The character of Holden Caulfield can be sincerely identified as an ornament. An ornament, such as a flower vase in an impeccable table, or a beautiful desk in the middle of a study room delicately decorated. But for this purposes, Holden Caulfield is a ornament of a society that is not aware of its existence or his importance. An ornament within his family, that looks more like an award cabinet than a loving Christmas postcard.

No description available.

During the Second World War, American comic books were put to use for the war effort as carriers of propaganda. This thesis explores the propaganda in comics that were published with the cooperation of government and military institutions such as the Office of War Information and the United States Marine Corps. The propaganda contained within titles published in tandem with government institutions was primarily communicated through the interplay of the characters of the hero and the enemy or villain. Grouping these characters into recurrent types according to their characterisation allows for close reading of their particular propaganda function. This thesis establishes a connection between the Office of War Information, The Dell Publishing Company, Parents’ Magazine Press and Street and Smith Publications, carrying forward the work of Paul Hirsch (2014). Each of these publishers produced comics that included war related propaganda, as did the Office of War Information itself. Added to this sample are the war comics produced by Vincent Sullivan, the editor of Magazine Enterprises and its subsidiaries, that were published with the cooperation of the US Marine Corps and other military institutions. In addition, a sample of the comics of William Eisner are included in order to demonstrate that the same groupings of hero and enemy occur in fictional comic narratives as well as those that purport to be non-fictional. Similar to Joe Simon and Jack Kirby’s famous creation of Captain America, Eisner produced Uncle Sam in response to the rising patriotic fervour in 1941 as the country increasingly debated and prepared for war. Eisner was later enlisted to produce comics for the Pentagon on war related issues. There is also a discussion of Milton Caniff’s contribution to the US military publication Pocket Guide To China and the Office of War Information publication The Life of Franklin D. Roosevelt, 32nd President of the United States (1943). 6 As a counterpoint to the propaganda function of each type of hero and enemy contained within the commercially published sample, this thesis analyses a selection of unpublished, soldier-illustrated comics from the Second World War thanks to privileged access to the Veterans History Project (2013) at the Library of Congress. These unpublished artefacts demonstrate that the comics medium allowed space for alternative voices to express their reaction to the conflict, resisting the wider propaganda narrative exhibited by the commercial sample and reacting to the loss of individuality and authoritarian structure of the military, while stylistically demonstrating the soldiers’ affinity for comics such as George Baker’s Sad Sack and anti-heroes such as Bill Mauldin’s ‘Willie and Joe’. In this way these soldier-illustrated comics presented a democratic counter-point to the lack of democracy within the armed forces (Alpers, 2003, 158) and exhibit a form of patriotism focused on the ‘grassroots’ elements of American everyday life and culture as opposed to the jingoistic and ideological patriotism of the commercial comics. Methodologically, application of close reading to the content of comics’ narratives, on the level of a particular panel, story, advertisement, or other content, reveals comics to be significant historical sources that offer insight into the propaganda embedded in the popular culture of the period. Critical discourse analysis is applied to the rhetorical elements of the comics in order to explore how many of them served to marganilise particular groups, identifying them as the ‘enemy’ in contrast with the ‘hero’ (Brundage, 2008). Similarly, a semiotic approach informed by the work of Roland Barthes (1973; 1987) is undertaken in order to understand the significance of both visual and rhetorical elements of the texts. Alongside this approach is the methodological assumption of the ‘implied reader’ advocated by Wolfgang Iser’s (1978) that allows the analysis the virtual scope to discuss an idealised reader’s potential response to each text. This notion of the ‘implied reader’ is counterbalanced by a consideration of Stuart Hall’s (1980, 1997) three potential decoding positions in tandem with a consideration of the wider historical context. 7 Once the groups of hero and enemy are identified, subsets of both groups are developed according to their characterisation and the attributes they display. This is done in order to facilitate analysis of the ideology communicated by each of these character types. Identifying the function of each type of hero and enemy makes a new contribution to the wider field of propaganda studies. This contribution encourages a greater understanding of the role played by comics during the Second World War in encouraging ideological propaganda as well as allowing for resistance to it.

