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The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and RachmaninoffHansen, Mark R. (Mark Russell) 12 1900 (has links)
Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.
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Le Cheval de Troie : (roman) ; suivi de l'essai L'expression du sentiment d'abandon chez Anne Hébert, Louise Desjardins, Bruno Roy et Björn LarssonCordeau, Françoise 18 April 2018 (has links)
Partie créative Le coroner de Québec publie un avis de recherche dans Le Soleil afin de retrouver la famille de Daniel, 47 ans, mort subitement sans avoir été légalement identifié. Avec ses parents, son frère Beau prépare les funérailles et cherche à comprendre l'histoire de la vie de Daniel. Le roman porte sur l'abandon d'un enfant par sa mère biologique. Il s'organise autour de la mort de Daniel et du mystère qui pèse sur lui : son isolement, sa rupture avec sa famille, son silence. Le texte débute par la journée des funérailles et l'enterrement des cendres auxquels sont conviés, par les journaux, tous ceux qui souhaitent le saluer une dernière fois. À travers les témoignages des gens ayant répondu à l'invitation et par l'exploration de la maison, Beau et ses parents cherchent à comprendre Daniel avant de le laisser reposer en paix. Partie réflexive La partie reflexive de ce mémoire pose la question : Comment le langage littéraire réussit-il à traduire le mal-être relié à l'abandon ? Elle explore à travers le roman Le cheval de Troie, comment le personnage abandonné s'y prend pour exorciser sa souffrance et se libérer de son fardeau. Ce texte cite des extraits des romans d'Anne Hébert, de Louise Desjardins, de Bruno Roy et de Bjôrn Larsson. Pour parfaire l'étude sur le langage, une réflexion autour de mots qui ont surgi en cours d'écriture s'appuie sur des témoignages d'orphelins, de sociologues et de spécialistes psychosociaux. Il ressort de cette expérience d'écriture une recherche du sens du non-dit.
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Unexpected Unexpected Utilities: A Comparative Case-Study Analysis of Women and RevolutionsCasey, Walter Thomas 12 1900 (has links)
Women have been part of modern revolutions since the American Revolution against Great Britain. Most descriptions and analyses of revolution relegate women to a supporting role, or make no mention of women's involvement at all. This work differs from prior efforts in that it will explore one possible explanation for the successes of three revolutions based upon the levels of women's support for those revolutions. An analysis of the three cases (Ireland, Russia, and Nicaragua) suggests a series of hypotheses about women's participation in revolution and its importance to revolutions' success.
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Fruktansvärd, ospelad och nyskriven - kriser och konflikter kring ny svensk dramatik : från Gustav III:s originaldramatik till dagens beställningsdramatik / Dreadful, “Unplayed” and Newly Written – Crises and Conflicts of New Swedish Playwriting : From the Original Swedish Play Under Gustav III, to the Commissioned Drama of TodayNeuhauser, Charlott January 2016 (has links)
The issue of this thesis concerns a selection of historical debates in which new Swedish drama is under discussion. The studied debates take place in the cultural and political fields and within the fields of theater and literature and deal with a recurring assumption in Swedish theatre history – that new Swedish drama is insufficient. The primary object of this thesis is to find explanations to: why is the Swedish new drama so often described as defective? The following questions, guiding the analysis, are: How are the crises described? What are the stakes? How has the dramatic text been influenced by being judged either as literary product or a product for the stage? How is the playwright’s role described, and perhaps changed, in the crises? The aim of the analysis is to understand how traditions and conventions are shaping the debates and contribute to perpetrate the myth of the malfunctioning Swedish new play. In a historical perspective several attempts have been made to govern new Swedish drama by legislative and political power. New Swedish drama has, for example, been viewed as a possible expression of the nation, as part of shaping the Swedish Welfare state or creating interactive communication with the audience. Despite its many uses, new Swedish drama continues to be describes as flawed. The study starts with King Gustav III:s Swedish theatre where the purpose was to produce Swedish original plays. The study ends with an analysis of a new government grant for new Swedish drama, which was installed in 1999. The chosen debates are analyzed with the help of concepts borrowed from the French sociologist Pierre Bourdieu, looking at each historical situation as a possible moment for the establishment of the field ”new Swedish drama”. The survey ends with eight interviews with playwrights, who are active today. The conditions for the new Swedish drama are the guiding line in this thesis. These conditions are found in the cultural, social and historical contexts that cooperate when a taste or convention is being shaped. They are part of the discourses in the field, where criteria for the new Swedish drama is formulated. In order to understand the significance of, for example, the expression, ”the newly written Swedish drama” research has been pursued in biographical material, historical surveys, and debates in the daily press and in professional journals. Without being a full bourdieuan analysis, the thesis is using concepts from Bourdieu. The work of British feminist theatre historian Tracy C Davis inspires the critical historic perspective.
