Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / Autor no autoriza el acceso a texto completo de su documento. / El presente informe aborda la vida y obra de Teresa Wilms consignada en los textos recopilatorios a cargo de Ruth González-Vergara, con el propósito de reflexionar en torno a la relación que existe entre la escritura autobiográfica de Wilms y el contexto histórico y “personal” que rodean su obra autobiográfica y literaria, además de caracterizar el sujeto femenino que se constituye en la escritura de los diarios y cuáles son los recursos utilizados. La aproximación teórico-crítica que se hará de los textos contempla, por un lado, la lectura de los diarios de Teresa Wilms con características particulares del género autobiográfico; la autobiografía y el diario íntimo, además, considera las reflexiones previas realizadas en torno a la obra y vida de Teresa Wilms por diversos autores. A lo largo de la revisión bibliográfica y el análisis de los diarios encontramos que éste tipo de escritura se constituye como una respuesta al contexto que circunda a la autora y su obra, con lo que los diarios se convierten en “obras abiertas” que dialogan, directa e indirectamente con el entorno. Palabras Clave: Teresa Wilms Montt, escritura autobiográfica, diario íntimo, espacio público/ espacio privado, rol de la mujer.

Over the last twenty-five years, women's historians have striven with the problem of how to uncover women's lives in the past. The early concern with merely "retrieving" women's life stories has recently been augmented by a more theoretically- informed approach which takes into consideration issues of experience, voice, and representation, and which challenges the notion of absolute objectivity. This study was designed as a contribution to the latter type of historical research informed by the sociological debates on these issues, and was influenced by feminist materialist approaches that insist on accounting for both the content of experiences and the various discursive positions occupied by subjects. Specifically, it examines the bases of identity construction in the lives of two women teachers (Susan Abercrombie Holmes and Susan Suckley Flood) in nineteenth-century British Columbia, a context in which relatively little work on the history of women has been done. Identity is not perceived as given or static, but rather as constructed, changing, and sometimes contradictory. Even those markers of identity commonly called upon to describe a person- such as gender, race, class, religion, and nationality-are seen as problematic, and their ambiguities are discussed in relation to the life stories of the two women. Subsequently, the effects of these "markers" are further adumbrated through an examination of some of the less obvious ways in which the women's identities were constructed. These are all seen as interrelated, and include the influences of their families of origin on the women's earlier lives, especially regarding their education and marriage decisions, their functions as economic agents, their social relationships, and their self-images or self-representations. To the extent that these were fashioned by their gender identity, many similarities can be seen in their lives, but their experiences also diverged (widely or narrowly) as a result of their differences in other aspects, notably racial identity. These differences had a profound effect on the type and degree of material and ideological constraints placed upon them, and thus on the degree to which they were able to shape the construction of their own identities. / Education, Faculty of / Graduate

The majority of books about Saint-Säens cover his life, compositions, contemporaries, and French music in general. Although his life is well documented, most sources present only brief analyses of his works; there is not one single comprehensive and exhaustive study of the Piano Concerto in F Major, Opus 103, available in the current literature. This study aims at filling the gap by providing other musicians interested in performing this piece with an initial study-guide. The research for this study focuses on several aspects of Saint-Säens' music. The currently available literature and past research is thoroughly examined, appraised, and quoted when relevant to the discussion. The original score of the concerto is analyzed regarding its form, compositional style, and performance indications. Diagrams, charts, and musical examples are presented to illustrate and substantiate the researcher's conclusions. Chapter I presents the topic and purpose of this study, a brief biography of Saint-Säens, a chronological overview of his five piano concertos, and the historical background of the Piano Concerto No. 5 in F Major, Opus 103. Chapter II presents a formal analysis and a compositional analysis of Opus 103. Chapter III presents a perspective of Saint-Säens playing style and performance recommendations by the author. Chapter IV concludes this study by determining the importance of Opus 103 in piano literature and by explaining the reason that performers with professional aspirations should consider including this concerto in their repertoire.

