A presente tese, A forma confessional nos Diários de Miguel Torga, analisa os três diários iniciais do autor, escritos durante os anos de 1932 a 1946 e publicados entre 1941 e 1946. O recorte realizado procura, na primeira seção, mostrar o processo de constituição de Miguel Torga como autor intimista, que se deu na primeira metade do século passado, por meio dos debates do movimento presencista e da leitura intensa de autores confessionais. Esse percurso formativo foi fundamental para que pudesse elaborar um diário extremamente original, que soube preservar, no entanto, o lastro da tradição literária europeia, como demonstramos na segunda seção. Na seção final, realizamos a leitura imanente do Diário a fim de identificar e discutir as bem sucedidas estratégias de que Miguel Torga lançou mão para construir um texto em que sujeito, forma literária e vida social se entrelaçam profundamente. / The present thesis, The confessional form in the Diaries of Miguel Torga, analyses the authors three initial diaries, written during the years of 1932 and 1946 and published between 1941 and 1946. This work seeks to demonstrate, in the first section, the process by which Miguel Torga became an intimist author in the first half of the last century, through the debates conducted by the presencista movement and the extensive reading of confessional authors. As we demonstrate in the second section, that formative trajectory was fundamental for him to get to elaborate a highly original diary, which yet preserves the grounding of the literary European tradition. In the final section, we make an immanent reading of the Diary so to identify and discuss the successful strategies used by Miguel Torga in order to build a text in which subject, literary form and social life are intensely interwoven.

A presente tese, A forma confessional nos Diários de Miguel Torga, analisa os três diários iniciais do autor, escritos durante os anos de 1932 a 1946 e publicados entre 1941 e 1946. O recorte realizado procura, na primeira seção, mostrar o processo de constituição de Miguel Torga como autor intimista, que se deu na primeira metade do século passado, por meio dos debates do movimento presencista e da leitura intensa de autores confessionais. Esse percurso formativo foi fundamental para que pudesse elaborar um diário extremamente original, que soube preservar, no entanto, o lastro da tradição literária europeia, como demonstramos na segunda seção. Na seção final, realizamos a leitura imanente do Diário a fim de identificar e discutir as bem sucedidas estratégias de que Miguel Torga lançou mão para construir um texto em que sujeito, forma literária e vida social se entrelaçam profundamente. / The present thesis, The confessional form in the Diaries of Miguel Torga, analyses the authors three initial diaries, written during the years of 1932 and 1946 and published between 1941 and 1946. This work seeks to demonstrate, in the first section, the process by which Miguel Torga became an intimist author in the first half of the last century, through the debates conducted by the presencista movement and the extensive reading of confessional authors. As we demonstrate in the second section, that formative trajectory was fundamental for him to get to elaborate a highly original diary, which yet preserves the grounding of the literary European tradition. In the final section, we make an immanent reading of the Diary so to identify and discuss the successful strategies used by Miguel Torga in order to build a text in which subject, literary form and social life are intensely interwoven.

