Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2012. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2012-12-13T14:31:33Z No. of bitstreams: 1 2012_RaquelBrandaodoSerro.pdf: 1660970 bytes, checksum: 95c8c454bc71f38ddbe558be507c6a5c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2012-12-19T12:45:14Z (GMT) No. of bitstreams: 1 2012_RaquelBrandaodoSerro.pdf: 1660970 bytes, checksum: 95c8c454bc71f38ddbe558be507c6a5c (MD5) / Made available in DSpace on 2012-12-19T12:45:14Z (GMT). No. of bitstreams: 1 2012_RaquelBrandaodoSerro.pdf: 1660970 bytes, checksum: 95c8c454bc71f38ddbe558be507c6a5c (MD5) / Esta dissertação analisa a produção poética de Joaquim Cardozo sob um prisma histórico. Restringe-se a poesias selecionadas dos livros publicados entre Poemas (1947) e Um livro aceso e Nove canções sombrias (1981), consultados em sua Poesia completa e Prosa (2008). A principal hipótese defendida pelo trabalho é a que Cardozo se incluiu e ao mesmo tempo excedeu cada poética do Modernismo pela qual transitou. Ele foi um poeta do Modernismo nordestino sem o toque pitoresco que caracterizou a poesia de Ascenso Ferreira ou do primeiro Jorge de Lima. Joaquim Cardozo, que começou a escrever em 1925, é um poeta que cantou o Recife e as transformações urbanas, o que o coloca ao mesmo tempo dentro e fora da escola. Isso se repete nos anos 1930, 1945, 1956 e 1970. Podemos dizer que Cardozo soube retirar de cada poética o tanto que lhe interessava para construir um caminho muito próprio, mas infelizmente ainda pouco estudado. Nesse sentido, esse trabalho remete a um dos temas centrais do pensamento sobre a literatura brasileira ao longo do século XX: a formação do movimento modernista, suas possibilidades e entraves, as variedades das propostas poéticas e a busca por linhas evolutivas que pudessem caracterizar um movimento sistêmico e formativo. O que se investigou neste trabalho é como, e em que medida, a obra de Joaquim Cardozo apreendeu a dinâmica da formação e da dissolução das diversas fases do movimento modernista brasileiro, e como o poeta deu a ver, em sua obra poética, a lógica da ilusão na sociedade capitalista. _______________________________________________________________________________________ ABSTRACT / This dissertation analyses the poetical work written by Joaquim Cardozo in a historical perspective. Its corpus is restricted to selected poems from the books published between Poemas (1947) and Um livro de acesso e nove canções sombrias (1981), both not translated into English and which can be found in Poesia completa e Prosa (2008), which includes his whole work. The main hypothesis defended in this research is that Cardozo cannot only be included but he also exceeded all the modernist poetries which he has been through. He was a poet from the Brazilian Northeast Modernism without the picturesque note that characterized the works of Ascenso Ferreira or Jorge de Lima in his first poems. Joaquim Cardozo started writing in 1925 and he was a poet that praised Recife and its urban transformations, what allowed him to be settled in and out this movement. That is repeated in 1930, 1945, 1956 and 1970. It can be said that Cardozo was able to extract from each of those poetries what could be of his interest to build up an original pathway, but unfortunately it did not rouse many studies up to now. In this sense, this analysis deals with one of the central themes discussed in Brazilian literature throughout the XX century: the formation of the modernist movement, its possibilities and obstacles, the variety of poetical proposals it held and the search for evolutionary traces that could be able to characterize a systemic and formative movement. This dissertation investigated how and in what extent the writing of Joaquim Cardozo apprehended the dynamic of formation and dissolution in the several phases of the Brazilian modernist movement. And yet how the poet‘s work showed the logical of illusion in a capitalist society.

Orientador: Amneris Angela Maroni / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-22T15:10:36Z (GMT). No. of bitstreams: 1 Barreto_AndreValentedeBarros_M.pdf: 5009799 bytes, checksum: a7b30abdcc7558a41eae120535603766 (MD5) Previous issue date: 1997 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em Ciência Política

Orientador : Gustavo Luis Gutierrez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Fisica / Made available in DSpace on 2018-08-02T17:51:55Z (GMT). No. of bitstreams: 1 Carmo_GoncaloCassinsMoreirado_M.pdf: 383586 bytes, checksum: 5bdd483ef2af84bc15b5fefcf377ae41 (MD5) Previous issue date: 2002 / Mestrado