Orientador: Sonia Giubilei / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-14T13:02:28Z (GMT). No. of bitstreams: 1 Spigolon_NimaImaculada_M.pdf: 4380442 bytes, checksum: 7ffed763950c1c83858789613565a109 (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa traz a lume Elza Freire e expõe discussões e considerações sobre resultados da investigação científica, cujo objetivo principal foi identificar contribuições e demonstrar influências para a Educação Brasileira e, em particular a Educação de Adultos. Assim, por meio da análise de sua trajetória pessoal e profissional, compreendemos o contexto histórico, cultural e sócio-político com destaque à Recife. Considerando que para nós, Elza Freire se insere num escopo amplo de pesquisa, apresentamos o período compreendido entre 1916 a 1965. O trabalho assume outra dimensão a partir do casamento com Paulo Freire em 1944; sob esse aspecto do estudo, demonstramos a teoria formulada por nós, como Pedagogia da Convivência, onde teriam sido fundadas bases para o "método" desenvolvido e as "teorias" formuladas por Paulo Freire, possibilitando estruturação, fundamentação e consolidação das experiências com Adultos, o que nos remete à gênese dessa Educação no Brasil, com ênfase à participação de Elza como sistematizadora das palavras geradoras. Como metodologia, destaca-se o levantamento das diversas fontes de pesquisa incorporadas ao mapeamento bibliográfico, as descrições e análises dos manuscritos de Elza e, por fim a técnica da entrevista em narrativas. Os aportes da abordagem qualitativa foram utilizados e estruturados segundo uma lógica indutiva. Decidimos expor as décadas em ordem cronológica, utilizando fontes iconográficas inseridas ao texto para a composição histórica, o que possibilitou movimento e significado entre documentos, fatos e fragmentos, pois Elza é o sujeito que regula e configura as temporalidades da pesquisa. As considerações provisórias apontam para o surgimento de categorias "Elzanianas", acompanhadas de sua biografia, acreditamos encontrar em sua formação acadêmica e atuação profissional, informações que constituíram a educadora e intelectual, fundamentando sua prática político-pedagógica inovadora e vanguardista, cujo espírito crítico-solidário se consolidou e desdobrou em prol da humanidade; sobretudo, identificar a participação de Elza no pensamento e na práxis de Paulo Freire ao apreendermos seu legado para a Educação. / Abstract: The present research brings Elza Freire to light and exposes the debates and considerations about the results of the scientific investigation, whose main objective was to identify her contribution and show her influence onto Brazilian Education and particularly to Adults Literacy. Hence, through the analysis of her personal and professional trajectory, the historical, cultural and socio-political context was sought to be understood. Considering that for us Elza Freire inserts herself in a topmost purpose, the period from 1916 to 1965 is shown in this dissertation. From her marriage to Paulo Freire in 1944, the search gets another dimension; under this aspect of the study, we demonstrate the theory formulated by us, like Cohabitation Pedagogy which were founded basis for the "method" developed and "theories" put by Paulo Freire, enabling structure, rationale and consolidation of experiences with adults, which brings us back to the genesis of Education in Brazil, with emphasis on the participation of Elza and systematizing generated words.As work methodology we adopted a survey of resources, including the bibliographic material to the description and analysis of the manuscripts made by Elza, using the contribution of qualitative approach and finally, the semi-organized interview techinique through narratives. . The contributions of the qualitative approach were used and structured in na inductive logic. We decided to arrange those decades in chronological order explaining the historical essay by using iconographic sources, which could enable movement and meaning between the facts and fragments, since Elza is the subject who sets and represents the transience of this research. Interim considerations point to the emergence of categories "Elzanianas' accompanied by her biography, we find in her academic and professional activities, information that formed the intellectual and educator, basing her pedagogicpolitical practice innovative and avant-garde, whose critically - solidarity consolidated and deployed in support of humanity, especially to identify Elza's participation in Paulo Freire's thoughts and practices apprehending her legacy to the Brazilian Education. / Mestrado / Administração e Supervisão Educacional / Mestre em Educação