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A Manifestação da oralidade na literatura regionalista de João Simões Lopes Neto: Os Contos GauchescosLima, Danielle Guglieri 04 June 2007 (has links)
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Previous issue date: 2007-06-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is set forth in the Text and Discourse research line within the oral
and written modalities. Its subject is the study of oral manifestations in literary texts, and
the stories that compose the regionalist literature of writer João Simões Lopes Neto as the
aim of the study. The purpose of this work is to contribute to the studies of language and
literature in the interface of spoken and written language modalities. More specifically: 1. to
examine the manifestations of spoken language in the regionalist literary work by João
Simões Lopes Neto; 2. to analyze its corpus through studies that refer to the constitutive
properties of the speech; and 3. to describe the way in which the manifestations of the
spoken modality of the language permeate the selected texts. The theoretical
substantiation is set forth in Textual Linguistics and the Analysis of Conversations within
the socio-interactional aspect. The material analyzed was selected from the literary work
by João Simões Lopes Neto (2000). The results obtained indicated that in the short story,
a textual/discursive genre, the spoken modality of the language is present by means of the
constitutive properties of the speech, such as the discursive topic, conversational turn,
conversational markers, and adjacent pairs. We concluded thus that studies regarding the
spoken modality of the language, as opposed to those of the written modality, contribute to
a possible significance when reading a regionalist text. However, such studies need to be
continuous, for the realized investigation was only centered upon the regionalism of João
Simões Lopes Neto. It is necessary to open new perspectives for the study of other
regionalist short stories, insofar as the textual/discursive genre / Esta dissertação situa-se na linha de pesquisa Texto e Discurso, nas modalidades
oral e escrita. Tem por tema o estudo das manifestações orais em textos literários, e, por
objeto de estudo, os contos que compõem a literatura regionalista do escritor João
Simões Lopes Neto. O objetivo deste trabalho é contribuir para os estudos da língua e
literatura, na interface das modalidades de língua falada e escrita. Especificamente: 1.
examinar as manifestações da língua falada na obra regionalista de João Simões Lopes
Neto; 2. analisar o corpus, por meio dos estudos referentes às propriedades constitutivas
da fala; 3. descrever de que maneira as manifestações da modalidade falada da língua
permeiam os textos selecionados. A fundamentação teórica situa-se na Lingüística
Textual e na Análise da Conversação, vertente sócio-interacional. O material de análise
foi selecionado da obra de João Simões Lopes Neto (2000). Os resultados obtidos
indicaram que no conto, gênero textual/discursivo, a modalidade falada da língua está
presente por meio das propriedades constitutivas da fala: tópico discursivo, turno
conversacional, marcadores conversacionais e pares adjacentes. Concluímos que os
estudos, da modalidade falada da língua, em contraponto aos da modalidade escrita,
contribuem para que a leitura de um texto regionalista possa ser significativa. Não
obstante, tais estudos precisam ter continuidade, pois a investigação realizada foi
centrada apenas no regionalismo de João Simões Lopes Neto. Faz-se necessária a
abertura de novas perspectivas para o estudo de outros contos regionalistas, enquanto
gênero textual/discursivo
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O fantástico nos contos de Murilo Rubião e de Julio Cortázar: entre o mito literário e a polimetáforaBoranelli, Valdemir 23 April 2008 (has links)
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Previous issue date: 2008-04-23 / Secretaria da Educação do Estado de São Paulo / In the 19th century the fantastic literature has opened itself to its own
invention and from that fact emerged arbitrariness and inconsequence. From
this point on the purpose of the study is the relation between two aspects the
real and the fantastic - building up the narrative action in the short stories by
Murilo Rubião and their literary value.
