La present tesi doctoral té com a objectiu delimitar, descriure i analitzar el discurs ideològic, en clau interna, de l'anarquisme individualista, una de les tendències minoritàries i més mal conegudes de l'anarquisme a Espanya entre 1923 i 1938.A la part preliminar de la investigació es tracta d'acotar les bases epistemològiques del subjecte d'investigació. I en aquest sentit, es realitza un esforç per tractar d'arribar a una definició sobre l'anarquisme individualista. També s'analitzen els antecedents historiogràfics, es duu a terme un estat historiogràfic de la qüestió i s'exposen els criteris metodològics emprats.La primera part de la investigació tracta d'analitzar, en capítols successius, els fonaments teòrics de l'individualisme anarquista, ressegueix i descriu els processos de penetració a l'estat espanyol i exposa i analitza la trajectòria de les principals vies de debat i difusió a l'entorn de la teoria individualsta. En el primer cas, l'autor es remunta als orígens ideològics, fonamentats en l'obra fundacional de L'Ego i la seva propietat, del filòsof bavarès Max Stirner. Posteriorment es comenta el substrat filosòfic individualista de procedència nord-americana, amb autors com Henry David Thoreau, Josiah Warren o Benjamin Tucker i es destaca la influència de l'individualisme d'arrel francesa, de finals de segle XIX, amb el rol jugat per anarcoindividualistes com Émile Armand o Han Ryner. En el següent capítol s'exposa l'absència d'un individualisme espanyol autòcton i la dependència ideològica dels corrents foranis, en especial del francès, donats els estrets contactes a banda i banda del Pirineu. També es planteja la qüestió de la diferent intensitat de la presència d'individualisme entre diferents sectors pertanyents al complex univers individualista. També es realitza una descripció de la trajectòria cronològica d'aquest corrent, remuntant-se des de finals del segle XIX, amb la irrupció de la filosofia de Nietzsche, fins a l'acabament de la guerra civil espanyola. El quart capítol enumera els diferents òrgans de propaganda des del qual s'expressa aquest pensament i es descriu breument les tendències individualistes de cadascun d'ells.La segona part de la investigació analitza, en clau interna, el pensament individualista, a partir del seu material imprès i publicat. Així es descriuen els principis generals, els intens associacionistes, o es comenta el paper dels individualisme al llarg de la guerra civil. Posteriorment es comenten aspectes més concrets, com ara la filosofia educativa del moviment, la extraordinària importància que té la qüestió de l'amor lliure i l'emancipació sexual per als seus seguidors, i altres aspectes complementaris que tindran una extraordinària presència i importància en l'anarquisme individualista com serà l'annacionalisme, l'antimilitarisme i el naturisme.Es conclou la tesi destacant les aportacions al panorama historiogràfic i a l'esforç realitzat pel seu autor per recuperar la memòria col·lectiva. / The present doctoral research aims to frame, describe and analize the ideological discurse of individualistic anarchism, one of the minoritary and also worset know of anarchism in Spain between 1923 and 1938 tendencies.The preliminary section of the research we have tried to delimit the epistemological basis of the subject. To this effect, an effort has been made to try to come a definition of individualistic anarchism. As well as this the historiographic background are analized a historiographic estate of the question is carried out the metholical criteria are put forward.The first part of the research this to analize, in firsts chapters, the theoretical foundations of anarchist individualism, it follows and describes the process of penetration into the Spanish state and put forward as well as analizes the cours of developement of the main means of divulging and debate around the individualistic theory. In the first case the author traces the ideological origins based on the work The Ego and his Own, by the Bavarian philosopher Max Stirner.Folowing that, a comment is made on the individualistic bachground, with authors in the United States of America, with authors such as Henry David Thoreau, Josiah Warren or Benjamin Tucker, and also on the influence of French individualism from the end of XIXth century, emphasing the role played by individualistic anarchists such as Émile Armand and Han Ryner, as the main representatives of the movement in that country.The folowing chapter explains the absence of a Spanish autochthonous individualism ant the ideological dependency of foreign corrents, especially those coming from France, given the narrow contacts on both sides of the Pyrinnes. The chapter deals also with the question of the variable intensity of the presence of individualisme among the different sectors/groups belonging to the complex individualistic universe.The author also describes the cronological evolution on this corrent, from the last decades of the XIXth century -with the irrruption of Nietzsche philosophy- up to the end of the Spanish Civil War.The fourth chapter numbers the different means of propaganda from which this ideology is expressed (and spread), and it provides a brief description of the particualr individualistic tendencies of each of them.The second part of the research analyses, from within, the individualististic thinking, drawing the information from the existing written and published materials and sources. This, theri general principles are described as well as theri efforts to create assotiations and the role of individualistic anarchists throghout the Civil War.Later the author draws the attention on more specific aspects such as the pedagogical principles of the movement, the extraordinary relevance given to the issue of free love and sexual emancipation and other aspects which cull also become of freat relevance fer the movement, such as anationalism, anti-militarism and naturism.At the end of the reserarch the autor points up his contribution to the historiographical scene and the effort carried out to summon up our conllective memorie.

