This study analyzes these stories in their original and later forms, both to discover the types of changes Faulkner made and to determine whether or not he followed any pattern in the revisions.

Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Resumo: Não informado / Abstract: Not informed. / Made available in DSpace on 2018-07-24T02:45:44Z (GMT). No. of bitstreams: 1 Fernandes_CassiodaSilva_M.pdf: 4511925 bytes, checksum: b217f270600d69234eea20f44eb0f36e (MD5) Previous issue date: 1998 / Mestrado / Mestre em História

Orientador: Roberto Schwarz / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-18T13:07:23Z (GMT). No. of bitstreams: 1 DAndrea, Moema Selma D.pdf: 4956039 bytes, checksum: 2755d7adec1ee6fa3798dd20590c405c (MD5) Previous issue date: 1993 / Não tem resumo impresso na obra Resumo base IEL: Este trabalho é um estudo sobre a poética de Joaquim Cardozo e pretende ser também uma reflexão sobre a modernidade Brasileira, através da forma expressiva de seus poemas. A perspectiva trazida pelos poemas de Cardozo recoloca a questão da modernidade no país, vista não apenas do ângulo de um autor local/regional, mas sobretudo de uma das muitas modernidades propicia das pelo projeto de expansão do capitalismo intersocietário. É nesse entendimento que a Cidade Poética de Cardozo possui um subtítulo mais restritivo: "elegia uma modernidade". Os poemas analisados se situam, prioritariamente, entre as décadas de 20 e 40, em função do resgate poético da cidade do Recife, elaborado por Cardozo. Assim, um capítulo destinado ao resgate da memória cultural pernambucana, intitulado "A visão poética da paisagem urbana" enfeixa os poemas que tematizam a paisagem cultural, abalada pelo desintegração dos monumentos artísticos e dos espaços antigos. Um outro capítulo intitulado "O clima saturnino da cidade poética: entre o heroísmo do passado e o do presente" organiza e dá voz aos poemas que liberam o mito do heroísmo pernambucano, resultante das lutas autonomistas de 1917 e 1924. O terceiro e último capítulo é uma conclusão das leituras anteriores, definindo a lírica de Cardozo como uma via alternativa entre o Regionalismo nordestino e o Modernismo da década de 20. / Abstract: Not informed. / Doutorado / Teoria Literaria / Doutor em Letras