Orientador: Cassiano Sydow Quilici / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T23:37:06Z (GMT). No. of bitstreams: 1 Pereira_DanielaAlves_M.pdf: 598883842 bytes, checksum: 6cc7d749e9b14d3eb45d0b2b6c6f7438 (MD5) Previous issue date: 2015 / Resumo: Joseph Beuys pertence a uma geração de artistas que buscou discutir a arte como uma possibilidade de ação e conhecimento. Este trabalho tem como ponto de partida a discussão das Aktiones do artista, que a partir de 1960 passam a ser sua principal prática. As ações apontam as tentativas de Beuys de encontrar na arte uma lugar de recriação dos conceitos de pensamento, vontade, criatividade e sensibilidade. A partir daí, elegemos uma possível crise da ação como mote para análise do teatro contemporâneo. Iniciamos a discussão com uma tentativa de contextualizar a ação teatral contemporânea e como ela tem se distanciado de suas referências dramáticas aproximando-se das ideias de experiência e acontecimento. Em seguida, introduzimos as Aktiones beuysianas para podermos repensar o processo de criação do ator/performer dentro de um possível campo de produção artística diversificado e com limites estéticos expandidos, até mesmo além da arte. Chegamos, por fim, a aproximação do conceito de escultura, proposto por Beuys e do seu conceito de ação numa tentativa de entendê-la como indissociável da vida e dos pensamentos do artista, como uma atitude politica e estética capaz de provocar transformações na qualidade do agir humano / Abstract: Joseph Beuys belongs to a generation of artists who aimed to discuss art as a possibility of action and knowledge. This research takes as its starting point the discussion of the artist Aktiones, which since 1960 become his main practice. The actions leads to Beuys¿ attempts to find a place in the art of recreating concepts of thought, will, creativity and sensitivity. From this point, we elected a possible crisis of the action as a theme for analysis of the contemporary theater, a discussion its started with the attempt to contextualize contemporary theatrical action and how it has distanced itself from the dramatic references and approached the idea of experience and event; then we introduce the beuysians Aktiones in order to rethink the creative process of the actor / performer within a possible diverse artistic production field and expanded aesthetic limits, even beyond art. We finally arrived to an approach to the concept of sculpture, proposed by Beuys and the concept of action in an attempt to understand the action as inseparable from the life and thoughts of the artist, as a political and aesthetic attitude capable of causing changes in the quality of the human act / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Orientador: Maria José de Azevedo Marcondes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T02:49:03Z (GMT). No. of bitstreams: 1 Piva_MarciaHelenaGirardi_D.pdf: 11969821 bytes, checksum: 960692ae33072b63006d86ef21662d6c (MD5) Previous issue date: 2015 / Resumo: O objeto de estudo desta pesquisa concentra-se, inicialmente, sobre a produção do artista Anselm Kiefer, a partir de sua exposição Monumenta 2007, no Grand Palais, em Paris - evento que gerou discussões relevantes no âmbito teórico acadêmico além de novas referências sobre questões primordiais que abrangem a arte contemporânea. O tema a ser abordado nesta investigação discutirá a permanência de alguns aspectos originários do projeto romântico alemão, a partir da observação de sua continuidade na produção de alguns artistas da atualidade. A obra de Anselm Kiefer será o objeto mediador desta análise, ressaltando-se os necessários e amplos questionamentos que deverão acompanhar esta reflexão, levando-se em conta a complexidade das mudanças do século XXI. Anselm Kiefer retoma o tema da paisagem na segunda metade do século XX e passa a traçar conexões que nos instiga à reflexão filosófica, sobre um pensamento confrontado com cenários desconcertantes. As ruínas do pós-guerra e os atuais cenários das ruínas industriais e ambientais, passam a ser um novo solo para reflexão sobre redes suficientemente potentes que conectam diversos tempos, configurando novas investigações que permeiam a arte contemporânea. A análise de uma continuidade do projeto romântico dentro das diversas vertentes da arte atual possibilita o início de uma discussão sobre a permanência deste projeto, centrada na questão sobre a obra de arte passar a ser tomada, a partir do romantismo, como núcleo de reflexão e crítica do momento vivenciado pelo artista. Assim, com o intuito de trazer tal discussão para o âmbito artístico brasileiro, as análises feitas para a comprovação desta tese entrelaçarão - a partir das constatações já referidas por diversos autores sobre aspectos românticos presentes na obra contemporânea de Anselm Kiefer -, outros artistas que possibilitam relações com sua obra e, consequentemente com o projeto romântico alemão, a partir da observação de elementos formais, históricos ou críticos que, nesta tese buscou em obras específicas dos artistas Frans Krajcberg e Carlos Vergara uma forma de constatação de elementos que se entrelaçam para além da cultura de cada um deles. Na relação criada nesta pesquisa, entre as obras dos artistas de culturas distintas, buscou-se um alicerce nos estudos de Aby Warburg apoiado em autores da atualidade que discutem sua obra. Serão analisados com maior ênfase o trágico e o sublime na paisagem, apoiados sobre a reflexão e crítica do momento presente, destacando-se os devidos deslocamentos de tais temas, presentes de forma significativa na arte contemporânea. Assim, esta pesquisa busca o diálogo entre os aspectos que foram iniciados no romantismo e que hoje mostram sua permanência na arte da atualidade, assim como ampliar relações, através de novas conexões, sobre metodologias utilizadas para se conceber a história da arte / Abstract: The object of this research study focuses initially on the production of artist Anselm Kiefer, from his exhibition Monumenta 2007 at the Grand Palais in Paris - an event that generated relevant discussions in the academic theoretical sphere and new references on primordial questions covering contemporary art. The topic to be addressed in this research will discuss the permanence of some aspects originating from the German romantic, from the observation of continuity in the production of some present-day artists. The work of Anselm Kiefer will be the mediator object of this analysis, emphasizing the necessary and broad questions that must follow this reflection, taking into consideration the complexity of the changes of the XXI century. Anselm Kiefer takes up the theme of landscape in the second half of the twentieth century and begins to trace connections that encourage us to philosophical reflection on a thought faced with disturbing sceneries. The post-war ruins and the current scenarios of industrial and environmental ruin, become a new ground for reflection on sufficiently powerful networks that connect many times, setting new investigations that permeate contemporary art. Analysis of a continuing romantic project within the various strands of contemporary art enables the start of a discussion on the permanence of this project, centered on the question of the artwork now be taken from the Romanticism, as core of reflection and criticism of the moment experienced by the artist. Thus, in order to bring this discussion to the Brazilian artistic context, the analyzes of this thesis will connect - from the findings already referred by several authors about romantic aspects in the contemporary work of Anselm Kiefer - other artists that enable relations with his work and consequently with the German romantic, from the observation of historical or critical formal elements, that this thesis seek in specific works of artists Frans Krajcberg and Carlos Vergara a way of finding elements that intertwine beyond culture of each one. At the relationship established in this study, among the works of artists from different cultures, we sought a foundation in the study of Aby Warburg supported by present authors that discuss their work. It will be analyzed with greater emphasis the tragic and the sublime in landscape, supported on the reflection and critique of the present, highlighting the appropriate displacements of such themes, significantly present in contemporary art. Thus, this research seeks dialogue among the aspects that were started in romanticism and now show their permanence in today's art, as well as expanding relationships through new connections, on methodologies used to conceive the history of art / Doutorado / Artes Visuais / Doutora em Artes Visuais