The thesis deals with the notion of monologue and monologicity as a peculiar means of expression of the modern drama. The concept of monologue is defined within the frame of its relation towards dialogue, in the context of theoretical thinking about drama and theater, and in terms of the application of these concepts in everyday life.It is based on the theoretical works by Jan Mukařovský and Jiří Veltruský. The concept of monologue as a lack of dialogicity is being challenged with understanding monologue as a haven of authenticity, a space for authentic testimony. Through the general reflection, thoughts are put in connection with modern drama and illustrated on examples from particular drama works. The thesis leads into a reasoning about the dialogue between the stage and the auditorium as a way-out from the monological situation on the stage.

In my thesis I will analyse and present problems of adapting site-specific performances to new, alternative locations. As an example I will use Maribor Theatre Festival 2016 (FBS 2016), where I was involved as technical coordinator. My task was, to coordinate technical realisation of around 30 In my thesis I will analyse and present problematics of adapting site-specific performances to new, alternative locations. As an example I will use Maribor Theatre Festival 2016 (FBS 2016), where I was involved as technical coordinator. My task was, to coordinate techical realisation of around 30 performances on festival venues. In the text, I will focus on 3 performances, that were somehow unique in their form and brought special challenges to our team.When dealing with technical coordination of theatre festival, one must use not only his technical knowledge and organisational skills but also knowledge of theatre theory, scenography and creative thinking. Problems and situations that happen have to be taken in careful consideration, since they can open new view points and bring solutions to existing problems.

