Esta tese versa sobre as concepções teóricas acerca da história em alguns textos de crítica literária de Moysés Vellinho e no seu ensaio histórico-sociológico Capitania d´El-rei. O estudo da obra desse escritor, no período entre os anos 1925 e 1964, justifica-se por ter sido o autor muito influente em toda uma geração de historiadores e intelectuais autodidatas que produziam conhecimento histórico no Rio Grande do Sul antes da implantação da pesquisa universitária nessa área. A abordagem adotada focaliza o texto, a construção de sentido na narrativa, o tratamento do evento, da estrutura e da temporalidade, articulando-se esses aspectos com o lugar social de produção do conhecimento histórico. O objetivo mais amplo deste trabalho se insere nas investigações que buscam compreender como os historiadores delimitavam seus objetos de estudo, como acionavam provas documentárias, estratégias explicativas e narrativas. Busca-se contribuir para o exame das condições de produção do conhecimento histórico, afastando-se de uma tradição de análise que esteve em voga nos estudos historiográficos da chamada “historiografia crítica” dos anos 1980, que se voltou quase exclusivamente para as relações entre a ideologia política, a posição de classe social e as teses dos historiadores dessa época. Isso implica estabelecer não apenas o quê, mas também como essa historiografia foi construída, considerando a existência de uma articulação entre epistemologia e constrangimentos disciplinares exercidos por parte da comunidade de historiadores e suas instituições, bem como da sociedade englobante (regional e nacional). / This thesis approaches theoretical conceptions of history in some texts of literary criticism written by Moysés Vellinho, as well as in his historical-sociological essay Capitania d’El-rei. The study of the works produced by this writer between 1925 and 1964 is justified by the fact that Vellinho was very influent in a whole generation of self-taught historians and intellectuals who produced historic knowledge in Rio Grande do Sul before the implantation of academic research in this area. The approach adopted focuses on the text, the construction of meaning in narrative, the treatment of the event, the structure and temporality, articulating those aspects with the social place of production of historic knowledge. The widest objective of this work is located in the investigations that have attempted to understand how historians delimitated their objects of study, how they activated documental evidence, explanatory strategies, and narratives. This work aims at contributing towards the examination of the production conditions of historic knowledge, moving away from a tradition of analysis that was predominant in historiographic studies of the so-called “critic historiography” of the 1980’s, which devoted itself almost exclusively to the relationships among politic ideology, position of social class, and theses of historians of that time. This implies the establishment of not only what, but also how this historiography was constructed, considering the existence of an articulation between epistemology and disciplinary restrictions exerted by the community of historians and their institutions, as well as by their surrounding society (both regional and national).