The objective of the study will be the analysis of some short stories by
Murilo Rubião: A fila (1974); A noiva da casa azul (1947); Bárbara (1947);
O lodo (1974); Teleco, o coelhinho (1965). The analysis of these short
stories focus the main research subject: to recognize how verisimilitude works
in fiction and the way metaphor and hyperbole are applied as multimetaphors,
taken as a poetic work, in the light of the short stories by Julio Cortázar.
We have searched some of the short stories by the Argentinian writer
Julio Cortázar: Carta a una señorita en Paris (1951); Cartas de Mamá
(1970); En nombre de Boby (1977); La autopista del sur (1966); Las manos
que crecen (1945).
Since Cortázar introduced the fantastic genre in the short story, to verify
likelihood and dissimilarity among the narrative proceedings, trying to determine
their viability and the results from theoretical presuppositions and to identify
their validity applied to the theoretical reading of the fantastic genre.
In face of these objectives we consider the challenging transparency of
the fantastic like an imaginary fiction that cannot be translated except by
ambiguity and for the eye s inquisitive and renewed time transposition to reality.
These concernings are about the function performed by the multimetaphor from
an analogical matrix elaborated between both the entities, and this fact
materializes the myth being transferred to reality the myth as a multimetaphor.
The corpus is analysed and described according to three of the structural
features proposed by Todorov (2004): the verbal, the syntatical and the
semantical matter through which a study has been done on the tropes metaphor
and hyperbole those articulate as key-figures both in Murilo Rubião and Julio
Cortázar s short stories.
The last consideration refers to the analysis and acknowledgement of
conceptions of these elements that structure the modern fantastic narrative by
Murilo Rubião, producing as a result the realism of the multimetaphor as a
phenomenon of language, concerning to the conception of Erdal Jordan
presented in La narrativa fantástica (1998) / A literatura fantástica, no século XIX, abriu-se para sua própria invenção,
surgindo assim, o arbitrário e o inconseqüente. A partir daí, o objeto de estudo
é a relação real e fantástico construindo a ação narrativa nos contos de Murilo
Rubião, e o seu valor literário.
O foco de estudo será a análise de alguns contos de Murilo
Rubião: A f ila (1974); A noiva da casa azul (1947); Bárbara
(1947); O lodo (1974); Teleco, o coelhinho (1965). A análise
desses contos investe no problema central de pesquisa: reconhecer o
trabalho da verossimilhança na ficção e no modo como a metáfora e a
hipérbole são aplicadas como polimetáforas na qualidade de fenômeno poético,
à luz dos contos de Julio Cortázar.
Recorremos a alguns contos do escritor argentino Julio
Cortázar: Carta a una señorita en París (1951); Cartas de Mamá
(1970); En nombre de Boby (1977); La autopista del sur (1966);
Las manos que crecen (1945).
Justif ica-se o apoio formal de Cortázar, por ser o pioneiro do
fantástico no gênero conto, para verif icar aproximações e
distanciamentos entre os procedimentos narrat ivos, procurando
detectar a viabilidade e os efeitos dos pressupostos teóricos e
para detectar a sua validade em aplicação na leitura especulat iva
do gênero fantástico.
