O presente estudo aborda o início da profissionalização da enfermagem brasileira através da vinda de enfermeiras francesas, de 1890 a 1895, para o Hospício Nacional de Alienados (HNA), no Rio de Janeiro, capital do recém instalado governo republicano. O contrato, de 1890 que proporcionou a vinda dessas profissionais foi uma das medidas do governo para sanar a crise institucional acarretada pela saída das Irmãs de Caridade desse hospício, onde elas exerciam cuidados de enfermagem. São objetivos do estudo: identificar as possíveis circunstâncias que culminaram em um contrato, firmado entre os governos do Brasil e da França, que promoveu a vinda de enfermeiras francesas para o Hospício Nacional de Alienados, no Rio de Janeiro, em 1891; Descrever o processo de laicização nos hospitais e da profissionalização da enfermagem francesa definindo o perfil das enfermeiras formadas pela Escola de Salpêtrière; analisar a trajetória da vinda dessas profissionais ao Brasil, no contexto histórico do início da Primeira República; levantar as possíveis atividades que enfermeiras francesas teriam desempenhado no Hospício Nacional de Alienados. A fundamentação teórico-metodológica foi feita com base na proposta da História Nova, tomando como dimensão os conceitos da História Social. No âmbito da abordagem, o tema estudado conduziu para um enfoque direcionado pela Micro-História, com a técnica da Descrição Densa como forma de narrativa. Os dados coletados foram interpretados de acordo com as novas perspectiva da escrita da história, de Burke, vinculados com o objeto através da triangulação de dados. O corpus documental é composto majoritariamente pelos relatórios ministeriais da época e de algumas evidências sobre as enfermeiras francesas disponibilizadas pelo acervo documental do Palácio do Itamaraty. Outro importante recurso utilizado foi a mídia escrita, principalmente os registros noticiosos publicados pelo \"Jornal do Commercio\", pelo \"Diário Oficial\" e pela revista \"O Brazil-Médico\". O estudo nos possibilita perceber o conturbado contexto que deu origem à enfermagem francesa e os diversos modelos existentes na França, tendo então prevalecido o modelo do Dr. Bourneville que, através de sua atuação como médico, político e jornalista, organizou escolas de formação e escreveu manuais de enfermagem que influenciaram diversos países no mundo. O contexto brasileiro encontrava-se muito conturbado com a transição do governo monárquico para o republicano no final do século XIX, motivando transformações sócio-políticas que caracterizavam o país como importador das idéias positivo-evolucionistas européias, concretizando assim a intencionalidade de \"civilizar\" a nação, trazendo como pano de fundo o desenvolvimento da medicina social e da psiquiatria como forma de higienização/exclusão. Ao relacionar o desenvolvimento da enfermagem na França com o ideário republicano brasileiro percebe-se que a contratação de cerca de 40 enfermeiras francesas para o trabalho no HNA estava diretamente relacionada com a intenção de reafirmar o governo recém instalado e inaugurar, no Brasil, uma profissão para mulheres inspirada no modelo de enfermagem de Bourneville / The study approaches the beginning of the Brazilian nursing professionalization through the coming of French nurses, from 1890 to 1895, to the Insane National Hospital (HNA), Rio de Janeiro, capital of the recently installed republican government. The contract which facilitated the coming of those professionals was one of the government strategies to solve the institutional crisis caused by the Sisters of Charity who had gone from the hospital, where they exerted nursing care. The objectives of the study are: to identify possible circunstances that had culminated in a contract, signed between the Brazil and France goverments, wich has promoted tha french nurse arrival to the Insane National Hospital, Rio de Janeiro, 1891; to describe the laicization process within hospitais and the French nursing professionalization, definning the profile of nurses educated by the Salpêtrière School; to analyse the trajetory of these professionals comming to Brazil, within the historical context of the beginning of he First Republic; to survey possible activities French nurses had performed at the Insane National Hospital. The theoretical and methodological foundations were done based on the proposal of New History, taking the concepts of Social History as its dimension. Through such an approach the studied theme has conducted to a focus of Micro-history, with dense description technique for narration. Data collected were interpreted according to the new perspective of written history, by Burke, linked to the object through data triangulation. Documental corpus is made up mainly by ministry reports of that time and on some evidences about French nurses disposed by the Itamaraty Palace (Ministry of External Relations) documentary archives. Another important resource was the written media, in particular those news published by the \"Jornal do Commercio\", the \"Diário Oficial\" and the journal \"O Brazil-Medico\". Through this study it is possible to notice the turmoil context which gave origin to the French nursing and the existence of several models in France, among which had prevailed the of Br Bourneville who acting as a physician, politician and journalist established training schools and wrote nursing manuals which have influenced several countries worldwide. The Brazilian context was much disturbed during the transition from monarchy to the republic at the end of the XIX Century, motivating socio-political changes which have characterized the country as a importer of European positive-evolutionist ideas, concretizing the intention of civilizing the nation. This had as scenario the social medicine and psychiatry development as a way of hygienezation/exclusion. Relating nursing development in France with Brazilian republican ideas, it is noticed that bringing approximately 40 French nurses to work at HNA was directly linked to the intention of reaffirming the recently established government intention to create a career for women inspired on Bourneville nursing model