Partant d’une relecture de l’oeuvre de Freud, le psychanalyste français Jacques Lacan a développé un appareil conceptuel innovateur, dense et qui se distingue de par la syntaxe singulière et la création de très nombreux néologismes. Cette productivité néologique aura des conséquences sur la traduction de son oeuvre, entraînant des problèmes difficiles à résoudre. En dépit d’une bonne réceptivité du lacanisme en Amérique latine et de son importance, aujourd’hui encore les réflexions théoriques sur la néologie lacanienne font largement défaut, de même que des ouvrages terminologiques qui puissent répondre aux besoins des professionnels confrontés à l’oeuvre de Lacan – en particulier les psychanalystes et les traducteurs. L’objectif du présent travail est d’analyser la constitution des néologismes lacaniens en langue française, afin de proposer dans un second temps des critères pour leur traduction en langue portugaise. Il se base sur les travaux relatifs à la néologie (ALVES, 1994 ; BOULANGER, 1979), aux modalités de traduction (AUBERT, 1998) et à la néologie traductive (HERMANS ; VANSTEELANDT, 1999). D’autre part, il s’appuie sur les études portant sur la psychanalyse lacanienne (ALLOUCH, 1984 ; ARRIVÉ, 1999). Le corpus de la recherche se compose des 25 Séminaires de Jacques Lacan, à partir desquels furent recueillis 300 néologismes. L’utilisation du logiciel WordSmith Tools a permis d’extraire les contextes de chaque néologisme, qui ont fourni des données pour l’analyse de leurs processus de formation. Il a ensuite été procédé à une classification de ces néologismes en fonction de leurs aspects formels et à une analyse de leurs aspects fonctionnels. La classification formelle comprend les processus de dérivation, de composition, les emprunts, les calques, les mots-valises, les créations par association, les néologismes sémantiques et la lexicalisation de noms propres. Quant à la classification fonctionnelle, elle englobe les fonctions dénominative, stylistique, analogique, d’adéquation, de terminologisation et de déterminologisation. Sur la base de cette classification et des modalités de traduction, le travail analyse les traductions des néologismes des Séminaires publiés au Brésil, afin de voir si elles sont régies par des critères particuliers. Au vu des analyses et de la néologie traductive, des principes d’équivalence pour la traduction portugaise des néologismes lacaniens sont finalement proposés. / O psicanalista francês Jacques Lacan desenvolveu, a partir de uma releitura de Freud, um aparato conceitual inovador e denso, em que se sobressaem uma sintaxe incomum e a abundante criação de neologismos. Essa produtividade neológica terá conseqüências sobre a tradução de sua obra, levantando problemas de difícil solução. Em que pese a receptividade ao lacanismo na América Latina e sua importância, há, ainda hoje, enorme carência de reflexões teóricas sobre a neologia lacaniana e de material terminográfico que responda às necessidades dos profissionais que se confrontam com essa obra, sobretudo os psicanalistas e os tradutores. O objetivo deste trabalho é, portanto, estudar a constituição dos neologismos lacanianos em língua francesa, com vistas a propor critérios para sua tradução para a língua portuguesa. Fundamenta-se nos estudos relativos à neologia (ALVES, 1994; BOULANGER, 1979), às modalidades tradutórias (AUBERT, 1998) e à neologia tradutória (HERMANS; VANSTEELANDT, 1999) Busca igualmente subsídios teóricos nos estudos voltados à psicanálise lacaniana (ALLOUCH, 1984; ARRIVÉ, 1999). O corpus de trabalho é formado pelos 25 Seminários de Jacques Lacan, dos quais coletamos 300 neologismos. Com o aplicativo WordSmith Tools extraíram-se os contextos de cada neologismo, que forneceram dados para a análise de seus processos de formação. Os neologismos foram, então, classificados quanto a seus aspectos formais e analisados quanto a seus aspectos funcionais. A classificação formal compreende os processos de derivação, composição, empréstimos, decalques, palavras-valise, criações por associação, semânticos e lexicalização de nome próprio. A classificação funcional compreende as funções denominativa, estilística, analógica, de adequação, de terminologização e de desterminologização. Concluída a etapa de classificação, analisamos as traduções dos neologismos dos Seminários publicados no Brasil, de acordo com essas classificações e com as modalidades de tradução, na busca de um padrão de critérios tradutórios. Por fim, baseando-nos nas análises feitas e na neologia tradutória, propomos princípios de equivalência para a tradução dos neologismos lacanianos em português.

Orientador: Berta Waldman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-21T08:22:35Z (GMT). No. of bitstreams: 1 Anjos_PaolaMariaFelipedos_M.pdf: 7605579 bytes, checksum: 8be90a6011d281aa865c11878688a8c1 (MD5) Previous issue date: 1996 / Resumo: A dissertação apresentada é um estudo do livro Viagem de Cecília Meireles, sob o aspecto da intersecção das raízes simbolistas da autora com o Movimento Modernista, que situa sua obra em um lugar intervalar no contexto literário brasileiro. No encontro das duas tendências mencionadas, observamos uma sensível alteração em seu diálogo com a tradição literária, sobretudo com o Simbolismo. A postura imitativa de padrões estéticos que caracterizava suas obras anteriores transforma-se, em Viagem, em .aprofundada pesquisa no campo da lírica, livre da forma fixa. Por outro lado, a obra acima referida, deixa entrever marcas do Movimento Modernista na expressão da espiritual idade da poeta, que passa a pender para o plano material. A busca da ascese simbolista é substituída por um mergulho no conflito espiritual decorrente do momento voltado para o plano material em que surge essa obra, representado pela incorporação, no âmbito da literatura, de problemas concretos da realidade brasileira, deslocando o enfoque espiritualista até então vigente. Esse movimento propiciou à poesia de Cecília Meireles uma abertura para a manifestação do plano físico em sua obra, criando um espaço para uma maior aproximação com as questões de seu tempo / Abstract: Not informed. / Mestrado / Mestre em Teoria Literaria