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T00:01:50Z (GMT). No. of bitstreams: 1 Oliveira_CarolineLadeirade_M.pdf: 1526609 bytes, checksum: 988bf2105419130daa89a08b260750b1 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem a intenção de compartilhar algumas aproximações percebidas entre as obras do educador brasileiro Paulo Freire, do teatrólogo Augusto Boal e reflexões sobre o fazer artístico de cantoras brasileiras contemporâneas. Através de entrevistas com quatro cantoras e a experiência de trabalho da autora, alguns alinhavos são tecidos entre as reflexões das profissionais e conceitos presentes na obra freireana: Palavra, Diálogo e Inéditos Viáveis / Abstract: This research intent is to share some approaches perceived between the works of Brazilian educator Paulo Freire, the play writer Augusto Boal and reflections on the artistic work of contemporary Brazilian songstresses. Through interviews with four singers and work experience of the author, some alignment is woven between the reflections of these professionals and the concepts presented in Paulo Freire¿s work: Word, Dialogue and Unprecedent Viable / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Informe de Seminario para optar al grado de Licenciado en Filosofía

Magister Artium - MA / This mini-thesis makes an argument for the significance of a female-dominated hidden tradition of experimental ethnographic writing in British social anthropology. It argues that the women anthropologists who experimented with creative forms of ethnography were doubly marginalised: first as women in an androcentric male canon in British social anthropology and American cultural anthropology, and second as creative writers whose work has been consistently undervalued in sombre scholarly circles. The study proposes that Hilda Beemer Kuper (1911-1995) and Edith Turner (1921-2016) should be regarded as significant in a still unexcavated literary tradition or subgenre with Anglo-American anthropology. It showcases the narrative craft of Kuper through a detailed textual analysis of her two most accomplished experimental ethnographies A Witch in My Heart (written in 1954, performed in 1955, and published in siSwati in 1962 and English in London in 1970) and A Bite of Hunger (written in 1958 and published in America in 1965). I highlight Kuper‟s multiple literary techniques in evoking of the fraught position of young Swazi co-wives, modern women and women accused of witchcraft in a patriarchal culture with particular attention to her gifts in creating dramatic plots, complex characters and dialogue rich in vernacular metaphor and proverbs. It then celebrates the even more experimental creative writing of Edith Turner. While Turner has sometimes been acknowledged for her hidden contributions to the co-production of her deeply loved and more famous husband Victor, she has not been given her due as an experimental ethnographer, also placing the experiences of African women centre-stage. In what she overtly advertised as “female literary style”, Turner‟s belatedly published 1987 novel The Spirit and the Drum. A Memoir of Africa is analysed with meticulous attention to the literary techniques by which she seeks to explore an anthropology of experience and empathy. These accomplished but under-acknowledged women creative writers sought to explore what they both explicitly conceived of as gestures of humanist cross-cultural engagement.

No description available.