SOUZA, Amós Bernardino de. Padeiros - educadores: coisa que o tempo levou...(1875-1900). 2005. 163 f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2005. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-07-03T14:26:52Z No. of bitstreams: 1 2005_Dis_ ABSouza.pdf: 840192 bytes, checksum: 4e202def4066c8d7741881bd98838b47 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T11:47:30Z (GMT) No. of bitstreams: 1 2005_Dis_ ABSouza.pdf: 840192 bytes, checksum: 4e202def4066c8d7741881bd98838b47 (MD5) / Made available in DSpace on 2012-07-20T11:47:30Z (GMT). No. of bitstreams: 1 2005_Dis_ ABSouza.pdf: 840192 bytes, checksum: 4e202def4066c8d7741881bd98838b47 (MD5) Previous issue date: 2005 / This work is the undertaken result of a historical reasearch, concerning the insert of literary association, “Spiritual Baker” (Padaria Espiritual), and their social-historical agents, with their involviment in education practices in the end of the XIX century. By literary association, we understood a series of groups among them, unions, cabinets of readings, literary clubs, intellectuais, learned, novelists, writers, scientists, naturalistic-realist, poets, nefelibatas, parnasos, total intellectuais, citizen writers, men of literacy, intellectuais, that moved by a literary passion, were centered in a dynamic of national identify formation. It was in the XIX century, that science was establishing its foundations as the guardian of the truth, influencing with their ideas, theories and currents, the construction of knowledge and fields.The “Bakers” pedagogyzives the literature of that time, guiding the learned reader’s view, on the provincial Ceará. Using some authors to compose a theoretical referential that could manage to express the immensity of the problem, and the retlessness, we accomplished the research based on a Bourdieu’ methodology because they are theoretical head offices of cultural history. Crossing primary, secondary and romance literature sources we’ve chosen to accompany and to guide us the perspective of : Svescenko, Williams, Ginzburg, Certeau, Darton, Chartier and Bourdieu. This research tells the reports and narratives of those historical agents, which moved a series of symbolic capitais, while people, or even better individual beings were historical and social agents in their time, it’s exactly in this period, which education is seen as a characteristic of social evilness. / Este trabalho é o resultado empreendido de uma pesquisa historiográfica acerca da inserção de uma agremiação literária, Padaria Espiritual, e seus agentes sócio-históricos, com o envolvimento em práticas docentes no final do século XIX. Por agremiação literária, entendemos uma série de grupos, entre eles, grêmios, gabinetes de leituras, clubes literários, reunião de intelectuais, letrados, romancistas, literatos, escritores, cientistas, naturalistas-realistas, poetas, nefelibatas, parnasos, intelectuais-totais, escritores-cidadãos, homens de letras, intelectuais engajados que, movidos por uma paixão literária, estavam centrados dentro de uma dinâmica de formação da identidade nacional, compondo a República das Letras. Era o século XIX o século em que a ciência firmava suas bases, como guardiã da verdade, influenciando com suas idéias, teorias e correntes, a construção de saberes e campos. Era a época em que a pedagogia, influenciada pelas idéias científicas, como também as literaturas, estabeleceram intercambiamento entre os campos de saberes. O trabalho privilegia exatamente isso: a agremiação Literária, no final do século XIX, que não fazia somente pilhérias e ironias sobre a educação em um jornal chamado o Pão. Para melhor análise do objeto pesquisado, criou-se uma categoria, fundamentando-a no trabalho. Os ideais pedagógicos dos Padeiros podem assim ser evocado. A pesquisa foi realizada com base na teoria de Pierre Bourdieu, por ser matriz teórica da história cultural. Entrecruzando fontes primária, secundárias e literaturas de romance, elegemos para nos acompanhar e orientar Bourdieu nos possibilitou a compreensão e a noção de campos, saberes, doxa e habitus. Acompanharam ainda os nossos olhares Sevcenko, Williams, Ginzburg, Certeau, Darton, Chatier o que nos levaria a criar uma categoria, Padeiros–Educadores, para contar o envolvimento desses integrantes com a educação e a prática docente.Esta pesquisa conta os relatos e narrativas desses agentes históricos que movimentavam uma série de capitais simbólicos. Enquanto pessoas, ou melhor, seres individuais, eram agentes históricos e sociais em seu tempo. É exatamente nesse período que a educação é vista como um apanágio dos males sociais. Civilizar-se, higienizar-se, modernizar-se, educar-se eram as tônicas no Brasil do século XIX. É por estes tempos, o final do século XIX, que os intelectuais e setores médios urbanos embarcam no entusiasmo pela educação. Eram ao nosso ver o Padeiros-Educadores, Escritores-cidadão, fazendo literatura como missão.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs. / Arts, Faculty of / Music, School of / Graduate

Thèse de doctorat : HISTOIRE : Metz : 1998. / 1998METZ001L. 274 ref.