La notion philosophique de mimésis, perçue à travers Adomo et Horkheimer, nous permettra de comprendre l'échec du projet émancipateur de la raison dans l'histoire et l'aporie qui se pose lorsque l'homme emploie la ruse pour se constituer en sujet. Cette étude fera également ressortir le revers dialectique de la ruse hégélienne de la raison. Nous verrons que, poussé par la nécessité de conserver sa vie, l'homme s'empare du pouvoir originel de la nature par le biais de la représentation mimétique. S'il renverse l'imagination mythique par le savoir et développe une identité, la ruse systématise toutefois le principe de domination hérité des pratiques sacrificielles. Autrement dit, la raison reproduit le pouvoir qu'elle renverse tandis que le sujet intériorise le sacrifice. À certains égards, le processus auto-constitutif de la raison et du sujet se révèle alors autodestructeur.

In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.

William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in the debate about what constitutes American music. The fourth chapter is devoted to an intertextual interpretation of Still's symphonic trilogy. Each work is subjected to an anterior, interior, and posterior intertextual reading. An anterior reading takes into account how context determines perception. The interior reading examines the inter-play of topics and texts that are created as the work is experienced. The posterior reading is concerned with the relationship between the work and its audiences and any new texts that are generated from this interaction. The final chapter challenges the notion that the three works discussed form a trilogy. In the process, the differences between criticism and interpretation are reconsidered.

The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.

本論文共一冊，計約十萬字，分六章十九節。 本論文基本上以「發展理論」、「台灣近代史」及「台灣鄉土小說」三者為立幹。申 言之，乃先論述「發展理論」中的依附議題，及有關台灣的研究；說艮鄉土小說對台 灣發展過程的有力反映；配合史實，引證有關的鄉土小說作品；最後，綜述作品表達 的現實，予以詮釋。 本論文研討範圍起自一八九五年日本治台時，終至目前；包括政治、經濟、社會文化 三層面。以期看出小說內容的演變、發展理論和小說的異同．．．等，尤其要在理論 研究、歷史記載之外，從鄉土小說這一媒介中來看台灣的發展課題。