Diante destes objetivos, consideramos que a transparência
desafiadora do fantástico é um imaginário que não se deixa traduzir, senão
pela ambigüidade e pelo deslocamento temporal inquisitivo e renovado do olhar
para o real. Trata-se da função exercitada pela figura da polimetáfora, a partir
de uma matriz analógica elaborada entre as duas entidades, fato que
concretiza o mito em transferência para o real o mito como polimetáfora.
O corpus é analisado e descrito segundo três traços estruturais
propostos por Todorov (2004): o verbal, o sintático e o semântico, por meio dos
quais faz-se um estudo sobre as figuras de retórica, metáfora e hipérbole, as
quais se articulam como figuras-chave e modificadores, tanto nos contos
murilianos, quanto nos cortazarianos.
O último passo remete à análise e à interpretação conceitual destes
elementos que estruturam a narrativa fantástica muriliana moderna, efetivando
o realismo da polimetáfora como fenômeno de linguagem, segundo a
concepção de Erdal Jordan apresentada em La narrativa fantástica (1998)
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A questão do gênero em Sá-Carneiro: entre o poético e o narrativoNery, Michele Lima 30 April 2010 (has links)
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Previous issue date: 2010-04-30 / Secretaria da Educação do Estado de São Paulo / This research is about the work Asas, from Mário de Sá-Carneiro, present at the collectanea Céu em fogo, 1915. The main purpose of the research is to verify and analyze the route of the poetic language in the work and infer about the possible meanings of these language to the literature style, having as a base the presence of poetry on prose.
So we have elaborated a panorama of all the context of the production and uprise of the Orpheu movement, base of the sensationism, poetic movement created by Fernando Pessoa, based mainly on the principle of sensation as a base of everything in the world and its most conscious side, the intersectionism. This way, we have established, in the chapter, the theoretical instrument of the research, that is, the stylistic features of the founders of the sensationism and intersectionism and so, the characteristics of the poetic language which will be analyzed on the text of Sá-Carneiro.
After those refections, we have analyzed the work Asas, corpus of the research. The analyses of the text were made from the observation of the poetic language of the text. This way, we have followed how the poetic language was born on the text, since its first and simpler manifestations to the point that, at the end, we have transcripted on the text two poems: Além and Bailado, which represent the embodiment of the poetry on prose / Esta pesquisa trata da obra Asas, de Mário de Sá-Carneiro, inclusa na coletânea Céu em fogo, 1915. O objetivo da pesquisa é verificar e analisar o percurso da linguagem poética na obra e inferir quais são os possíveis significados dessa linguagem para o gênero, tendo como base a presença da poesia na prosa.
Em face disto, elaboramos um panorama de todo o contexto de produção e nascimento do movimento do Orpheu, base sobre a qual se assentou o sensacionismo, corrente poética criada por Fernando Pessoa que se baseava, fundamentalmente no princípio da sensação como base de tudo no mundo e sua vertente mais consciente, o interseccionismo. Dessa forma, estabelecemos o instrumental teórico da pesquisa, isto é, os traços estilísticos fundadores do sensacionismo e do interseccionismo e, por conseguinte, as características da linguagem poética que estudamos no texto de Sá-Carneiro.
