The five Preludes, Op. 15 were composed in the year 1897 while Scriabin was occupied in concert tours with his friend and publisher, Beliaef. This year brought no less than forty-seven short preludes written at various times and collected in five sets: Opp. 11, 13, 15, 16, and 17. These preludes, though clever and original in melody, show the great influence of Chopin on Scriabin.

Jeanne Lapointe, intellectuelle d'influence et professeure passionnée, a marqué l'histoire du Québec en participant, entre autres, aux Commissions Parent et Bird. Discrète, elle demeure aujourd'hui une figure méconnue du grand public comme du milieu littéraire dans lequel elle a œuvré des années 1940 à la décennie 1990. Ce mémoire constitue une première étude en profondeur de son œuvre critique. Nous proposons une analyse de ses textes disponibles à ce jour, inédits et publiés, qui concernent explicitement la littérature. Il s'agit d'une reconstitution du parcours critique de J. Lapointe qui permet une caractérisation de sa démarche dans le champ littéraire par le biais de la poétique de la critique. Œuvrant successivement au sein de la revue Cité Libre, dans le domaine de la psychanalyse puis dans une perspective féministe, Jeanne Lapointe s'est forgé un itinéraire clairement divisé en trois grandes périodes critiques qui déterminent conséquemment les divisions de cette étude qui rend compte de la cohérence d'une pensée en évolution.

ANDRADE, Maria Lucélia de. Filhas de eva como anjos sobre a terra: a Pia União das Filhas de Maria em Limoeiro-CE (1915 - 1945). 2008. 247f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T13:24:01Z No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T13:52:49Z (GMT) No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) / Made available in DSpace on 2012-07-20T13:52:49Z (GMT). No. of bitstreams: 1 2008_Dis_MLAndrade.pdf: 6532995 bytes, checksum: b257022db09de0d9eb7e9a576f012f08 (MD5) Previous issue date: 2008 / The present research analyzes the Pious Union the Daughters of Mary, religious brotherhood of single women catholics in Limoeiro, Ceara (1915 - 1945). Aiming to form feminine models of moral behavior, this brotherhood was place of disciplines, norm and social distinction. The study examines practical of reading of the associates Pious Union, articulating dimensions: devotional, exemplary, informative, educational, entertainment and moralizing. Such practices are centrally prescribed in Catholic journalism, classifying and distinguishing between the good and the bad readings. The language of cinema is also broached in the study. The Library of the Pious Union participates of this research, forming a documentary corpus that includes pious and exemplary books and novels. The research still considers the performance of the Daughters of Mary in the educational field as teachers and as catechists in the Catholic proselytism. / A presente pesquisa analisa a Pia União das Filhas de Maria, irmandade leigo-religiosa de mulheres solteiras católicas em Limoeiro, Ceará (1915 – 1945). Visando formar modelos femininos de conduta moral, essa irmandade era lugar de disciplina, norma e distinção social. O estudo examina as práticas de leitura das associadas Pia União, articulando dimensões devocional, exemplar, instrutiva, educativa, moralizadora e de entretenimento. Tais práticas são prescritas centralmente no periodismo católico, classificando e distinguindo as leituras entre edificantes e perniciosas. A linguagem do cinema também é abordada no estudo. A Biblioteca da Pia União participa desta pesquisa, formando um corpus documental que inclui desde as obras piedosas e exemplares aos romances. A pesquisa aborda ainda a atuação das Filhas de Maria no campo pedagógico como professoras e no proselitismo católico como catequistas.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-20T08:44:54Z No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) / Made available in DSpace on 2017-12-20T08:44:55Z (GMT). No. of bitstreams: 1 Roseli Conceição de Moraes Rojas Demercian.pdf: 21774094 bytes, checksum: 95d38f47211b39dad7285d98ed51bcb6 (MD5) Previous issue date: 2017-12-14 / Art in postmodernity does not survive by itself, without generating influxes in the social environment. It must make explicit the worldviews that structure reality, developing a multifaceted activity. As the art system expands throughout the world, so does the demand for curators who see a remarkable strengthening of their role. Thus, we discuss in the present thesis what should be expected of the art