Orientador: Luiz Roberto Monzani / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T09:17:34Z (GMT). No. of bitstreams: 1 Bairrao_JoseF.MiguelH.(JoseFranciscoMiguelhenriques)_D.pdf: 22314707 bytes, checksum: f62551f67e69c572db4140e0b25accc5 (MD5) Previous issue date: 1996 / Resumo: Não informado / Abstract: Not informed. / Doutorado / Doutor em Filosofia

Orientador: Nina Virginia de Araujo Leite / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-03T17:46:30Z (GMT). No. of bitstreams: 1 Burgarelli_CristovaoGiovani_D.pdf: 1818429 bytes, checksum: c904a78133a860860b2754a3cb000b00 (MD5) Previous issue date: 2003 / Doutorado

The "Concerto for Trumpet" by Henri Tomasi is a work which has enjoyed increasing popularity in recent years. Two recordings of the concerto have been made by the French performers, André and Thibaud, and while it has been a part of the standard repetoire in France for a number of years, its popularity in the United States has been fairly recent. This concerto has gained a secure place in the trumpet repetoire for American performers, and it has been performed with some frequency at the conventions of the International Trumpet Guild. In spite of the recent interest in this work, very little has been written about the Concerto, and information in the English language on Tomasi's life and musical works is very limited. It is the intention of this study, therefore, to provide a better understanding of the Concerto for Trumpet by Henri Tomasi with the goal of directing the performer toward a more informed and authentic performance of this important work for trumpet. In order to provide a thorough understanding of Tomasi's Concerto, this study will first examine the area of French trumpet music, both orchestral and solo, and its relationship to the work. The second section of this project deals with the life and work of the composer which is followed by an analysis of the Concerto.