Após tais reflexões, realizamos a análise da obra Asas, corpus da pesquisa. A análise do texto é desenvolvida a partir da observação da linguagem poética presente no texto, acompanhando o surgimento nele do poético, desde suas primeiras e mais simples manifestações, até o ponto em que, ao final, aparecerem transcritos dois poemas: Além e Bailado, que representam a própria corporificação da poesia na prosa
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Bárbara e Dona Redonda: de Murilo Rubião a Dias Gomes, realismo maravilhoso e retextualização / Bárbara and Dona Redonda: from Murilo Rubião to Dias Gomes, marvelous realism and retextualizationVeras, Gléssia Juliany Brasiliano 12 March 2018 (has links)
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Previous issue date: 2018-03-12 / The present research aims at developing a study on the similarities between the character Dona Redonda, in the telenovela Saramandaia (1976/original version and 2013/remake) by Dias Gomes, and the character Bárbara, in the short story Bárbara (1947) by Murilo Rubião, which can be understood as a form of retextualization. The concept of retextualization refers to a type of translation process that emphasizes the creation of a new text from a previous one, bringing the past back to present while promoting future possibilities for the creation of new texts (PLAZA, 2008). Retextualization implies that all forms of text are intersections of different textual bodies, that is, the so-called rewritings or translations which will always establish connections with previous texts. The analysis focuses on identifying and reflecting upon the points that intertwine such works in terms of similarity, by observing the relationship between them, remarkably perceived through the concept of the magical realism, genre shared by both works. This study also intends to reveal in which sense the character Bárbara, by Murilo Rubião, bears similarities to Dona Redonda, in the fictional world of Saramandaia / Este trabalho tem como objetivo desenvolver um estudo sobre as aproximações entre a personagem Dona Redonda da obra Saramandaia (1976/original e 2013/refilmagem), de Dias Gomes, como uma forma de retextualização da personagem Bárbara do conto Bárbara (1947), do autor Murilo Rubião. O conceito de retextualização refere-se a um tipo de processo tradutório cuja ênfase é a criação de um novo texto a partir de um texto prévio, o qual traz o passado para o presente, ao mesmo tempo em que lança possibilidades futuras para construção de novos textos (PLAZA, 2008). A retextualização implica que todas as formas de texto são intersecções de outras faces textuais, isto é, são traduções ou reescritas que dialogam entre si. Dessa forma, a análise proposta pretende identificar e traçar uma reflexão a respeito de questões que unem essas obras por similaridade, observando a relação entre elas expressa principalmente por meio do realismo maravilhoso, gênero que ambas as obras partilham. Este estudo se propõe a estudar de que forma a personagem Bárbara, de Murilo Rubião, se aproxima da personagem Dona Redonda, no mundo ficcional de Saramandaia
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Active Enchantments: Form, Nature, and Politics in American LiteratureKuiken, Vesna January 2015 (has links)
Situated at the crossroads of literary studies, ecocriticism and political theory, Active Enchantments explores a strain of thought within American literature that understands life in all of its forms to be generated not by self determined identities, but by interconnectedness and self abandonment. I argue that this interest led American writers across the nineteenth century to develop theories of subjectivity and of politics that not only emphasize the entanglement of the self with its environment, but also view this relationship as structured by self overcoming. Thus, when Emerson calls such interconnectedness "active enchantment," he means to signal life's inherent ability to constantly surpass itself, to never fully be identical with itself. My dissertation brings to the fore the political and ecological stakes of this paradox: if our selves and communities are molded by self abandonment, then the standard scholarly account of how nineteenth century American literature conceptualized politics must be revised. Far from understanding community as an organic production, founded on a teleological and harmonizing principle, the writers I study reconceive it around a sense of a commonality irreducible to fixed identity. The politics emerging out of such redefinition disposes with the primacy of individual or human agency, and becomes ecological in that it renders inoperative the difference between the social and the natural, the human and the non human, ourselves and what comprises us.