curator to develop criteria in the construction of an exhibition, with a new narrative communicational, raising the following hypotheses: what is the practical dimension of curatorial action and its characteristics current? Is it the art curator's job to educate the target audience? The general objective, therefore, is the study of how the curator's action should be, based on a legitimizing knowledge of contemporaneity; and its specific objective is the development of general criteria and models for this practical action, indent to utopias, in a method embodied in the space / time / occupation triad. The curator is an actor whose functions, methodology and activity have not yet been sufficiently explored in scientific research, which in practice have been diffused, marked by a strong empiricism that does nothing to develop curative theories. He must propose, through mediation, not only the orientation of the artist, but also the education of the gaze, thus revealing an effective interpretation of the world. The curatorship that served as a basis for this thesis was structured in four ethnographic concepts, namely: genocide of the Armenian people, memory, lectures and affective cartography. They were theorists: HANS ULBRICH OBRIST, who motivated the investigation of the materialization of the exhibition space, starting from conversations, meetings and exchanges, with the reinvention of a new meeting point with art, establishing relational and communicational criteria; JOHN DEWEY, whose concepts propitiated a new vision of research resulting from the junction between the new and the old, through the experience of the real, in which the impulsion gains form and solidity; and LÚCIA LEÃO, whose teachings raised the need to understand the process of creative construction of experience, resulting from a mapping of the global and panoramic view of the terrain on which the labyrinth would be projected. As a historical fact, the genocide of the Armenian people, recalled in its 100 years, the methodology used was eminently empirical based on reports, interviews and recordings, collecting files, documents of affection and memories. In order to achieve its purpose, it had, necessarily, an interdisciplinary character, involving, therefore, different areas of knowledge. The field survey lasted for approximately twelve months and its execution lasted for the same period. It is believed that the relevance of this research rests on its provocative character of affections because it revisits the memory and, at the same time, invites the dialogue. This aetiological construction requires study and repertoire acquisition, so that, based on these hypotheses, a great number of aesthetic, historical, political and social relations can be established. It has been demonstrated in this way that the final destination of the archive lies not in its own narrative but in the history that it makes possible / A arte na pós-modernidade não sobrevive por ela mesma, sem gerar influxos no meio social. Ela deve explicitar as visões de mundo que estruturam a realidade, desenvolvendo para tanto uma atividade multifacetada. Na medida em que o sistema das artes se expande pelo mundo, cresce também a demanda por curadores, que veem um notável fortalecimento do seu papel. Dessa forma, discute-se na presente tese o que se deve esperar do curador de arte para o desenvolvimento de critérios na construção de uma exposição, com uma nova narrativa comunicacional, suscitando as seguintes hipóteses: qual a dimensão prática da ação curatorial e suas características atuais? É tarefa do curador de arte a educação do público-alvo? O objetivo geral, portanto, é o estudo de como deve ser a atuação do curador, pautado num saber legitimador da contemporaneidade; e seu objetivo específico é o desenvolvimento de critérios e modelos gerais para essa atuação prática, indene a utopias, num método plasmado na tríade espaço/tempo/ocupação. O curador é um ator cujas funções, metodologia e atividade ainda não foram suficientemente exploradas nas pesquisas científicas, que, na prática, têm se mostrado difusas, marcadas por um forte empirismo que nada coopera para o desenvolvimento de teorias curatorias. Ele deve propor, pela mediação, não só a orientação do artista, como também a educação do olhar, descortinando, dessa forma, uma efetiva interpretação de mundo. A curadoria que serviu de base para a presente tese foi estruturada em quatro conceitos etnográficos, quais sejam: genocídio do povo armênio, memória, palestras e cartografia