During Aaron Copland's long and productive life, he has written many compositions of distinction; among his piano compositions are the Passacaglia, Piano Variations, and Four Piano Blues. These three piano works were composed during a span of over twenty years and reflect many different influences in the composer's musical life. The Passacaglia, an early work, was written under the direction of Copland's teacher, Nadia Boulanger. It was strongly influenced by her and the French neoclassic school. The influence of jazz is most prominent in the Four Piano Blues, whereas the Piano Variations were influenced by Arnold Schoenberg and other composers of the twelve-tone school. This study contains an examination of each of three piano pieces mentioned, with emphasis upon aspects of thematic development, harmony, rhythm, and sonority; then a comparison between the pieces is made.

Analysis of Appalachian Spring, Rodeo, and Billy the Kid

Le présent mémoire aura pour but d'exposer comment l'extase provoquée par l'expérience esthétique, en particulier par la musique, peut fournir un sens à l'existence humaine. Le développement du thème du sens chez Nietzsche passe nécessairement par la critique de deux principaux éléments: la rationalité et la religion. Nous exposerons premièrement les critiques que celui-ci développe au sujet de la rationalité pour mettre à jour les aspects néfastes d'une mauvaise utilisation de la raison. En deuxième lieu, nous discuterons de la critique que Nietzsche fait de la religion en abordant le thème des «arrière-mondes» pour arriver à fonder la question du sens au sein même de l'existence. Finalement, en explorant les thèmes de l'extase, de «l'éternel retour du même» et de la musique, nous serons à même de comprendre comment le paradoxe que pose une expérience d'absolutisation à l'intérieur d'un moment est nécessaire et générateur de sens.

This thesis unites a selection of H. G. Wells’s scientific romances with the theoretical approaches of philosopher Gilles Deleuze. Deleuzian theory provides a challenging yet powerful set of conceptual tools, used to rethink existing texts and critical paradigms, allowing the revaluation of literature, film and other fields. Within specific case studies, various aspects of Wellsian texts are used to exemplify a number Deleuzian concepts; for example, ‘Becoming-Animal’ in The Island of Doctor Moreau, the ‘Body Without Organs’ in The War of The Worlds and ‘Nomadology’ in The Time Machine. Characteristically, rather than simply applying philosophy to the arts, Deleuzian theory attempts to extract philosophy from them, and this approach should aim to engage positively and constructively with a text, serving to demonstrate ‘productive use of the literary machine…that extracts from the text its revolutionary force’ (Anti-Oedipus 116). Via this process, various Wellsian conceits are examined that have subsequently become synonymous with the science fiction genre, such as transhumanism, alien invasion and time travel. In performing this process, Wells is recast as a writer and thinker who demonstrates resonance with Deleuze’s theoretical approach. Having established the value of a Deleuzian reading via the medium of the specific textual case-studies, the thesis concludes with an argument concerning whether Wells himself can be positioned in terms of a Deleuzian ‘conceptual persona’, and ultimately the question of his adherence to the concept of ‘minor’ literature and writing is addressed. Deleuze maintains that any work of art ‘points a way through life, finds a way through the cracks’ (Negotiations 143), and how Wells’s oeuvre engages with this process is demonstrated, taking into account the myriad of ‘mutations’ to which it has been subject. Ultimately, this serves to demonstrate the ‘untimely’ power of Wells’s literature; ‘acting counter to our time and thereby acting on our time and, let us hope, for the benefit of a time to come’ (Difference xix).

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I denna studie utförs en närmare analys av Maurice Ravels violinsonat no 2 med fokus på andra satsen, Blues. Det som undersöks är sammanförandet av olika genrer och huruvida Ravels Blues är en autentisk blues, samt hur jag som interpret tolkar verket. I processen av min egen tolkning av verket har jag valt att även analysera Janine Jansens och Sarah Changs interpretationer av andra satsen, för att kunna positionera min tolkning gentemot dem.