A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza. / The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.

A dissertação que apresentamos tem por objetivo analisar o tema da questão agrária na obra de Caio Prado Júnior e Alberto Passos Guimarães, relacionado a uma interpretação sobre a gênese e desenvolvimento da sociedade e economia agrária do país, durante os primeiros anos da década de 1960. Desde a metade dos anos de 1950, a questão agrária, diante da ascensão dos movimentos sociais rurais, ganhou espaço no debate político brasileiro. No começo da década de 1960, diante da crise no setor primário, esse espaço se ampliou e passou a envolver inúmeros setores da sociedade, os quais procuravam soluções para os problemas agrários do país. Alberto Passos Guimarães e Caio Prado Júnior estudaram o tema da questão agrária nesse momento, levando em consideração, por um lado, o processo histórico de constituição da economia e sociedade agrária brasileira e, por outro lado, a relação desse processo com a estrutura fundiária de meados do século XX e as possibilidades de solução de seus problemas diante das propostas políticas do seu partido, o PCB. Entendemos que, diante disso, ambos os intelectuais contribuíram para o desenvolvimento do conhecimento histórico da realidade social do campo e, conjuntamente, procuraram encontrar caminhos que pudessem modificar uma estrutura agrária socialmente excludente e depreciativa das condições de vida dos trabalhadores rurais. / The present dissertation aims to examine the subject of land question in work of Caio Prado Júnior and Alberto Passos Guimarães, related interpretation about the genesis and development of society and land economy of country, during the first years of the decade 1960. Since half of years 1950 land question face of advance of rural social movements won space in the Brazilian political debate. At beginning of 1960, face the crisis in the primary sector that space was expanded and started to involve many sectors of society which looked for solutions to the land problems of country. Alberto Passos Guimarães and Caio Prado Júnior studied the subject of the land question at this moment, taking into account the one hand the historic process of economy and Brazilian land society and other hand the relation of this process with land structure of this process with land structure of XX century and possibilities for solutions to their problems face policy proposals of his party, the PCB. Believe that, both intellectuals contributed to the development of historical knowledge of social reality of the field and tried jointly find ways that could change the land structure socially exclusionary and derogatory of the living conditions of rural workers.

Partindo da noção de interdisciplinaridade, este trabalho se centra na questão de gênero comparando formas diferentes do discurso narrativo, particularmente, em imagens e em textos autobiográficos produzidos por três mulheres artistas de diversas procedências, como a coreana Hye Seok Rha, a brasileira Tarsila do Amaral, e a mexicana Frida Kahlo. O trabalho investiga aspectos em comum e divergentes da linguagem utilizada pelas mulheres artistas, enquanto procura responder questões sobre a auto-representação feminina e as narrativas de cunho pessoal de autoria feminina. Sob esse ângulo, faz-se incursões teóricas em duas direções: uma relacionada com a questão dos gêneros artísticos, e a outra, com o ato de criar das mulheres como possibilidade de saírem da invisibilidade histórica a que foram submetidas durante séculos, tanto no terreno das artes plásticas quanto no da literatura. Desta forma, evidencia-se a existência de relações interdisciplinares que situam o presente trabalho no terreno da literatura comparada.

Qu'en est-il de la communication de l'impossible dans son rapport au pouvoir du langage ? En révélant la face a-dialectique du langage littéraire, Maurice Blanchot et Georges Bataille, liés par une amitié essentielle, ont redéployé l’espace désoeuvré de l’Impossible comme espace scripturaire. La présente étude s’est articulée en trois parties, regroupant chacune quatre chapitres. La première s’est intéressée à la nomination comme stricte révélation de la négativité, d’une part, et de l’altérité, d’autre part. Elle a analysé les stratégies de contestation du discours dialectique adoptées en vue de redessiner un nouvel espace communautaire grevé d’absence. Cette dernière, induisant par ailleurs le mouvement infini de la répétition, ouvre l’exigence scripturaire à l’in-fini du re-dire. La seconde a mis au centre de ses préoccupations, à l’exemple des auteurs eux-mêmes, la mort. Liée au déploiement scripturaire, la mort creuse littéralement le Dire dans lequel domine l’oscillation entre pouvoir et impouvoir. La dimension thanatique des œuvres des deux auteurs convoque les notions de limite, de transgression, de dehors, de chance et de neutre qui envisagent toutes l’ouverture de l’expérience scripturaire sur son impossible horizon. La dernière partie, quant à elle, a mis en évidence la manière dont l’écriture, en son mouvement disjoint et imaginaire, s’abstrait du domaine du possible en s’ouvrant finalement sur le silence dont elle se fait complice pour ouvrir le Dire au partage de l’Impossible. / This thesis discusses the saying of the Impossible in its relationship to the power of language in the works of Maurice Blanchot and Georges Bataille. By unveiling the a-dialectical aspect of the literary language, Maurice Blanchot and Georges Bataille, who were bound by an essential friendship, deployed anew the idle space of the Impossible as a writerly space. This study is composed of three parts, each divided into four chapters. The first part discusses nomination as a strict unveiling of negativity on the one hand, and of alterity on the other hand, before analysing the strategies of contesting the dialectical discourse which were adopted by both writers with a view of delineating a new community space marked by absence. By inducing an endless movement of repetition, absence is shown to open the writerly exigence to the infiniteness of re-saying. The second part focuses on death as explored by both writers themselves. As linked to the writerly deployment, death literally enacts a saying dominated by the oscillation between Power and Unpower. The thanatical dimension of the works of both authors relies on the notions of limits, transgression, exteriority, chance and neutre, all of which lead to the opening of the writerly experience on its impossible horizon. The third part highlights how writing, in its disjointed and imaginary movement, abstracts itself from the realm of the possible by opening itself to the silence and becoming thus its accomplice to open the saying to the sharing of the Impossible.