Esta dissertação pretende uma breve análise da posição que as três personagens principais de As meninas, de Lygia Fagundes Telles, assumem no seu mundo ficcional. Pareceu-me que suas vidas tem forte componente de ilogicidade pois os seres humanos são limitados, impelidos e ameaçados por obscuras forças, e não encontram justificação para suas existências. Por isso, seguindo as trajetórias das "meninas", tentei captar suas características e reações, bem como provar certo determinismo que configura seus destinos. Finalmente, procurei tragar um pequeno paralelo entre Lygia Fagundes Telles e alguns dos maiores "autores do absurdo". Talvez esse procedimento nos leve a uma melhor compreensão do absurdo da condição humana, conforme no-lo apresenta esse romance. / This dissertation intends to make a brief analysis of the position the three main characters of As meninas, from Lygia Fagundes Telles, assume in their fictional world. It seemed to me that their lives have a strong component of illogicity: they are limited, impelled and menaced by obscure forces, and find no justification for their existences. Therefore, following the trajectories of the "girls", trying to point out their characteristics and reactions, I made a tentative to prove certain determinism that configures their destinies. Finally, I tried to trace a small parallel between Lygia Fagundes Telles and some of the greatest "authors of the absurd". Perhaps this procedure could lead us to a better understanding of the absurdity of human condition in this novel.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / Cáceres no sólo trabajó en poesía, también se destacó en plástica y en la danza. Su trabajo plástico ha sido expuesto en París y ha ilustrado importantes publicaciones surrealistas, en el cd-rom que adjunto están sus obras completas en poesía, además de varios ejemplos de sus presentaciones de danza, y también de collages, objetos surrealistas, fotografías y esculturas. Este material es completamente inédito. Ante la ausencia de de bibliografía crítica, propuse un estudio de la poesía de Cáceres que partiera por fijar sus obras completas o, al menos un proyecto de ellas. Luego. se hacía vital determinar las fuentes de su poética y vincular esta última con el aspecto teórico del movimiento en el cual se inscribe su obra, tanto en su vertiente francesa como en su posterior variante chilena y latinoamericana.

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor. / This study offers a view of the stylistic patterns defined by the analysis of the contrapuntal processes used in the third movement of Sonata I, Fuga e Toccata, and the final movement of Duas peças sérias [Two serious pieces], from the piano works of Bruno Kiefer. The fugue, one of the most well established linear techniques of musical writing, reflects the stylistic transformations in Western music. Considering the diversity of aesthetic possibilities in twentieth-century music, it is appropriate to investigate how Kiefer dealt with such a technique, preserving an innovating style in a consistent manner, which has always been attributed to his music. This study was guided by Twentieth Century Fugue – A Handbook (1962), by William Graves, Jr.. After the analysis of the recurrent patterns found in the fugues by Kiefer, a verification of how these patterns relate to traditional parameters of fugal writing was undertaken.

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

My thesis "Sonata for clarinet and piano by Viktor Kalabis" is focused on one of concertantes pieces for clarinet and piano by Viktor Kalabis . The first part of the thesis deals with the life experience of the composer; the second part comprises an attempt to reflect the interpreter's perspective and expound interpretation issues. The author's experience with performing the sonata is described. The most difficult sections are explained and interpretation and practice options offered. The author's recording (2014 - J. Černohouzová, D. Wiesner) is compared with two other recordings (1970 - J. Štengl, Z. Zichová, 2013 - J.Hlaváč, I. Kahánek). The approaches of the interpreters and their performance style is analysed. The composer-interpreter relationship is discussed.

Viktor Kalabis (1923 - 2006) is one of the most significant Czech composers of 20th century. His piano works extent is exceptional among output of his contemporaries (two piano concertos with orchestra, three piano sonatas and six other compositions for piano solo). Most of his works are recorded and published. This dissertation concerns the personality of Viktor Kalabis, a characterization of his musical language and his approach to piano as a tool to express music. This instrument was closest to him and he often devoted to piano the most inner feelings. My aim was to explore his work from interpreter's point of view, the evolution of composer's musical language, the use of instrument's potential as well as new approaches and creation methods. I intended to engage the interest of pianist to V. Kalabis and remarkable qualities of his piano works. I have performed his music at important events (festival, Czech Philharmonic Orchestra concert season) and a concert dedicated to composer's anniversary was recorded by Czech Radio to be later released on CD. I used the musical analysis as the basic method. I observed the form, harmony, rhythm, usage of instrument's sound, timbre; in concertos also the role of the piano and of the orchestra. Kalabis wasn't a trendsetter of the avant-garde and he didn't adopt dodecaphonic technique, however he studied it and implemented some dodecaphonic principles. For some period he worked in neoclassicism and shortly neofolklorism styles. He built on traditional harmony, which he enriched with seconds and sevenths proceeding to bitonality and partially also to atonality. He uses both traditional and free forms. Innovation can be found above all in original sound, in creative grouping of instruments and in dramaturgical content of the piece. He laid stress on composition's revealability and listener-friendly character, without being pandering. He created original "non-romantic synthesis" musical language.