This thesis approaches the personal life, artistic creation and dance technique of American dancer and choreographer Mercier Philip Cunningham. The first part focuses on the artist?s life stages during his evolution in dance from the beginnings of his choreographic work, and seeks the origins for the establishment of his own dance company ? Merce Cunningham Dance Company. A chronological overview of his extensive repertoire is also incorporated. The second part deals with collaboration, connection and interaction among the dance, music, design and film fields during the artistic work of Merce Cunningham. Following the author?s experience with Cunningham technique, the final part is directed to an understanding of this dance technique, its principles and specific elements used in contemporary dance world.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-18Bitstream added on 2014-06-13T20:53:10Z : No. of bitstreams: 1 ianuskiewtz_apd_me_arafcl.pdf: 2818002 bytes, checksum: fbf68e8a5d1520071e4ff57d4903c3da (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Iris Murdoch é uma figura dominante na literatura britânica do pós-guerra e também, uma filósofa notável que constantemente denunciou o interesse excessivo da filosofia moral moderna pelos temas da vontade, da deliberação e ação. Para ela, o estudo da ética deveria ter como prioridade o desenvolvimento da percepção estética, a atenção à realidade e, principalmente, a intensa apreensão de outros indivíduos. Murdoch considera a apreciação da beleza na arte e na natureza, não apenas como um exercício espiritual mas também, como uma maneira para alcançar a bondade, evitar o egocentrismo e ganhar o progresso moral. Seus romances são centrados na arte e no amor, pois Murdoch afirma que a boa arte e o amor intenso são intimações da verdade que levam o indivíduo ao aprimoramento moral. The Bell, seu romance publicado em 1958, descreve uma comunidade religiosa anglicana e os vários incidentes decorrentes da substituição do antigo sino da catedral. Esses eventos incitam reflexões em relação a várias questões morais, como por exemplo: a influência da religião e das instituições de poder na conduta moral; o modo de suplantar interesses próprios e o egoísmo em benefício do próximo, o papel das mulheres na sociedade e a maneira pela qual a sociedade é injusta e intolerante com aqueles cuja sexualidade difere da maioria. Assim, o objetivo desta pesquisa é analisar como certas questões da filosofia moral de Murdoch estão apresentadas nesse romance, The Bell, por meio da expressão literária, mostrando que a arte literária e visual estão amplamente relacionadas à sua teoria moral. / Iris Murdoch is a dominant figure of postwar British literature and also a remarkable philosopher who constantly denounced the excessive interest of modern moral philosophy in the themes of will, deliberation and action. According to her, the study of ethics should prioritize the development of aesthetic perception, the attention towards reality and mainly, the intense apprehension of other individuals. Murdoch considers the appreciation of beauty in arts and nature not only as a spiritual exercise but also, as a way to reach goodness, to avoid egocentrism and to gain moral improvement. Her novels are centered on art and love because she considers that great art or intense love can give intimations of truth, and move one towards moral perfection. The Bell, her novel published in 1958, describes an Anglican religious community and the incidents that happened due to the replacement of the old bell of the cathedral. These events incite moral reflections such as: the influence of religion and of the institutions of power in moral conduct; the way to supplant egoism for the benefit of others, the role of women in society and the ways society is unfair and intolerant of those whose sexuality differs from the majority. Thus, the aim of this study is to analyse in which ways some issues of Iris Murdoch moral philosophy are presented in The Bell, by means of the literary expression showing that the literary and the visual arts are closely related to ethics in her moral theory.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Arquitetura e Urbanismo, Programa de Pós-Graduação em Arquitetura e Urbanismo, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-08-08T15:31:32Z No. of bitstreams: 1 2017_GiselleMarieCormierChaim.pdf: 85191262 bytes, checksum: feb7a70188969030251d4a6aeb65b62b (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-11T16:19:29Z (GMT) No. of bitstreams: 1 2017_GiselleMarieCormierChaim.pdf: 85191262 bytes, checksum: feb7a70188969030251d4a6aeb65b62b (MD5) / Made available in DSpace on 2017-09-11T16:19:29Z (GMT). No. of bitstreams: 1 2017_GiselleMarieCormierChaim.pdf: 85191262 bytes, checksum: feb7a70188969030251d4a6aeb65b62b (MD5) Previous issue date: 2017-09-11 / Essa dissertação tem por objetivo principal resgatar e documentar a atuação profissional de Zanine Caldas em Brasília, por meio da apresentação de algumas de suas casas projetadas e construídas na cidade. Arquiteto autodidata, artesão e moveleiro, Zanine morou em Brasília entre 1959 e 1964, onde construiu mais de vinte residências. O trabalho se dividiu em duas frentes principais: a primeira delas consistiu na recuperação e organização de informações que possibilitaram a composição de uma linha do tempo sucinta da vida profissional de Zanine, com foco especial nas temporadas e oportunidades de trabalho em Brasília. A segunda delas, no reconhecimento, levantamento e apresentação de materiais relativos às residências representativas da obra do arquiteto na cidade. A organização dos materiais decorrentes da pesquisa biográfica possibilitou a redação do primeiro e do segundo capítulos, que tratam da formação de Zanine como arquiteto e de sua relação com a madeira, em que as narrativas se construíram permeadas de referências literais aos materiais orais coletados durante entrevistas realizadas com pessoas com quem o arquiteto conviveu. Como a grande parte dos projetos de Zanine são residências, o terceiro capítulo aborda o entendimento teórico da escolha da casa como objeto de estudo e busca reforçar a relevância e a singularidade da obra construída do arquiteto por meio da identificação dos principais aspectos que nortearam a apresentação de seus projetos: implantação e domínio do terreno; composição arquitetônica: partido, proporção e volumetria; expressão estrutural: modulação e ritmo; coberturas e forros; vedações e fechamentos; materialidade e mobiliário. No quarto e último capítulo, finalmente, cinco residências representativas da obra de Zanine em Brasília são apresentadas com base nos critérios definidos. A proposta da dissertação é que a pesquisa documental e o resgate dos materiais arquitetônicos sobre a obra de Zanine seja incentivada e que o material produzido nesse trabalho sirva como motivador para outras pesquisas a respeito da arquitetura realizada pelo arquiteto em madeira na capital. / This thesis aims to recover and register the career path of Zanine Caldas in Brasília through the assessment of some of the houses he designed and built in the city. A self-taught architect, artisan and carpenter, Zanine lived in Brasilia from 1959 to 1964, where he built over 20 houses. This study is presented in two parts: the first consists in a recollection and systematization of information allowing the elaboration of a timeline that corresponds to Zanine’s professional life, focusing especially on his work opportunities and time in Brasilia. The second part identifies, evaluates and presents information related to the houses that best represent his work in the city. The organization of information resulting from biographical research allowed the elaboration of the first and second chapters, which present Zanine’s qualification as an architect and his relation with woodwork. The narrative was developed with literal references to oral sources identified during interviews with persons that were close to the architect or with whom he worked with. Since most of Zanine’s projects consiste of houses, the third chapter deals with the theoretical understanding of having a house as an object of study, aiming to underscore the relevance and uniqueness of the architect’s work through the main aspects that guided the presentation of his projects: implementation and domain of the land; architectural composition: proportion and volume; structural expression: modulation and rhythm; roofings and ceilings; external enclosures and original furniture. In the fourth and last chapter, five houses that are representative of his work in Brasilia are presented according to the aforementioned criteria. Finally, this study aims to encourage further documental research and the recovery of the architectural work of Zanine Caldas. The results of this thesis could serve as a starting point for further research related to the architectural work of the master of wood in the Brazilian capital.