Submitted by Marco Antônio de Ramos Chagas (mchagas@ufv.br) on 2016-07-13T12:40:02Z No. of bitstreams: 1 texto completo.pdf: 714348 bytes, checksum: 2de81389d198e43e58b84ed4de13d107 (MD5) / Made available in DSpace on 2016-07-13T12:40:02Z (GMT). No. of bitstreams: 1 texto completo.pdf: 714348 bytes, checksum: 2de81389d198e43e58b84ed4de13d107 (MD5) Previous issue date: 2015-09-29 / Este trabalho de dissertação tem como principal objetivo analisar as relações existentes entre o imaginário humano sobre o sagrado e a literatura na obra poética intitulada Nihil Sibi (1948) do escritor português Miguel Torga, pseudônimo de Adolfo Correia da Rocha. O poeta acredita que as religiões monoteístas já não são mais tão necessárias para preencher a vida humana. Para oferecer ao homem compreensão e empatia, Torga nos apresenta em Nihil Sibi a personagem do Poeta, homem comum que entende das aflições e necessidades humanas e que nos traz conforto e esclarecimento sobre a vida. A filosofia existencialista de Sartre é a base do argumento de Miguel Torga para demonstrar aos seus leitores as vantagens de despojar-se das obrigações dos dogmas religiosos, vistos por ele como obstáculos ao potencial de crescimento do ser humano. O alcance do imaginário religioso sobre a humanidade e sua representação através dos mitos e das artes será visto com a ajuda de alguns teóricos: Mircea Eliade, Gilbert Durand, Northrop Frye e René Girard. Entre os principais questionadores da dimensão que a religião adquire na vida do homem como reguladora do comportamento, estão Nietzsche, Jean-Paul Sartre e Michel Onfray. A obra poética Nihil Sibi transfigura o mito cristão sob uma nova ótica, questionando o seu impacto na vida dos homens em face a um novo comportamento que se baseia na sua negação. A figura do Poeta é transcrita numa imagem tão divina quanto aos arquétipos sagrados constantes em muitos mitos, mas traz uma mensagem de clarificação, lucidez e liberdade, em contraposição à mensagem de mistério e fé não questionadora que Jesus traz ao cristianismo. / This dissertation work has as main objective to analyze the relations between the human imaginary about the sacred and the literature in poetic works entitled Nihil Sibi (1948) Portuguese writer Miguel Torga, pseudonym of Adolfo Correia Da Rocha. The poet believes that monotheistic religions are no longer that necessary to fill human life. To offer man understanding and empathy, Torga presents us in Nihil Sibi the character of the Poet, ordinary man who understands the sufferings and human needs and that brings us comfort and enlightenment about life. The existentialist philosophy of Sartre is the basis of Miguel Torga argument to demonstrate to his readers the advantages of putting off the obligations of religious dogma, seen by him as obstacles to the potential of the human growth. The reach of the religious imagery on humanity and its representation through the myths and the arts will be seen with the help of some theorists: Mircea Eliade, Gilbert Durand, Northrop Frye and René Girard. Among the questioning ones about the dimension that religion gets in the life of man as a regulator of behavior, are Nietzsche, Jean-Paul Sartre and Michel Onfray. The poetic work Nihil Sibi transformed the Christian myth in a new light, questioning its impact on the lives of men in face of a new behavior which is based on its denial. The figure of the poet is transcribed in such a divine image as the sacred archetypes contained in many myths, but brings a message of clarity, lucidity and freedom, as opposed to the message of mystery and not questioning faith that Jesus brings to Christianity.

Made available in DSpace on 2015-01-26T13:21:14Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-06-25Bitstream added on 2015-01-26T13:30:57Z : No. of bitstreams: 1 000804617_20160625.pdf: 114163 bytes, checksum: 186b3324a385d6588b50f07eaf9781b8 (MD5) Bitstreams deleted on 2016-06-27T11:55:30Z: 000804617_20160625.pdf,. Added 1 bitstream(s) on 2016-06-27T11:56:10Z : No. of bitstreams: 1 000804617.pdf: 500919 bytes, checksum: 0d38004f3d6cca4226b2d2fd930277eb (MD5) / Miguel Torga (1907-1995), um dos mais importantes escritores portugueses do século XX, aparece situado entre o Presencismo e o Neorrealismo, porque ultrapassa as limitações destes movimentos literários e porque, por meio de sua linguagem, engloba subjetivismo individual e compromisso social, conferindo a sua obra um caráter universalizante. No intento de refletir sobre a configuração da literatura de Torga e perceber nas narrativas ficcionais curtas a expressão do Homem, também presente em seus versos e textos autobiográficos, propomos analisar Novos Contos da Montanha (1944), apoiados, principalmente, por Eduardo Lourenço, José de Melo e Carlos Carranca. Nossa análise será guiada pela preponderância de cada um destes três elementos _ telurismo, religiosidade e sofrimento_ e mesmo cientes de que as vinte e duas histórias da coletânea contêm essas características, justificamos a tripartição por entender que, desta forma, se pode perceber melhor o projeto literário do artista, o qual designamos por _ humanismo torguiano / Miguel Torga (1907-1995), one of the most important Portuguese writers of the twentieth century, is situated between Presencismo and Portuguese Neorealism, surpassing the limitations of both literary movements and, through his language, encompasses individual subjectivism and social concerns, providing him with a universal character. We will analyze Novos Contos da Montanha (1944), with the intention of pondering on Torga’s literature and comprehending the expression Man in his short narratives, as well as in his verse and autobiographic texts, with the support of critics such as Eduardo Lourenço, José de Melo and Carlos Carranca. Our analysis is guided by three elements (tellurism, religiosity and suffering). Even though these elements can be found in all of the twenty two stories of that collection, we justify this to better undertand the artist’s literary project, which we name torguian humanism

Politics in Michigan had been on a low plane for a number of years. The troubles were many and their roots could be found deep in the structure of the state's government.In April of 1959, the sagging governmental structure gave way to the extent that the state was unable to meet its payroll. The result was the much publicized "Payless Pay Day" which attracted national and international interest.Seeing that their elected officials were seemingly powerless to correct even the basic flaws in Michigan's government, many of the state's leading business and industrial leaders decided to apply their considerable talents to improving their state government. George Romney, then president of American Motors, was one of these citizens.

This thesis introduces biography of Hungarian, often overlooked, composer Miklós Rózsa and the focus is on his Concerto for Viola and orchestra op. 37. His biography is in nine chapters by life periods, chapter no. 10 is about his Concerto for Viola and orchestra op.37.

