamento para a entrada na modernidade e chegada da modernização expostas no livro. Com isso, havendo uma realidade nacional excludente, opressora e presa às hierarquias, constata-se que o Carnaval, narrado no capítulo seis do romance, exerce a função de compensação deste mundo cotidiano. Isso porque todas as classes, raças e culturas diferentes igualam-se para festejar na ocasião na qual tudo é permitido. No final, João Ternura percebe que a festa carnavalesca é apenas uma hora marcada para a alegria, todos voltam à rotina, onde o lugar social de cada um está bem delimitado. / Mestre em Teoria Literária

Made available in DSpace on 2016-03-15T19:42:13Z (GMT). No. of bitstreams: 1 Rosely Bianconcini Mulin.pdf: 1809916 bytes, checksum: f9cd6100f0c9a4420bda7d4bd8200268 (MD5) Previous issue date: 2012-03-01 / Fundo Mackenzie de Pesquisa / This work aims to demonstrate the important contribution of Adelpha Figueiredo in the development of Librarianship in São Paulo. It approaches relevant facts of the historical moment faced in the decade of the 1920 s and analyses education´s characteristics during that time. This research aims to highlight the importance of historical facts that exerted influence on the encouragement of the Paulista´s Librarianship, becoming a model for the country. It approaches the evolution of editorial system and discourses about the relevance it had exercised on libraries and encouraging new readers. Detailing the situation of libraries in the decade of the 1920 s and it highlights the importance that Mackenzie´s library had on disclosure, consolidation and teaching modern North American techniques of Librarianship in Brazil. It shall also explain the origins of the educator and librarian Adelpha Figueiredo, her education, actuation at Mackenzie, the pioneer obtainment of a scholarship granted by the United States for the course of Librarianship and, finally, it shall explain her trajectory as a master and all her efforts for the recognition of a librarianship as a professional. This study describes the importance that the São Paulo´s Department of Culture has exercised to encourage the Librarianship and the actuation of Adelpha Figueiredo at the São Paulo´s Public Library, where she founded with Rubens Borba de Moraes, the first School of Librarianship in São Paulo. / O presente trabalho objetiva demonstrar a importante contribuição de Adelpha Figueiredo para o florescimento da Biblioteconomia em São Paulo. Aborda fatos relevantes do momento histórico vivido na década de 1920 e analisa as características da educação na época. A pesquisa objetiva destacar a importância que os fatos históricos exerceram para o impulso da Biblioteconomia paulista, tornando-a um modelo para o país. Aborda a evolução do sistema editorial e discorre sobre a importância que exerceu para as bibliotecas e para a formação de leitores. Apresenta a situação das bibliotecas da década de 1920 e destaca a importância que a Biblioteca do Mackenzie exerceu na divulgação, consolidação e no ensino das modernas técnicas norte-americanas de Biblioteconomia no país. Explanará sobre as origens da educadora e bibliotecária Adelpha Figueiredo, sua formação, atuação no Mackenzie, obtenção inédita da bolsa de estudos concedida pelos EUA para o curso de Biblioteconomia e, posteriormente, explanará sobre sua trajetória como mestra e lutadora para o reconhecimento da profissão. O estudo discorre sobre a importância que o Departamento de Cultura do Município de São Paulo exerceu no impulso da Biblioteconomia e sobre a atuação de Adelpha Figueiredo na Biblioteca Pública de São Paulo, onde fundou com Rubens Borba de Moraes, a primeira Escola de Biblioteconomia de São Paulo.