This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance. / Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) and variation of tension (produced by the combined action of such factors as the curve of the melodic line, dynamics and surface and harmonic rhythms). / Brahms' use of cadence and return differs fundamentally from that of classical composers. His cadential gestures are subjected to a looser categorization and articulate broader tonal relations than those found in classical practice. With respect to his treatment of return, he differs from classical composers largely in the influence of underlying factors, such as greater continuity in texture or a tendency to avoid an over-predictibility in cadential organization. The study of cadences and returns thus leads to the identification of formal traits characteristic of Brahms, including the use of structures beginning off tonic harmony. / Both the phraseology and the variation of tension in Brahms' themes exhibit a striking diversity in organization. For example, the phraseology may feature a grouping hierarchy based on a binary division combined with an irregular pattern of accentuation, an additive structure associated with a regular accentuation, or asymmetrical groupings. Variations in tension are often organized around a climax; however, the size and range of the fluctuations in tension can vary considerably, the accumulation of intensity which prepares the climax may be accomplished by different combinations of parameters, and each climax may occupy a different position within a given segment. / Return structures, so abundant in the Brahms' instrumental music, feature a great variety in their organization. This abundance and diversity is due to the structural type's ready adaptability to the particular demands of Brahms' musical style.

This thesis examines eight novels by William Faulkner by means of a critical method based on a concept of landscape. The thesis developed out of a curiosity regarding the vivid pictures that Faulkner's novels evoked in the mind of this reader. These reminded the reader of pictures similar in their vividness to those evoked in childhood by fairy tales and children's literature. In the main, here, ` the vivid Faulknemian pictures are examined from a moral point of view. The critical method follows from the idea of the literary landscape as a holistic entity, 'a prospect such as may be taken in at a glance from one point of view'. The method operates in three stages, and the vivid pictures found in the landscapes of the novels are deemed to function as centres of particular interest. In the first stage of the method, an impressionistic landscape, so called, is established, based on the facts of place, time, society, events and values given in or deducible from the novel. The vivid pictures are noted. The second stage calls for the quantification of the author's technical strategies, and in the third stage the vivid pictures are adopted as the starting points for detailed analyses of one or more aspects of the novel. The method seems to bring into focus a mature, detailed and satisfying reader's landscape which, it is hoped, functions as an R accurate reflection of the author's literary creation.

One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits. / The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.

No description available.

Zugl. geringfügig bearb. Fassung von: Greifswald, Univ., Diss.

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Made available in DSpace on 2014-06-11T19:35:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-19Bitstream added on 2014-06-13T20:26:25Z : No. of bitstreams: 1 silva_pc_dr_arafcl.pdf: 652765 bytes, checksum: 0675affec2fdc6cefb4ba7646e144d16 (MD5) / A presente pesquisa propõe a noção de emancipação humana como um eixo em torno do qual são desenvolvidas as ideias que compõem a tessitura plural da obra de Wilhelm Reich, permeando tanto o exercício do seu trabalho clínico-terapêutico quanto sua produção teórica. Partindo das obras deste autor e de seu desdobramento na clínica psicológica contemporânea, meu objetivo é entender “se” e “como” a clínica reichiana, através da relação e do trabalho terapêutico pode engendrar formas mais emancipadas de viver. Nesse sentido, o corpo e o trabalho corporal aparecem como instâncias privilegiadas de desenvolvimento de práticas e processos de subjetivação emancipadores. Por meio de pesquisa empírica, busco observar, basicamente, se na prática clínica reichiana e neorreichiana, tendo em vista o próprio material analítico da psicoterapia corporal, estão presentes questões ligadas à problemática ampla da emancipação humana, tão presente nas reflexões de Reich, ainda que nelas não apareça terminologicamente desta maneira / The present study proposes the notion of human emancipation as an axis around which the ideas that constitute the fabric of the plural work of Wilhelm Reich are developed, permeating both the exercise of his clinical therapeutic work as well as his theoretical production. Based on the author's works and their unfolding in contemporary psychological practice, my goal is to understand “if” and “how” Reichian clinical practice, through therapeutic work and relationship can engender more emancipated modi vivendi. In this sense, the body and bodywork appear as privileged instances of the development of emancipating subjectivation processes and practices. Through empirical research, I basically intend to observe if in Reichian and neo-Reichian clinical practice, in view of the analytical material of corporal psychotherapy itself, there are questions concerning the broad issue of human emancipation, constantly present in Reich's reflections though terminologically not in the same manner