The Complete Suffrage Union of 1842 was a brief and unsuccessful attempt to combine the middle and working classes behind a solid, well-ordered agitation for the classic programme of Parliamentary reform, at a time when economic distress was sharpening reform demands in Britain and class relations had turned sour in the penumbra of the Great Reform Bill. What were the circumstances which favoured the new movement? Firstly, the existing popular reform movements were temporarily spent; the Chartist leadership was badly fragmented and the lessons of its 1839 agitation discouraging, the Anti-Corn Law League had lost momentum after the 1841 election and Richard Cobden was searching for some 'new move' to ginger up his flagging organization. Secondly, the C.S.U. was led by the Birmingham Quaker, Joseph Sturge, who seemed to combine the necessary organisational ability, derived from his experience with the anti-slavery movement, with complete freedom from the stigma of class partiality. Thirdly, the C.S.U. was conceived in Birmingham, a city well known for its reform record and harmony between the classes, thus an ideal base for the national projection of such a movement. Given such initial advantages, why did the Complete Suffrage movement fail? It failed because it never won an effective following in its Birmingham base, as the League did in Manchester. The political thermometer in Birmingham rose and fell with economic fortunes and its citizens thought of political reform as a means to some such economic palliative as, for example, currency reform. Sturge offered no attractive economic nostrum to follow on from suffrage reform, only a sort of moral catharsis. As the moral conscience of the city he won dutiful plaudits from all and the particular affection of the shopocracy, but such pleasing breezes of approval hardly constituted a wind of change. Sturge had only a contingent relationship with the vital centres of business leadership in the city and was at best a reluctant agitator of the people at large. The old harmony and dynamic of the Birmingham reform front had been severely mauled by the disturbances of 1839 and the C.S.U. failed to attract the full reform energies of the middle class, who were regrouping between the campaign for municipal incorporation and their later battle against the Corn Laws. Neither could it attract those of the working class who shared Feargus O'Connor's misgivings that it harbored a selfish bourgeois plot. Sturge himself was an ineffective leader and the very probity which constituted a major propaganda appeal for the C.S.U. cut short the use of those tactics necessary to survival, let alone success, in contemporary politics. At the Nottingham bye-election of August, 1842, Sturge refused to sanction the normal electioneering skulduggery which would have brought the Union victory. In Birmingham and in the country as a whole, the C.S.U. failed to shut out hostile representatives to its major national conference in December, 1842. Finally the movement fell victim to the class discords it sought to allay, a defeat prefigured in the previous conference in April, and made obvious in December after the explosion of the Plug Plots, which heightened bourgeois fears of working class insurrection and confirmed the workers in their belief that the middle class sought to use them as a catspaw. The Complete Suffrage movement collapsed because it failed to establish an effective grip on its home territory; it would not use the tactics which the tough political milieu demanded; and it proved unable to survive the corrosive mutual suspicion between the classes. These defects were compounded by inadequate leadership. The C.S.U.'s failure seems incontestable but there is also a modest and significant success to be salvaged from its history. Its raison d'etre meant the occupation of a marginal position which brought it under heavy attack from both classes, but in Birmingham at least the C.S.U. contrived to restore valuable contact between the middle and working classes. The first chapter examines the industrial and political complexion of Birmingham in the 1830s, and the convulsions of 1838 and ‘39 which severely damaged the traditional harmony of the classes in the city. Chapter II introduces Joseph Sturge and considers his early moves to repair this damage in the context of both local and national reform politics. The third chapter examines the Complete Suffrage Union in action in the national conference held in Birmingham in April, 1842, and in Sturge's candidacy at the Nottingham bye-election in August of that year. It also looks at the composition and organisation of the Union's membership. The final chapter deals with the last conference of the movement, again in Birmingham, in December 1842, examining its failure in the light of the serious disturbances in the previous summer months and their effects on the climate of opinion. There is much good secondary material on this particular period in British history. This material was made available through the facilities of the Library of the University of British Columbia, and the Inter-Library Loans service. Some newspaper files were available on microfilm through the same services but the bulk of research on original sources was done in England in the summer of 1966. Private papers were disappointing but the British Museum Newspaper Collection proved invaluable, together with the pamphlet and newspaper materials in the Birmingham Reference Library. / Arts, Faculty of / History, Department of / Graduate

Orientador: Marisa Philbert Lajolo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-17T06:51:25Z (GMT). No. of bitstreams: 1 Oliveira_AnaMariaDominguesde_M.pdf: 4875749 bytes, checksum: ceaa839b3a9a72d510c345430db3f0b3 (MD5) Previous issue date: 1988 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Teoria Literaria / Mestre em Letras

Several interpretations in performances, recordings, and publications of Giuseppe Verdi's Messa da Requiem raise issues concerning the relationship between these readings and the composer's intention. Understanding Verdi's tempo and phrasing in the Requiem is of crucial importance in rediscovering his intention. Knowing that Verdi's metronome markings were not merely performance suggestions but that they actually reflected his final decision is equally important. Unlike his operas, fast tempos are not introduced suddenly in the Requiem; rather, where tempo changes occur gradually from one section to the next, thereby maintaining the music's overall character. Verdi's phrasing is very subtle, and unconventional, because one sign may have multiple meanings. Compounding this complication are the many editorial errors in the published editions. David Rosen, in his critical edition, corrected many of these errors, and made additional editorial suggestions, but there are still numerous places where determining correct phrasing, as well as tempo fluctuations, knowledge of Verdi's use of signs and symbols is difficult.

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