Orientador : Ana Maria Fonseca de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-03T23:20:52Z (GMT). No. of bitstreams: 1 Chioda_RodrigoAntonio_M.pdf: 6950972 bytes, checksum: 1d6f3ad7449175c3f727f36b36a92f50 (MD5) Previous issue date: 2004 / Resumo: Trata-se da investigação da roda de conversa como uma prática educativa, tal como se apresenta em um dado momento no tempo e as normas e regras que dela emergem. A prática da roda é um importante elemento de apreensão do processo civilizador que passou a sociedade ocidental e do autocontrole necessário aos participantes deste. Para observar os sinais e as marcas que uma prática educativa imprimiu nos corpos dos participantes deste "micro" processo civilizador que é a roda, parti do visível nos gestos e atitudes dos participantes da roda. A roda é, portanto, constituinte do processo civilizador maior, ou seja, em uma escala menor, é onde as crianças praticam e se educam para as relações sociais que exigem um grande autocontrole que é apreendido pelas crianças através de contenções externas de corpo e de fala. A roda observada possibilitou ainda que seus participantes exercitassem um conjunto de habilidades humanas necessárias à compreensão e interpretação do contexto social vivido, podendo posteriormente utilizá-las para agir sobre ela, proporcionando uma certa interação do aluno com seu processo educativo / Abstract: This study concerns the investigation of the circle of conversation as an educational practice, just as it comes in a specific moment in the time, and also the norms and rules of corporal contention that emerge from it. By means of what is visible in the gestures and in the body of the participants of the circle. I could observe in a smaller scale the signs and the marks that an educational practice printed in the participants of this "small" Civilizing Process that constitutes the circle. It is an imitation of that larger process, that is to say, where the children practice and they are educated for the social relationships that demand a large self-control, that the children apprehend first through external contentions of body and of speech. The practice of the circle facilitates its participants to exercise a group of necessary human abilities to the understanding and interpretation of the society, later on could use them to act on her, in the search of an active participation for the construction of a society indeed democratic / Mestrado / Mestre em Educação

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-25T22:36:57Z (GMT). No. of bitstreams: 1 Fiorini_CarlosFernando_M.pdf: 5182383 bytes, checksum: b49c0ab061fa9fd089cc0e3b639a8fa2 (MD5) Previous issue date: 1999 / Resumo: Tendo em vista a preparação de um regente que se dispõe a executar um Réquiem Alemão op. 45 de Brahms, o presente trabalho sugere um processo para auxilia-los desde o primeiro contato com a partitura até a sua apresentação em concerto. Os capítulos são divididos em duas partes: A primeira refere-se à pesquisa teórica desenvolvida antes do início dos ensaios. São tratados separadamente em três capítulos os aspectos históricos, o texto e os elementos da estruturação musical. O quarto capítulo compõe a parte prática do trabalho, onde são discutidos os problemas de ordem técnica nos âmbitos vocal, coral e orquestral, e apresentadas sugestões a serem utilizadas nos ensaios. È o capítulo que na opinião do autor, justifica o esforço de realizar este trabalho, pois nele o regente pode encontrar registrado subsídios que possam auxilia-lo durante o contato com cantores e instrumentistas no preparo da obra / Abstract: Primarily addressed to the conductor who plans to perform A German Requiem op. 45 by Brahms, this work presents a study process that will assist him with the preparation of the composition from the very initial contact with the musical score to its ultimate public performance. Two parts comprise this work. The first, dealing with theoretical research developed prior to the first rehearsal, encompasses the first three chapters where historical perspective and background as well as text and structural musical elements of the work are studied separately. The second, constituted entirely by the fourth chapter, discusses technical problems in the vocal, choral and orchestral areas., and presents suggestions that could be useful in the course of rehearsals. It is the chapter that, in the opinion of the author, justifies all the effort of the present study. It is here where the conductor can find elements and subsidies that can be of help in the course of his relationship with singers and player engaged in the preparation of the work / Mestrado / Mestre em Artes

Orientador: Vera Maria Chalmers / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-14T00:35:56Z (GMT). No. of bitstreams: 1 Nascimento_FlaviaCristinadeSouza_M.pdf: 6651730 bytes, checksum: 6a9dc9b18ee84e525dd8daeef6947062 (MD5) Previous issue date: 1991 / Resumo: O presente trabalho é a tradução do texto integral de La Paysan de Paris, narrativa publicada em 1926, por Louis Aragon. Trata-se de uma das realizações mais originais da prosa surrealista, celebrizada principalmente pelo capítulo "A Passagem da Ópera", devido à riqueza e espontaneidade de suas imagens. A tradução é acompanhada por notas de rodapé da tradutora que esclarecem para o leitor certos problemas colocados pelo texto, ora de natureza lingüística, ora referentes a questões ligadas à própria história do movimento surrealista. Além disso, dois textos curtos da autora acompanham a obra traduzida. O primeiro deles é um prefácio que faz um breve apanhado do nascimento do Surrealismo na França, das relações de Aragon com o movimento e do significado dessa tradução, no Brasil, 65 anos após a edição original; esse prefácio aponta também para alguns temas fundamentais d¿O Camponês, relacionando o flâneur surrealista com a flânerie baudelairiana. Finalmente, o texto que encerra o trabalho é um relato resumido de como foram resolvidas certas dificuldades impostas por essa tradução. / Abstract: Not informed. / Mestrado / Teoria Literaria / Mestre em Letras

"Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.