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

O objetivo deste trabalho é analisar a constituição de um discurso em torno do ideário da democracia racial brasileira no pensamento de dois autores modernistas: Menotti Del Picchia e Cassiano Ricardo. A constatação da presença de tal concepção no pensamento de autores cujas obras tiveram repercussões anteriores aos escritos de Gilberto Freyre permite aprofundar a discussão sobre o assim chamado \"mito da democracia racial\" no Brasil. Esta tese procura estudar esse ideário, evidenciando, a um só tempo, a sua difusão entre vários autores, a polissemia decorrente do uso plural da expressão democracia racial e a impossibilidade de atribuir sua origem a uma autoria específica. Por meio do cruzamento de várias formas de manifestação do pensamento dos dois autores modernistas - ou seja, da poesia e da literatura de ficção, das obras e dos discursos políticos e das artes figurativas - busca-se ampliar o estudo sobre o ideário da democracia racial no Brasil, descentrando o foco da análise da obra de Gilberto Freyre, autor mais comumente associado a essa noção de democracia racial. A investigação dos ensaios políticos em que Cassiano Ricardo e Menotti Del Picchia expressam as suas concepções sobre a formação racial brasileira visa interpretar não só o significado desse ideário na obra dos próprios autores como também o modo de inserção e de divulgação desse discurso no contexto do movimento modernista. Procura-se, assim, recuperar, até 1945, uma parcela da história da criação de uma linguagem política operante entre pensadores brasileiros. Mapeando um campo de discurso e estudando a ação e a transformação que vão se efetuando nesse conceito, busca-se associar o seu desenvolvimento às trajetórias sociobiográficas dos autores que o assumiram e divulgaram-no como uma particularidade da nacionalidade brasileira. / The present thesis analyzes the constitution of a discourse around the conception of the Brazilian racial democracy in the thought of two modernist authors: Menotti Del Picchia and Cassiano Ricardo. Such conception, found in the thought of authors whose works preceded Gilberto Freire´s studies, opened the way to a careful examination over the discussion about the so called \"myth of racial democracy\" in Brazil. This thesis embraces the study around this conception and, along with it, reveals its diffusion among several authors, the polysemy as a result of the plural use of the expression \"racial democracy\" and the impossibility to attribute its origin to any specific authorship. Through the intersection of the several ways the thoughts of these two authors became manifest - that is, by means of poetry, novels, works, political discourses and figurative arts - this thesis intends to question and enrich the study about the conception of racial democracy in Brazil. It does so by displacing the focus of the analysis on Gilberto Freire´s work, most currently author associated to the racial democracy theme. The study of the political essays in which Cassiano Ricardo e Menotti Del Picchia expressed their conceptions about the Brazilian racial constitution intends to interpret not only the meaning of this conception in the work of these two authors but also the ways the insertion and transmission of this discourse occurred within the context of modernist movement. The present thesis, thus, intends to recover part of the history concerning the creation of a current political discourse among brazilian intellectuals. Examining the components of the discourse and studying the action and transformation that have impact on the referred concept, this thesis relates the development of this concept to the sociobiographic trajectories of the authors who assumed and conveyed it as a peculiarity of Brazilian nationality.

A pesquisa ocupa-se da investigação sobre a construção do ponto de vista por Dyonélio Machado em seu segundo romance, O louco do Cati, publicado em 1942. Entende-se por ponto de vista o conjunto formado por narrador, foco narrativo e ângulo de acompanhamento em que se coloca o leitor. No romance em estudo a configuração do ponto de vista é peculiar, vez que apresenta a matéria narrada de modo tensionado entre narrador e ângulo de visão, como um objeto situado entre dois pontos de fuga, culminando em desfecho convergente ao final. Ainda assim, é pela exploração do ponto de vista que se obtém a unidade do romance, já que há dificuldade na identificação dos contornos e relações entre os elementos fundamentais da narrativa, a saber, enredo, personagem, tempo e espaço. Na aventura narrada, o desenrolar dos fatos não parece seguir nenhuma lógica, posto que tem ponto de partida desconhecido, ida para destino incerto, entraves diversos no meio do caminho e volta para ponto que não coincide com o de saída. Durante a narração, o personagem principal parece ausente, com limitações para perceber a realidade e interagir com ela e, ao mesmo tempo, está o tempo todo ali, quase ao fundo da ação. Esse indivíduo é visto e comentado pelo narrador e pelos demais personagens responsáveis pelo andamento da narrativa, porém ao mesmo tempo está sofrendo um processo que altera sua consciência e subjetividade. Descrever e analisar a construção do ponto de vista na obra, verificar as implicações que esse modo de composição traz para os elementos fundamentais da narrativa e apontar para possíveis efeitos de sentido decorrentes desta configuração formal é o que pretende o trabalho. / This research investigates the construction of the point of view by Dyonélio Machado in his second novel, O louco do Cati, published in 1942. It is understood by point of view the set formed by narrator, narrative focus and angle of accompaniment in which the reader is placed. In the novel under study the configuration of the point of view is peculiar, since it presents the matter narrated in a tensioned way between narrator and viewing angle, as an object located between two vanishing points, culminating in a convergent point of closure at the end. Nevertheless, it is due to the exploration of the point of view that the unity of the novel is obtained, since there is some difficulty in identifying the contours and relations between the fundamental elements of the narrative, namely, plot, character, time and space. In the narrated adventure, the sequence of the facts does not seem to follow any logic, since it begins at an unknown starting point, goes to an uncertain destination, deals with several obstacles in the middle of the path and goes back to a point that does not coincide with its first start. During the narration, the main character seems absent, with limitations to perceive reality and interact with it, and, at the same time, he is all the time there, almost at the background of the main action. This individual man is seen and commented by the narrator and by the other characters responsible for the progress of the narrative, but at the same time he is suffering a process that changes his consciousness and subjectivity. This research intends to describe and analyze the construction of the point of view in the mentioned novel, as well as to verify the implications that this mode of composition brings to the fundamental elements of the narrative and, yet, to point out possible effects of meaning resulting from this formal configuration.