This thesis examines the life of James Wesley Silver, a professor of history at the University of Mississippi for twenty-six years and author of Mississippi: The Closed Society, a scathing attack on the Magnolia State's history of racial oppression. In 1962, Silver witnessed the campus riot resulting from James Meredith's enrollment as the first black student at the state's hallowed public university and claims this was the catalyst for writing his book. However, by examining James Silver's personal and professional activities and comparing them with the political, cultural, and social events taking place concurrently, this paper demonstrates that his entire life, the gamut of his experiences, culminated in the creation of his own rebel yell, Mississippi: The Closed Society. Chapter 1 establishes Silver's environment by exploring the history and sociology of the South during the years of his residency. Chapter 2 discusses Silver's background and early years, culminating with his appointment as a faculty member of the University of Mississippi in 1936. Chapter 3 reveals Silver's personal and professional life during the 1940s, as well as the era's notable historical events. The decade of the 1950s is discussed in chapter 4, particularly the civil rights movement, Silver's response to these changes, and those in his own life. Chapter 5 follows the path of James Meredith's integration of Ole Miss, the publication of Silver's book, and its aftermath. The conclusion is a brief epilogue of Silver's post-Mississippi life.

Substantial contributions to flute literature of the twentieth century were made by the Dutch composers Willem Pijper (1894-1947) and Henk Badings (b. 1907) in the Sonata per Flauto e Pianoforte (1925) and the Concerto for Flute and Wind Symphony Orchestra (1963), respectively. This paper is an examination of the compositional devices employed by Pijper and Badings in these two selected works, with a discussion of the elements of form, tonal language, rhythm, motivic usage, orchestration, and innovative flute techniques. Emphasis on Pijper as teacher and mentor to a generation of Dutch composers, including Badings, gives the basis for a comparison of the Sonata and the Concerto.

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Le 6 février 2015, la Cour suprême du Canada a rendu un jugement historique, unanime et anonyme. Dans l'arrêt Carter c. Canada (Procureur général), la Cour reconnaît que l'interdiction mur à mur de l'aide médicale à mourir porte atteinte aux droits constitutionnels de certaines personnes. En effet, les adultes capables devraient pouvoir demander l'aide d'un médecin pour mettre fin à leur vie s'ils respectent deux critères : consentir clairement et de façon éclairée à quitter ce monde et être affecté de problèmes de santé graves et irrémédiables leur causant des souffrances persistantes et intolérables. Or, cette décision constitue un renversement juridique, car un jugement inverse avait été rendu en 1993. En effet, vingt-deux ans auparavant, la Cour suprême avait jugé à cinq contre quatre que l'interdiction du suicide assisté était constitutionnelle. Dans l'arrêt Rodriguez c. Colombie-Britannique, la majorité avait statué que la protection du caractère sacré de la vie dans toute circonstance, tant pour les personnes vulnérables que pour les adultes capables, était une raison suffisante pour ne pas accorder de dérogation aux articles du Code criminel qui concernent le suicide assisté. Les juges majoritaires craignent alors que toute ouverture à l’aide au suicide entraine un élargissement progressif des critères d’admissibilité, ce que plusieurs appellent l’argument du « doigt dans l’engrenage ». Dans le cadre de ce mémoire, le renversement juridique Rodriguez-Carter sera analysé à la lumière du débat entre H. L. A. Hart et Ronald Dworkin. Alors que le premier défend une nouvelle version du positivisme modéré, le second offre une théorie nouvelle et innovatrice, nommée l’interprétativisme. L’objectif est simple : déterminer laquelle de ces deux théories explique le mieux le renversement juridique canadien concernant l’aide médicale à mourir. L’hypothèse initiale soutient que les deux théories pourront expliquer ledit renversement, mais que l’une le fera mieux que l’autre. / On February 6th 2015, the Supreme Court of Canada issued an anonymous, unanimous landmark judgment. In Carter v. Canada (Attorney General), the Court recognized that a blanket prohibition of physician-assisted dying violates the constitutional rights of certain individuals. Indeed, a competent adult person should be allowed to seek help from a doctor to end her life if she meets two criteria: clearly consent to the termination of life and have a grievous and irremediable medical condition causing enduring suffering that is intolerable to the said individual. This legal decision constitutes an judicial overrule, because a reverse judgment was made in 1993. In fact, twenty-two years ago, the Supreme Court ruled five to four in favour of the ban on assisted suicide. In Rodriguez v. British Columbia (Attorney General), the majority ruled that the protection of the sanctity of life in all circumstances, both for vulnerable people for capable adults, was reason enough not to invalidate the sections of the Criminal Code concerned with assisted suicide. The majority then feared that any opening to assisted suicide would cause a gradual widening of the eligibility criteria, what many have called the argument of the “slippery slope”. As part of this thesis, the Rodriguez-Carter judicial overrule will be analyzed in light of the debate between H. L. A. Hart and Ronald Dworkin. While the former is known for his defence of a new version of soft positivism, the latter offers a new and innovative theory, named interpretivism. The goal is simple: to establish which of these two theories best explains the Canadian legal overrule regarding physician-assisted dying. The initial hypothesis is that both theories may explain said reversal, but one will do so better than the other.

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