Uma mentalidade de indiferença em relação à desigualdade, à violência e à exclusão é comum em um país como o nosso. Vive-se como se fosse natural tanto a opulência em meio à pobreza quanto as regalias de poucos em meio às dificuldades de tantos. Existe uma cultura de aceitação de tais situações, que acredita ser possível conciliar ideais libertários e democráticos com uma estrutura social absolutamente injusta. O trabalho tem como enfoque central as Prédicas Dores de Maria, que constituem a primeira parte do manuscrito de Antônio Conselheiro, publicado por Ataliba Nogueira. Concluímos que o movimento de Canudos, que teve a religiosidade como força motriz, foi liderado por um homem de profunda religiosidade, que acima de tudo sobrepujou tradições ambíguas e reavivou as que estavam latentes. Dessa maneira o trabalho visa valorizar a experiência religiosa que se refletiu na pregação e atuação do líder/beato como resposta às formas situacionais daquela época. Pois ao que se sabe a trajetória de Antônio Conselheiro em sua Canudos e a sua luta foram muito mais por justiça do que supuseram muitos estudiosos: o Conselheiro não foi um louco, fanático, beato ou qualquer outra das interpretações que a ele foram dadas, foi um líder religioso inteligente e sensível. A metodologia utilizada para o desenvolvimento do trabalho foi a análise do conteúdo. A análise do conteúdo dessas prédicas foi um caminho para interpretar as situações de injustiça então existentes em Canudos / A mentality of indifference to inequality, violence and exclusion is common in our country. It seems as if the presence of opulence and wealth of the few was natural. A culture of acceptance of such situations exists, and it believes that it is possible to conciliate democratic ideals and liberties and with a thoroughly unjust a social structure. Our study focalizes on the Sermons, Pains of Maria which constitute the first part of the manuscript of Antônio Conselheiro, published by Ataliba Nogueira. We conclude that the movement of Canudos had religiosity as the driving force and was led by a man of great religious motivation. He received an ambiguous tradition but revived the potentialities in it. In this way our study seeks to value the religious experience which is reflected in the preaching and career of the leader /beato as a reply to the historical and social context. It is well known that the life of Antônio Conselheiro in Canudos was much more concerned for social justice than scholars have assumed. Antônio Conselheiro was not an insane person, fanatic, beato or any another derogatory name given to him. He was an intelligent leader. The methodology of our study is an analysis of the sermons. Such an analysis helped us to interpret the social injustice then existing in Canudos