A pesquisa ocupa-se da investigação sobre a construção do ponto de vista por Dyonélio Machado em seu segundo romance, O louco do Cati, publicado em 1942. Entende-se por ponto de vista o conjunto formado por narrador, foco narrativo e ângulo de acompanhamento em que se coloca o leitor. No romance em estudo a configuração do ponto de vista é peculiar, vez que apresenta a matéria narrada de modo tensionado entre narrador e ângulo de visão, como um objeto situado entre dois pontos de fuga, culminando em desfecho convergente ao final. Ainda assim, é pela exploração do ponto de vista que se obtém a unidade do romance, já que há dificuldade na identificação dos contornos e relações entre os elementos fundamentais da narrativa, a saber, enredo, personagem, tempo e espaço. Na aventura narrada, o desenrolar dos fatos não parece seguir nenhuma lógica, posto que tem ponto de partida desconhecido, ida para destino incerto, entraves diversos no meio do caminho e volta para ponto que não coincide com o de saída. Durante a narração, o personagem principal parece ausente, com limitações para perceber a realidade e interagir com ela e, ao mesmo tempo, está o tempo todo ali, quase ao fundo da ação. Esse indivíduo é visto e comentado pelo narrador e pelos demais personagens responsáveis pelo andamento da narrativa, porém ao mesmo tempo está sofrendo um processo que altera sua consciência e subjetividade. Descrever e analisar a construção do ponto de vista na obra, verificar as implicações que esse modo de composição traz para os elementos fundamentais da narrativa e apontar para possíveis efeitos de sentido decorrentes desta configuração formal é o que pretende o trabalho. / This research investigates the construction of the point of view by Dyonélio Machado in his second novel, O louco do Cati, published in 1942. It is understood by point of view the set formed by narrator, narrative focus and angle of accompaniment in which the reader is placed. In the novel under study the configuration of the point of view is peculiar, since it presents the matter narrated in a tensioned way between narrator and viewing angle, as an object located between two vanishing points, culminating in a convergent point of closure at the end. Nevertheless, it is due to the exploration of the point of view that the unity of the novel is obtained, since there is some difficulty in identifying the contours and relations between the fundamental elements of the narrative, namely, plot, character, time and space. In the narrated adventure, the sequence of the facts does not seem to follow any logic, since it begins at an unknown starting point, goes to an uncertain destination, deals with several obstacles in the middle of the path and goes back to a point that does not coincide with its first start. During the narration, the main character seems absent, with limitations to perceive reality and interact with it, and, at the same time, he is all the time there, almost at the background of the main action. This individual man is seen and commented by the narrator and by the other characters responsible for the progress of the narrative, but at the same time he is suffering a process that changes his consciousness and subjectivity. This research intends to describe and analyze the construction of the point of view in the mentioned novel, as well as to verify the implications that this mode of composition brings to the fundamental elements of the narrative and, yet, to point out possible effects of meaning resulting from this formal configuration.