afetiva. Serviram-lhe de teóricos: HANS ULBRICH OBRIST, que motivou a investigação sobre a materialização do espaço expositivo, partindo de conversas, encontros e trocas reunidas, com a reinvenção de um novo ponto de encontro com a arte, estabelecendo critérios relacionais e comunicacionais; JOHN DEWEY, cujos conceitos propiciaram uma nova visão de pesquisa decorrente da junção entre o novo e o velho, por meio da experiência do real, em que a impulsão ganha forma e solidez; e LÚCIA LEÃO, cujos ensinamentos suscitaram a necessidade de se compreender o processo de construção criativa da experiência, resultante de um mapeamento do olhar global e panorâmico do terreno no qual o labirinto seria projetado. Como se abordou um fato histórico, o genocídio do povo armênio, rememorado nos seus 100 anos, a metodologia utilizada foi eminentemente empírica baseada em relatos, entrevistas e gravações, colhendo-se arquivos, documentos de afeto e memórias. Para a consecução da sua finalidade, teve, necessariamente, caráter interdisciplinar, envolvendo, portanto, diferentes áreas do conhecimento. A pesquisa de campo se prolongou por, aproximadamente, doze meses e a sua execução se estendeu por igual período. Acredita-se que a relevância desta pesquisa repousa no seu caráter provocador de afetos pois revisita a memória e, ao mesmo tempo, convida ao diálogo. Essa construção etiológica requer estudo e aquisição de repertório, para que, com base nessas hipóteses, se possa estabelecer um grande número de relações estéticas, históricas, políticas e sociais. Demonstrou-se, dessa maneira, que o destino final do arquivo está situado, não em sua própria narrativa, mas sim na história que ele torna possível

Arthur Miller's Death of a Salesman, 1949, is traditionally viewed as a modern tragedy. Ample evidence in the text, however, suggests that Miller leans also toward the convention of the Theatre of the Absurd. Miller uses several techniques, including an absurdist handling of set, time and space, thought, action, and language to contribute to the larger absurdist "poetic image" of the death of a salesman. And the thematic interpretation of that image in terms of character and audience suggests the perpetuation of illusion, a common absurdist theme.Because Miller effectively combines the absurdist with the realistic elements of the drama, an absurdist reading of the play does not negate its readings as tragedy and social realism, but rather enhances those readings, providing an important additional perspective from which to view the play. An absurdist reading also establishes a definite tie between this important twentieth century playwright and the influential absurdist convention in theatre. / Department of English

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T15:05:03Z No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-27T19:33:44Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Made available in DSpace on 2018-08-27T19:33:44Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO CLÁUDIO REVISADA.pdf: 3928020 bytes, checksum: 2c7d9abd0c81ee94843524ab3e45548e (MD5) / Essa dissertação é o resultado de uma pesquisa que apresenta o circo moderno como uma empresa de entretenimento desde a sua concepção, revela sobre a sua configuração no Brasil, estruturada num grupo familiar ou mais, como base de sua sustentação. O trabalho expõe o empresário circense como o responsável pela organização e desenvolvimento de estratégias de marketing e propaganda eficazes para a manutenção da empresa circo, exibe um histórico sobre o palhaço do circo e sua evolução ao longo do tempo, tudo isso com o intuito de traçar um paralelo entre as características do circo no Brasil e a empresa de entretenimento Pinduca Show de atrações, fundada e administrada pelo palhaço Pinduca e seus filhos, na cidade de Salvador entre as décadas de 1970 a 1990. / This dissertation is the result of a survey that shows the modern circus as an entertainment company since its inception, says on its settings in Brazil, in a structured family group or more, as the basis of their support. Exposes the circus business as responsible for organizing and developing marketing strategies and effective advertising for the maintenance of circus company, displays a history of the clown in the circus and its evolution over time, in order to draw a parallel between the characteristics of the circus in Brazil and entertainment company Pinduca Show Attractions, founded and run by clown Pinduca and their children in the city of Salvador from the 1970s to 1990.