O presente trabalho é um estudo do gesto como alicerce da experiência musical. São desenvolvidos os conceitos de gesto musical e gesto corporal e a sua conexão com a interpretação musical. Posteriormente, procedo à análise das inter-relações entre ambos os tipos de gesto na obra para piano solo “Sul Re” (1981) de Héctor Tosar (1923-2002) na busca por discutir e refletir sobre o papel do corpo na construção do sentido musical. / This work is a study of gesture as a foundational component of musical experience. The concepts of musical gesture and body gesture are developed, as well as their relation to musical interpretation. Afterwards, I focus on the analysis of the interrelationships between both kinds of gesture in the piano solo piece “Sul Re” (1981) from Héctor Tosar (1923-2002), with the aim of discussing and reflecting about the way our body emerges in the construction of musical meaning. / Este trabajo es un estudio del gesto como base de la experiencia musical. Son desarrollados los conceptos de gesto musical y gesto corporal y su conexión con la interpretación musical. Posteriormente, me dedico al análisis de las inter-relaciones entre ambos tipos de gesto en la obra para piano solo “Sul Re” (1981) de Héctor Tosar (1923-2002) en una búsqueda por discutir sobre el papel del cuerpo en la construcción del sentido musical.

O presente estudo tem como objetivo verificar a participação e a influência de Rui Barbosa na reforma eleitoral para introdução do voto direto no Brasil que, resultando na Lei Saraiva (1881), acabou por excluir os analfabetos do direito de voto. Esta pesquisa também busca: investigar qual era o liberalismo que Rui Barbosa representava e qual a posição assumida por ele no contexto da reforma eleitoral; examinar por que, para o governo e as elites, até mesmo para a grande maioria dos parlamentares liberais, especialmente no que se refere a Rui Barbosa, que se posicionou fortemente pela “exclusão” dos analfabetos do direito de voto, o voto dos analfabetos passou a ser um problema, o que não era até então; e, constatar qual o entendimento de classe social que norteava o pensamento de Rui Barbosa no momento em que ele afirmou que a reforma eleitoral, ao excluir o analfabeto do direito de voto, não estaria constituindo uma exclusão de classe. O presente estudo realiza uma interface entre a História Social e a História Política. Pois, essa pesquisa procura relacionar questões políticas com as suas correlativas questões sociais. Assim, apesar de minha atenção estar voltada continuamente para uma figura de destaque da política nacional, o então deputado Rui Barbosa, essa dissertação busca não se limitar somente às suas ações isoladas, mas sim, verificar como que posições e decisões dos políticos nacionais se refletiram e afetaram a vida das grandes massas. Mais especificamente, como que as ações tomadas por políticos brasileiros, em um dado momento da nossa história, decidiram quem poderia e quem não poderia, daí em diante, ter o direito de participar da vida política do país. / The present study aims to verify the participation and influence of Rui Barbosa in the electoral reform to introduce direct voting in Brazil that, resulting in the Saraiva Law (1881), turned out excluding the illiterate of the right to vote. This research also seeks to investigate what was the liberalism that Rui Barbosa represented and what position had been taken by him in the electoral reform; to examine why, to the Government and the elites, even for the vast majority of liberal parliamentarians, particularly in relation to Rui Barbosa, who strongly had positioned himself in favor of "excluding" the illiterate of the right to vote, the vote of the illiterate became a problem, which was not until then; and to see what had been the understanding of social class that had been Rui Barbosa’s guidance at the time when he said that the electoral reform’s disenfranchising the illiterates of voting rights, would not be an exclusion of class. The present study provides an interface between the Social History and Political History. Therefore, this research seeks to link political issues with its correlative social issues. So, despite my attention be continuously focused on a prominent figure of the national politics, the Congressman Rui Barbosa, this dissertation will not be limited only to their actions, but rather, verify how national politicians' decisions and positions reflected and affected the lives of the lower class. More specifically, how the actions taken by Brazilian politicians, at any given moment in our history, decided who could and who could not, thereafter, be entitled to participate in the political life of the country.

Text in English / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)