The influence of the pre-Civil War Southwestern humorists on the work of William Faulkner has long been hypothesized. But it has received scant critical attention, much of it erroneous or so general as to be almost meaningless. While Faulkner's total vision is more than merely humorous, humor is a significant part of that vision. And the importance of frontier humor to Faulkner's art is further substantiated by the fact that many of his grotesque passages derive from elements of this humor. Frontier humor flourished from I830 to I860, and while a large group of men then flooded American newspapers with contributions, it now survives in anthologies and the book-length collections of its most prominent writers — Augustus Baldwin Longstreet, Joseph Glover Baldwin, Johnson Jones Hooper, William Tappan Thompson, Thomas Bangs Thorpe, and George Washington Harris. Their writings illustrate the genre's growth from mere regionalism in eighteenth century diction to the robust and masculine humor in the frontiersman's own language. Harris is the best of these humorists because he has a better sense of incongruity and consistently tells his stories in the earthy vernacular of the frontiersman; and Faulkner himself admires Sut Lovingood, principle character-cum-raconteur of Harris's best work. Therefore, in this thesis I focus on Harris's Sut Lovingood in relation to the Snopes trilogy of Faulkner — his longest unified work and a "chronicle” of Yoknapatawpha County with much frontier humor in it. A major parallel between Faulkner and Harris is their similar use of the story-within-a-story device and their similar technical rendering of the highly figurative and even in Harris's time somewhat stylized language of the frontier. Their common Southern heritage and the lack of change in the post-bellum Southern backwoodsman conduces to a similar milieu. Harris's and Faulkner's recurrent theme of retribution derives from the frontiersman's individualism and from his concern for at least the rudiments of society. Both authors create a large number of frontier characters at and their principal frontier characters are at once superb story tellers and epitomize the best ideals of the American frontier. The purpose of this thesis, then, is to examine the ways in which Faulkner parallels Harris's frontier humor. Having established Harris as the best writer in his group, I discuss the two authors' structures and techniques, their milieus and themes, and their characters. The trilogy's similarities with and deviations from Harris's Sut Lovingood help to illuminate Faulkner's artistry as well as to suggest the strength of Harris's influence on Faulkner. / Arts, Faculty of / English, Department of / Graduate

Though Kenneth Burke has often been dismissed as a brilliant but idiosyncratic thinker, this dissertation will argue that he is actually a precocious systems theorist. The systemic and systematic aspects of Burke’s work will be demonstrated by comparing it to the General Systems Theory (GST) of biologist Ludwig von Bertalanffy. Though beginning from very different starting points, Bertalanffy and Burke develop similar aims, methods, and come to remarkably similar conclusions about the nature and function of language. The systemic nature of Burke’s language philosophy will also become evident through an analysis of the Burkean corpus. Burke’s first book contains several breakthrough ideas that set him irrevocably upon the path of a systemic theory of symbolic action. Burke’s next book, influenced by GST-inspired biology, seeks to understand the nature of associative networks by employing an organic metaphor. Burke’s interest in systems comes from his desire to repair the cultural system crumbling around him as a result of the Depression. Consequently his next book, Attitudes Toward History, studies what happens to such “orientations” (i.e., the systems by which humans classify and evaluate the world) during epistemological crises. The Philosophy of Literary Form is concerned primarily with the function of these orientations. In A Grammar of Motives Burke seeks to understand the basis for transformation of these evaluative systems, and in A Rhetoric of Motives he demonstrates how these transformations are used to persuade. Burke next turns his attention to understanding a small part of the system, a theological doctrine, in The Rhetoric of Religion. Burke’s theory appears plausible when compared to and supplemented by GST and the related self-organizing system theory. Furthermore, a paradigm shift to non-mechanistic cognitive theory allows us to refine and extend Burke’s intuitive theory of symbolic action. The final chapter will argue that symbolic action is the manipulation of the quality space, which is a multi-dimensional model for the super-system composed of mental, linguistic and cultural sub-systems. In mental systems, skeletal information structures called schemas combine to form simple models, which in turn combine to form a model of the world. Similarly, a culture can be seen as a system of schemas held in common by the group. The linguistic system labels, transmits and thus evokes these schemas. The primary means by which the quality space becomes reconfigured is through metaphor, which creates new schemas, and modifies the connections between schemas (and thus the position and relative value of a schema). Metaphor, therefore, is the basis of symbolic action. This systemic theory of symbolic action may be modeled by Connectionist networks. These analogical neural networks provide a model for how brains form and associate categories and support Burke’s assertion that thought is primarily analogical and categorical, thus affording the means for refining Burke’s theory of symbolic action. Ultimately, such a theory may provide a unified field theory for rhetoric, showing how various symbolic action strategies work and interrelate. / Arts, Faculty of / English, Department of / Graduate

The aim of this paper is not to disprove previous interpretations of Wilder's work, but to enlarge on them. The problem is not that the opinions of the early critics and many of the later ones were incorrect; the were merely incomplete. This paper shall attempt to show that Wilder's major thematic material falls into two interlocking and overlapping groups. Repeatedly Wilder deals with the relationship of man to something beyond himself, and the relationship of man to individual man and to mankind.