Orientador: Marcelo Siqueira Ridenti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T01:44:23Z (GMT). No. of bitstreams: 1 Santos_Robsondos_M.pdf: 537268 bytes, checksum: 1e18c6479bd995723fbb8fdd11644a50 (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa propõe realizar uma análise das condições socioculturais intrínsecas ao espaço literário brasileiro na primeira metade do século XX, por meio das crônicas de Graciliano Ramos, reunidas nos livros Linhas Tortas e Viventes das Alagoas. Pautando-se numa abordagem sociológica da literatura, busca-se esclarecer como os escritos ¿ publicados originalmente em jornais e revistas do Rio de Janeiro e de Alagoas, entre 1915 e 1952 ¿ representam elaborações estéticas que sintetizam visões de mundo e que se imbricam à história social brasileira, ao direcionarem seu foco narrativo para os conflitos políticos, às alterações dos grupos detentores do poder, assim como à emergência de novos atores sociais. Objetiva-se ainda demonstrar como as crônicas exprimem o processo de transformações no campo literário e intelectual brasileiro, que não deixa de possuir reverberações na trajetória social e criativa de Graciliano Ramos / Abstract: This research propose a analysis of the social and cultural conditions in the brazilian literary space in the first half of the century XX, by means of the Graciliano Ramos's chronicles, congregated in books Linhas Tortas and Viventes das Alagoas. In conformity with the sociology of literature, looking for to understand this texts that was published originally in the periodicals and magazines of the Rio de Janeiro and Alagoas, between 1915 and 1952. This chronicles represent aesthetic elaborations that relate the brazilian social history. Its focus narrative is directed for the politicians and social conflicts. The investigation too to concern in to indicate how the chronicles show the transformations in the brazilian literary and intelectual field influencing the Graciliano Ramos's creations / Mestrado / Mestre em Sociologia

From the 1850s Glasgow was a major industrial, commercial and mercantile city, with notoriously poor working-class housing. During the 1915 Rent Strike many women physically resisted rent increases and prevented evictions from the tenements. The strikes ended when the Government passed the Rent Restrictions Act 1915, which returned rents to pre-war levels. This was in response to a political and working-class struggle that challenged the rule of law. Rather than focussing narrowly on the role of the women alone, or on the strike as inspiration for anti-capitalist resistance, the 2015 Centenary seemed opportune to examine why the Rent Strike was successful, its place in the longer struggle for decent housing, the role of the Independent Labour Party (ILP) and its leaders, and their collaborations with labour and women’s organisations. From the 1890s the ILP was central to labour’s campaign in elections and in fostering political collaboration with many groups representing labour. John Wheatley and Patrick Dollan, former miners, were leaders in strengthening the ILP organisation and its community relations. This collaborative structure supported the women leading the rent resistance in the tenements. It was also the platform for Wheatley and Dollan, nationally and municipally, to continue their life-long work to improve the housing and living standards of working people. Wheatley became Minister of Health in 1924 in Britain’s first Labour Government, and Dollan was Lord Provost in Glasgow’s first majority Labour Council in 1938. Glasgow’s systemic anti-Irish and anti-Catholic prejudice has, surprisingly, remained unexamined in relation to the Rent Strike. Two historians claimed, without presenting evidence, that bigotry was overcome or briefly transcended. The evidence reviewed here indicated that it did not go away, but that it had no impact on the Rent Strike as it simply offered no stimulus or opportunity to express the existing racist or religious prejudice. / Thesis / Master of Arts (MA) / Glasgow, with notoriously poor working-class housing, was a major centre in 1915 for British engineering, munitions and shipbuilding industries during the First World War. Women who lived in Glasgow’s tenements organised rent strikes and physically resisted rent increases and evictions. They were supported by the Independent Labour Party and the collaborations it developed before and during the war with organisations representing the interests of women and labour. These strikes, the rent agitations in England, and the threat of industrial action in Glasgow, forced the Government to pass the Rent Restrictions Act 1915, which limited rents to pre-war levels. Two former miners, John Wheatley and Patrick Dollan, were leaders in organising this class victory. They recognised the Act’s limitations and then worked nationally and municipally in the longer struggle for better working-class housing. Glasgow’s systemic anti-Irish and anti-Catholic bigotry did not disappear but played no significant role during the Rent Strike.