It is the ecological dimension of what seems like a properly political question that brings together writers as diverse as Emerson and Sarah Orne Jewett, Margaret Fuller and Henry and William James. I argue, for example, that in Jewett's The Country of the Pointed Firs, racial minorities emerge from geological strata as a kind of natural archive that complicates the nation's understanding of its communal origin. When she sets her romances on Native American shell mounds in Maine, or makes the health of a New England community depend on colonial pharmacopoeia and herbalist healing practices of the West Indies, Jewett excavates from history its silent associations and attunes us not only to the violent foundation of every communal identity, but to this identity's entanglement in a number of unacknowledged relations. Her work thus ultimately challenges the procedures of democratic inclusiveness that, however non violent, are nevertheless always organized around a particular notion of identity. The question of the self's constitutive interconnectedness with the world is as central to Margaret Fuller's work. Active Enchantments documents how Fuller's harrowing migraines enabled her to generate a peculiar conception of the "earthly mind," according to which the mind is material and decomposable, rather than spiritual, incorruptible or ideal. This notion eventually led her to devise a theory of the self that absolves persons from self possession and challenges the distinctiveness of personal identity. My concluding chapter argues that Henry James's transnational aesthetics was progressively politicized in the 1880s, and that what scholarship celebrates as the peak of his novelistic method develops, in fact, out of a network of surprising and heretofore unexplored influences, William James's concurrent theories of corporeal emotion, Mikhail Bakunin's anarchism, and Henry James's friendship with Ivan Turgenev, which inflamed James's interest in British politics, the Russo Turkish War, and the Balkan revolutions.
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O romance epistolar de Ina Von Binzer : um documento de interculturalidade brasileiro-alemãCabral, Lisanea Weber Machado January 2010 (has links)
Die deutsche Erzieherin Ina von Binzer reiste nach Brasilien und hielt sich von 1881 bis 1884 hier auf. Unter dem Pseudonym Ulla von Eck schrieb sie Briefe, die später unter dem Titel Leid und Freud einer deutschen Erzieherin in Brasilien veröffentlicht wurden. Das Buch berichtet von den Erfahrungen Inas in diesem Land, während sie als Hauslehrerin in den Provinzen von São Paulo und Rio de Janeiro arbeitete. Ihr Zeugnis kann als didaktisches Hilfsmittel dienen, indem es uns dabei hilft, die Geschichte der Erziehung in unserem Land zu verstehen. Überdies regt es Reflexionen über unseren heutigen Schulunterricht an. Obwohl ihren Berichten die Details und die Objektivität der Erzählungen männlicher Reisender fehlen, ermöglichen sie uns Einblicke in die soziale, wirtschaftliche und politische Wirklichkeit im Brasilien des späten 19. Jahrhunderts, d.h. in die Epoche der Proklamation der Republik und der Abschaffung der Sklaverei. Nur wenige Jahre vor der endgültigen Abschaffung im Jahre 1888 erkennt Ina von Binzer positive, aber auch negative Aspekte der Beendigung der Sklavenwirtschaft. Die deutsche Erzieherin schildert mit großer Genauigkeit das häusliche Umfeld der brasilianischen Familien und die Gesellschaft des Landes im weiteren Sinne. Dies erlaubt uns die Untersuchung der kulturellen Grenzüberschreitungen, d.h. die Konstruktion von Identitäten und Alteritäten bezüglich der deutschen und der brasilianischen Kultur. / A educadora alemã Ina von Binzer emigrou para Brasil e aqui permaneceu entre os anos 1881 e 1884. Usando o pseudônimo de Ulla von Eck, ela escreve cartas que mais tarde são publicadas sob o título Os meus romanos: alegrias e tristezas de uma educadora alemã no Brasil. O livro relata as experiências que Ina viveu enquanto preceptora nos estados de São Paulo e Rio de Janeiro. Seus depoimentos servem como instrumento didático, possibilitando a compreensão da história da Educação em nosso país, além de trazer à luz reflexões sobre o nosso ensino atual. Embora os relatos da professora não sejam tão específicos e objetivos como os de um viajante, eles nos proporcionam nuançar registros de condições sociais, econômicas e políticas no Brasil do final do século XIX, isto é, no período da Proclamação da República e da Abolição da Escravatura. Em relação à iminente Abolição de 1888, Ina reconhece aspectos não só positivos, mas também negativos. A educadora alemã relata também com bastante precisão o ambiente doméstico das famílias brasileiras e a sociedade como um todo. Tais depoimentos permitem-nos uma investigação do funcionamento das transferências culturais, isto é, a construção de identidades e alteridades entre as culturas alemã e brasileira.
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