The meteoric political decline of George Romney is unparalleled in political history and in the history of presidential campaigning. In the space of one year, the man evolved from the overwhelming presidential favorite of Republicans, Democrats, and Independents alike to a presidential drop out, criticized severely and even mocked by press and public alike.There are many opinions as to why this phenomenon occurred. The press has opinions, the public has opinions, and the people closest to George Romney have opinions.A step by step analysis of Romney's campaign casts light on these opinions and completely discredits some while validating and emphasizing others.Romney's campaign had finance problems, it had personnel problems, and, most of all, it had a candidate who never fully committed himself to the campaign, who never truly and deeply wanted the Presidency of the United States.

For the last half-century, American politics has been ravaged by a war for control of the courts. While conflict between the courts of law and the elected branches of government has been a recurrent theme in American history, this conflict has taken on a heightened importance beginning with the rights revolution ushered in by the Warren Court. Judicial originalism was born as part of a backlash against Warren and Burger Court expansions of constitutional rights in areas as disparate as First Amendment protections for individual speech and the expansion of substantive due process to cover contraception and abortion. By the end of the Trump Administration, the judicial backlash against this expansion of constitutionalized rights appears to have gained the upper hand as the Supreme Court and lower courts of appeals, especially the Fifth Circuit, have begun a substantial counteroffensive. Roe v. Wade has been overturned, a longstanding goal of legal conservatives, and the groundwork has been set for a rollback of the federal administrative state, which has often seen by legal conservatives as a political foe. This dissertation discusses the theoretical underpinnings of contemporary conservative jurisprudence, with a particular focus on the formalistic interpretive methodologies of originalism and textualism. It argues that textualism, at least as advanced by Justices Scalia and Gorsuch, is philosophically confused, and it argues that originalism is insufficient to its purported task of weakening the judiciary through a limitation of judicial discretion. Because legal conservatives often defend their views as a natural outgrowth of a commonsense picture of political morality, grounded in the concepts of the rule of law, democracy, and the separation of powers, I also discuss the interplay between those concepts within legal conservative discourse. Contemporary legal conservative conceptions of these ideological constructs are compared to historical predecessors in the works of John Locke, Jeremy Bentham, Hans Kelsen, and others. I argue that the legal conservative versions of these constructs are defective and seriously imperiled by the threat of legal indeterminacy. I conclude that they should be reconfigured to meet this challenge.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-08T18:02:24Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 02.04.17 - DISSERTAÇAO.pdf: 777636 bytes, checksum: 4f23c02df637b623499fc5f73193b130 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-19T18:05:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 02.04.17 - DISSERTAÇAO.pdf: 777636 bytes, checksum: 4f23c02df637b623499fc5f73193b130 (MD5) / Made available in DSpace on 2017-05-19T18:05:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) 02.04.17 - DISSERTAÇAO.pdf: 777636 bytes, checksum: 4f23c02df637b623499fc5f73193b130 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico / O presente trabalho, concentrando-se na escrita ensaística de Sophia Andresen, e sem deixar de examinar sua poesia, objetiva discutir as relações que se podem estabelecer entre sua obra com a de outros autores a quem dedica ensaios. Para isso, os textos assinados pela poeta sobre “A poesia de Cecília Meireles”, “Miguel Torga, os homens e a terra” e “Luís de Camões: ensombramento e descobrimento” são os eixos em torno dos quais se desenvolve a dissertação que tem como propósito demonstrar como Sophia lê a poesia de determinados poetas e por que os lê. Em paralelo, examinar-se-á o texto ensaístico como produção específica e, em particular, o andreseniano como cena reflexiva e criativa sobre o próprio lirismo. Além disso, interessa observar o eco da voz de Sophia nos poetas sobre os quais se debruça, ou seja, como algumas das temáticas valorizadas pela poetisa na obra dos outros autores comparecem em sua própria poética / The present work’s goal, by focusing on Sophia Andresen’s essay writing while also taking her poetry into account, is that of discussing the connections that can be established between her work and that of other authors to whom she has dedicated essays. To that end, the poet’s “A poesia de Cecília Meireles”, “Miguel Torga, os homens e a terra”, and “Luís de Camões: ensombramento e descobrimento” are the bases upon which this dissertation will be presented, as a way of showing how Andresen interpreted certain poets’ poetry and why she read it. At the same time, I will examine the essay as a specific production and particularly Andresen’s work in the field as a reflective and creative setting for lyricism itself. Furthermore, I aim to look into the echo of Andresen’s voice among the poets she addresses, i.e., to analyze how some of the subjects she cherishes within other authors’ oeuvre can be noticed in her own poetics