Made available in DSpace on 2014-06-11T19:23:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T20:49:49Z : No. of bitstreams: 1 mattos_wfc_me_ia.pdf: 10420677 bytes, checksum: 442cf3761190b56da22d1f4b5772ea95 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A principal questão abordada neste trabalho é o tratamento das tensões acentuais entre os acentos decorrentes da periodicidade métrica musical e os acentos rítmicos-prosódicos detectados na justaposição dos componentes melódicos verbal e musical da canção. Em nossa hipótese, uma vez identificadas, estas tensões poderliam ser atenuadas ou intensificadas na performance do canto, através do estabelecimento de linhas de interpretação. Para isso, propomos uma série de procedimentos analíticos referenciados por modelos teóricos-aplicativos da lingüística (especialmente a fonogolia prosódica de Nespor e Vogel, 1986) e o modelo de análise prosódica musical de Duarte, 1999. Como objetivo de aplicação, selecionamos as célebres canções de câmara de Cláudio Santoro e Vinícius de Moraes, nas quais o tratamento de tensões rítmico-prosódicas se apresenta como um importante aspecto a ser considerado pelos intérpretes. Através da análise destas canções, verificamos a eficiência aplicativa dos procedimentos propostos. Além da prática interpretativa, este trabalho também visa contribuir com outras áreas de interesse da música, sobretudo a composição e a pedagogia do canto. Em todas essas áreas, ressaltamos a sua utilidade como ferramenta autônoma e/ou integrada a outros modelos analíticos. / The principal question of this study is the treatament of accentual tensions detected which occur as a result of metric preriodicity and rhytmic/prosodic accents manifested in the juxtaposition between verbal and musical components in the melody of the song. It is our hypothesis that, once identified these tensions can be relaxed or intensiefied in the performance of a song, trough the establishment of lines or interpretation. For this, we propose a series of analytic procedures based on theoretic/aplicative models of linguistics (specifically, the prosodic phonology of Nespor e Vogel, 1986) and the model of musical proposody analysis of Duarte, 1999. As our object of apllication, we have selected the celebrated songs of Cláudio Santoro and Vinícius de Moraes, in twhich the rhytmic/prosodic must be considered and resolved by the performes. Through the analysis of these songs, we can verify the efficient application of the proposed procedures. In addition to its practical interpretation, this study also seeks to contibute areas of musical interest above all composition and vocalmpedagogy. In all these areas, we have emphasized its usefulness as a tool when used in isolation or when integrated with other analitical methods.

No description available.