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Der künstlerische Wandschmuck stellt eine besondere Form des Schulwandbildes dar, da in ihm die belehrende Funktion zugunsten einer künstlerisch-raumgestaltenden zurücktritt. So definierte sich der Schulwandschmuck als ein Werk der Kunst, dessen ästhetisches Element - unter der Maxime "Kunst ins Volk, Kunst in die Schulen" - im Zuge der Kunsterziehungsbewegung um 1900 eine besondere Bedeutung gewann. Mit den vorrangigen Zielen, dem Schulraum eine eigene, pädagogisch-künstlerische Atmosphäre zu verleihen, die ästhetische Genußfähigkeit der Schüler zu fördern und die kulturelle Erneuerung des Volkes aus dem Geiste der Kunst voranzutreiben, wurde der künstlerische Wandschmuck zu einem zentralen Element der kunstpädagogischen Aspirationen. D. h.: Gesteigert zur "Bilderschmuckbewegung" sollte über die Ausschmückung der Schulen und die damit verbundene Geschmacksbildung zugleich veredelnd und erhebend am Volksganzen gearbeitet werden. Geleitet von diesen Hoffnungen begannen Anfang des 20. Jahrhunderts unterschiedliche Verlagshäuser künstlerischen Wandschmuck "für Schule und Haus" zu produzieren. Diese Aktivitäten wurden angeregt und forciert durch den 1. Kunsterziehungstag 1901, auf dem den künstlerischen Bildern ein eigener Tagesordnungspunkt gewidmet wurde und durch den die Schmuckbilder ihre kunstpädagogische Legitimation erhielten. Neben der Rekonstruktion der "Bilderschmuckbewegung" innerhalb des reformpädagogischen Aufbruchs am Ende des 19. Jahrhunderts geht es um eine kritische Analyse des pädagogisch-kunsterzieherischen Anspruchs. Diese Analyse bezieht sich einerseits auf den eingeschränkten Kunstbegriff und andererseits auf die Tendenz, den künstlerischen Anspruch der Erziehungsabsicht unterzuordnen. Es spricht vieles dafür, daß die Absicht der Ästhetisierung der Unterrichtsräume einer Pädagogisierung des Raumes wich. Denn die Kunst der Schule hatte, angesichts der sich wandelnden Verhältnisse, nicht nur einem dauerhaften und "gesunden" Stil zu gehorchen - innovative und progressive Stilrichtungen standen damit außer Konkurrenz. Sie sollte zudem pädagogische Leitziele und Idealvorstellungen - mit deutsch-nationaler Ausrichtung - zum Ausdruck bringen; und auch didaktische Anforderungen traten hinzu: Verständlichkeit, Einfachheit und Klarheit wurden zu ästhetischen Normen, die das künstlerische Bild bestimmten sollten. Über die Rekonstruktion und kritische Analyse hinaus wird abschließend die systematische Frage aufgeworfen, ob Kunst in der Schule notwendig pädagogisiert oder sogar "diszipliniert" werden muß, um Lehr- und Lernprozesse und erzieherisches Handeln nicht der "Exterritorialität" des Ästhetischen (Mollenhauer) zu überlassen. / The aesthetic wallcharts are a special type of the school-wallcharts because of the fact that these charts do have a decorative function. The aesthetic wallcharts were defined as works of art, the aesthetic element of which got a special meaning in connection with the "Kunsterziehungsbewegung" around 1900. At that time the maxim was: Art for the people, art in the schools. The superior aims were to give the schoolrooms a pedagogical and aesthetic atmosphere, to promote the pupils´ ability to enjoy art and to help the nation to achieve a cultural renewal by the spirit of art. This means that the "Bilderschmuckbewegung" was not just a process to decorate schoolrooms, but to ennoble the German nation. Led by these expectations at the beginning of the 20th century several publishing houses started to produce aesthetic wallcharts "for school and house". These activities were advanced by the first "Kunsterziehungstag" 1901. The aesthetic wallcharts got their own legitimation. Besides the reconstruction of the German "Bilderschmuckbewegung", as part of the New Education at the end of the 19th century, the paper contains a critical analysis of the aesthetic and educational claim. This analysis is concentrated first on the restricted idea of art and secondly on the tendency to suppress the aesthetic claim for the benefit of the educational claim. There are several indications to the fact that the intention to decorate the schoolrooms changed into the intention to give the schoolrooms an educational touch, because art in the school was connected with pedagogic and national aims - innovative and progressive styles were refused. Besides, the aesthetic wallcharts got a didactic funktion, so that they could be understood easily. Finaly there is the systematic question if it is necessary to discipline art in school in order to avoid that teaching and education are prejudiced by the "Exterritorialität" of the aesthetic (Mollenhauer).

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In the second half of the nineteenth century the six Ontario suburban communities of Yorkville, New Edinburgh, London West, London East, Parkdale and Brockton were incorporated. In general suburbanites opted for incorporation because their increasingly urban concerns were not being met by the governance of the rural townships of which they were a part. Although the municipal status of these suburbs lasted for varying periods of time, and only overlapped briefly in the early 1880s, they had much in common. All six municipalities attempted to develop as alternatives to the cities they neighboured. Suburbanites and their local governments worked hard to create local identities and, at least for a time, stave off amalgamation with the neighbouring cities, which were increasingly anxious to expand their boundaries. All the while the suburbs were forced to balance the development of infrastructure and the need to keep taxation low in order to keep their communities viable and attractive locations for householders and businesses. The creation and maintenance of expensive infrastructure was often poorly handled, and led to massive expenditures and soaring suburban debts. This fiscal chaos within the suburbs ensured that the amalgamation question would be much debated by both suburb and city. While the ratepayers of each of the suburbs ultimately endorsed amalgamation, they did so only after what were often long and protracted debates. If anything, the struggle over amalgamation illustrated that suburban solvency and responsibility had to be weighed against questions of suburban agency and independence. / Doctor of Philosophy (PhD)