Orientadora : Profª Drª Roseli Terezinha Boschilia / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em História. Defesa: Curitiba, 04/03/2015 / Inclui referências / Resumo: Vladimir Kozák é um nome significativo para estudiosos dos indígenas brasileiros. No entanto, sua trajetória como pesquisador é praticamente desconhecida no país e pouco se sabe sobre sua vida pessoal, suas relações de amizade, seus desejos e interesses. Qualificá-lo como engenheiro, fotógrafo, cineasta, artista ou mesmo etnólogo é pouco esclarecedor, pois era uma figura multifacetada que sempre esteve envolvida simultaneamente em diversas atividades. Esta pesquisa apoia-se, no estudo do seu arquivo pessoal, com ênfase na documentação epistolar. Analisamos a prática epistolar de Vladimir Kozák, observando o meio em que viveu, buscando interpretar as redes de amizade e os sentimentos que uniram essas pessoas. A amizade é observada como uma relação humana capaz de romper distâncias e ampliar horizontes, consolidando um espaço de conversação franca e de troca cultural e pessoal. Relações que podem desvendar aspectos da trajetória deste homem que viveu entre o espaço da ciência e o espaço das artes, mas não se sentia partícipe de nenhum desses ambientes. Destacamos alguns aspectos da biografia e da autobiografia, bem como os limites da escrita biográfica, para chegar aos dados esclarecedores que registraram a trajetória pessoal e institucional de Vladimir Kozák. Observamos as cartas como forma íntima de comunicação que possibilitam a exposição de ideias e trocas de experiência entre os correspondentes e amigos, que permite pensar as relações de amizade como formas de sentir e de agir que aproximam homens e mulheres. E, fundamentada nessa noção de amizade, que buscamos os correspondentes mais assíduos e permanentes, que propiciaram a compreensão do personagem e dos sentimentos que envolveram suas relações pessoais e profissionais: o casal de antropólogos americanos, Robert Carneiro e Gertrude Dole, e a canadense Marjory Baillon. Os dois primeiros referem-se a uma comunicação direcionada a questões mais profissionais, enquanto a segunda trata-se da amiga escolhida que mantém um diálogo mais individualizado e pessoal. Palavras Chave: Vladimir Kozák. Arquivos. Biografia. Amizade. Índios. / Abstract: Vladimir Kozák is a meaningful name for all brazilian indians researchers. However, his career as a researcher is virtually unknown and little is known about his personal life, his friendships and interests. Name him as an engineer, photographer, filmmaker, artist or even ethnologist is rather vague as he was a multifaceted figure who has always been involved in several activities simultaneously. This research is based on the study of his personal archive, with emphasis on epistolary documentation. Analyzed the epistolary practice of Vladimir Kozák, observing the environment in which he lived, seeking to interpret the friendship networks and the feelings that united these people. Friendship is seen as a human relationship capable of breaking distances and expand horizons, consolidating one free conversational space and cultural and personal exchange. Relationships that can unravel aspects of the trajectory of this man who lived between space science and space of the arts, but he was not a participant in any of these environments. We highlight some aspects of biography and autobiography, as the limits of biographical writing, to reach the illuminating data that recorded the personal and institutional trajectory of Vladimir Kozák. We observed the cards as intimate form of communication that allow exposure of ideas and experience exchange between the correspondents and friends, which suggests friendly relations as ways of feeling and acting that bring men and women. Based on this notion of friendship, we seek the corresponding most assiduous and permanent, which led to the understanding of the character and feelings surrounding their personal and professional relationships: the couple of american anthropologists, Robert Carneiro and Gertrude Dole, and the Canadian Marjory Baillon. The first two refer to a more directed communication professional issues, while the second is selected from the friend who maintains a more individualized and personal dialogue. Keywords: Vladimir Kozák. Files. Biography. Friendship. Indians.

Made available in DSpace on 2014-06-11T19:29:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-05-16Bitstream added on 2014-06-13T20:20:05Z : No. of bitstreams: 1 silva_pc_me_arafcl.pdf: 601144 bytes, checksum: ba5a853cadc708309e9181b3e252306a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho apresenta a leitura hermenêutica do corpo realizada por Wilhelm Reich, a qual é indissociável de sua concepção sobre o homem e a sociedade. No decorrer de sua obra, Reich vai construindo um conhecimento cada vez mais unitivo, trabalhando conjuntamente natureza e cultura, corpo e alma, subjetivo e objetivo. Sua noção de homem integra as dimensões sociocultural, psicológica, biológica e cósmica, chegando, assim, à conclusão de que há uma co-implicação dinâmica entre homem e cosmos, ou seja, o homem é um microcosmo do macrocosmo. Sem moralismos e com espírito de emancipação, ele construiu com nova qualidade cognitiva essa unidade simbólica. E mais, seu pensamento abarcou ainda novas formas de interpretar esse mundo de Hades onde estamos todos imersos, uns mais e outros menos. Mesmo construindo um pensamento tão fecundo, Reich passou por diversas situações de exclusão e seu pensamento foi por muito tempo marginalizado pela ciência dominante. / This research introduces the body’s hermeneutics reading realized by Wilhelm Reich, which is inseparable from his conception on human and society. In the course of his work, Reich produced a knowledge increasingly integrator, working together nature and culture, body and soul, subjective and objective. His notion about the human joins the dimensions social, cultural, psychological, biological and cosmic, coming thus to the conclusion that there is a dynamic co-involvement between human and cosmos, in other words, the human is a microcosm of the macrocosm. Without moralism and with spirit of emancipation, he elaborated with new cognitive quality this symbolic unit. And more, his thinking also comprised new ways of interpreting the world of Hades where we are all immersed, some more and others less. Even building such a fertile thought, Reich suffered through several situations of exclusion and his thought was for a long time marginalized by the dominant science.