Ellen G. White and Gustavo Gutierrez make significant contributions on the issue of christians and involvement in politics. A knowledge of their backgrounds and theological orientations is helpful. White was born in 1827. She is accepted as a prophet in the Seventh-day Adventist church. Central to her theology is the sanctuary doctrine which also influences her views on politics. White holds that christians may participate in the "broad" but not the "narrow" aspect of politics. A Roman Catholic priest, Gutierrez was born in 1928. Many regard him as the pioneer of liberation theology. The starting point for his theology is the situation of poverty in Latin America. This influences his views on politics. He also argues for christians' participation in the "broad" but not the "narrow" aspect of politics. White and Gutierrez have more points of agreement than disagreement. Comparing their views on politics provides useful insights on christians' participation in politics. "I declare that: ELLEN G. WHITE AND GUSTAVO GUTIERREZ ON CHRISTIANS AND INVOLVEMENT IN POLITICS: A COMPARATIVE STUDY is my own work and that all the sources that I have used or quoted have been indicated and acknowledged complete references' / Philosophy, Practical & Systematic Theology / M.Th. (Systematic Theology)

My Daddy's Farm is a work of fiction about Clement J. Jones, a man, my great-grandfather, who committed suicide on November 19, 1924. In the early nineteen-twenties, this family man was a well respected, wealthy citizen of his county who--like one-third of his peers--had an active membership in the Indiana Ku Klux Klan. The story is narrated in part by a slightly sympathetic omniscient narrator, but mainly by Hazel Louise Jones, his daughter, who was in her teens when the Klan swept across Indiana in the nineteen-twenties; she was sixteen when her father committed suicide on November 19th, 1924.I have used three variations in this writing, based loosely on the style Gloria Naylor uses in Mama Day. These variations are characterized by the titles of their respective sections: "Our Spring," "Our Farm," "Our Family," and "Our Shame" are all narrated in first person, past tense, by Hazel Jones, Clement's sixteen year old daughter who is speaking as a representative of her family; "Clement J. Jones" and "Hazel Louise Jones" are written in third person, limited omniscient narration; and, "To Margaret," and "To Daddy" sections are present tense, with second person narration from Hazel Jones. Starting with "Our Shame," the story is punctuated by "Document" selections posted at the close of each chapter. These documents are nonfiction: they are news articles taken directly from the Indianapolis Star, the Williamsport Review-Republican, and the Williamsport Pioneer dated 1922, 1923, and 1924; and, they are papers taken out of the "United Klans of America" collection located in the Archives and Special Collections department of Bracken Library, Ball State University.Among sources listed on page 71 of this document, there are a few that were most helpful in providing details about the Indiana Klan: Anti Movements in America, edited by Gerald N. Grob, which reprints "Papers Read at the Meeting of Grand Dragons Knights of the Ku Klux Klan at their First Annual Meeting held at Asheville, North Carolina, July 1923"; and Women of the Klan, by Kathleen M. Blee. Exceptionally helpful was William Lutholtz's Grand Dragon, a well researched work of non-fiction about D.C. Stephenson's rise to power in the Indiana Klan and the development of the Indiana Klan.Three works of fiction especially provided creative direction for this thesis: Mama Day, by Gloria Naylor; Alias Grace, by Margaret Atwood; and, In the Lake of the Woods, by Tim OBrien. / Department of English