Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T00:17:24Z (GMT). No. of bitstreams: 1 Sant'Ana_ThaisRezendedaSilvade_M.pdf: 6188972 bytes, checksum: 3ef53406fc30e6d6a969dd0bcbf246f7 (MD5) Previous issue date: 2008 / Resumo: A Exposição Internacional do Centenário da Independência do Brasil, realizada no Rio de Janeiro em 1922, foi o maior evento republicano do início do século XX. Visitantes e autoridades de todo o país e do mundo foram atraídos à essa primeira exposição internacional brasileira, organizada pelas elites nacionais como espécie de vitrine para exibir os avanços do país ¿ do ponto de vista industrial, econômico e social - e afirmar a identidade da nação no ano em que era comemorada a emancipação política brasileira. O certame ainda motivou uma série de transformações no espaço urbano da então capital republicana; impulsionou o emprego de novos materiais e técnicas de construção, agregou grande valor aos arquitetos e consagrou o neocolonial como o ¿estilo nacional¿. A ocasião do Centenário da Independência do Brasil favoreceu a instauração de um ambiente que incentivava autocrítica entre as diversas camadas sociais do Rio de Janeiro. As idéias que surgiram desses questionamentos repercutiram nas mostras exibidas no certame de 1922. Porém, não houve na historiografia oficial o reconhecimento da Exposição do Centenário como acontecimento relevante para uma melhor compreensão das mudanças e transformações sociais, políticas, econômicas e culturais que marcaram a primeira metade do século XX brasileiro. Por muitos anos, tal historiografia tendeu a associar a manifestação da modernidade no Brasil à cidade de São Paulo e à Semana de 1922, reduzindo esse complexo e contraditório movimento a apenas uma de suas manifestações. A presente dissertação vem evidenciar a influência da Exposição Internacional do Centenário no movimento da modernidade brasileira. O evento é aqui apresentado como a própria materialização da efemeridade modernista de seu tempo; cenário onde estavam dispostas imagens e ideais políticos, econômicos, culturais e urbanos que caracterizavam aqueles agitados anos do início da década de 1920 no Brasil / Abstract: The 1922 Rio de Janeiro International Centennial Exhibition, was the largest event of the republic in the beginning of the 20th century. Nation and worldwide visitors and authorities were attracted to this first Brazilian international exhibition, organized by the country¿s elite, as a means to demonstrate the advancements of the country ¿ through an industrial, economical and social point of view ¿ and to ratify the identity of the nation in the year that the Brazilian political emancipation was celebrated. The exhibition motivated a series of transformations to the urban space of the former capital of the republic; it also stimulated the application of new materials and techniques of construction, added great value to the architects and established the neocolonial as the new ¿national style¿. The atmosphere of the Centennial of Independence of Brazil favored the development of an environment that promoted self ¿criticism among the various social classes of Rio de Janeiro. The ideas which emerged from such self-criticism had repercussions in the various displays of the exhibition of 1922. However, there was no recognition of the 1922 Rio de Janeiro International Centennial Exhibition in the official historiography as a relevant event to a better understanding of the social, political, economical and cultural changes and transformations that marked the first half of the 20th century in Brazil. For many years, such historiography was inclined to associate the manifestation of modernity in Brazil to the city of São Paulo and to the Week of 1922, reducing this complex and contradictory movement to only one of its manifestations.This thesis shows evidences of the influence of the 1922 Rio de Janeiro International Centennial Exhibition in the movement of modernity of Brazil. The event is presented in this study as the actual materialization of the modernist ephemerality of its time. That setting displayed a series of images and political, economical, cultural and urban ideals which characterized the turbulent years of the beginning of the 1920s in Brazil / Mestrado / Politica, Memoria e Cidade / Mestre em História

Orientador: Francisco Foot Hardman / Acompanha 1 CD-ROM / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T04:43:44Z (GMT). No. of bitstreams: 1 Garcia_MariaOlivia_D.pdf: 3181008 bytes, checksum: 0bfe5a9cf7d149a8e5910b767f724eed (MD5) Previous issue date: 2009 / Resumo: Uma nova leitura do Eu, de Augusto dos Anjos, é a proposta maior desta tese; que também apresenta objetivos secundários, como uma incursão pelas obras e periódicos do final do século XIX e início do XX, para entender a visão de mundo do intelectual daquela época; a compreensão das alegorias e metáforas da podridão, utilizadas pelo poeta e dessa sondagem no ?eu? individual, projetado no ?Eu? coletivo; encontrar em qual linha da monadologia está norteada a filosofia de Augusto dos Anjos; ver o que se veiculava, naquela época, sobre o Budismo, a Teosofia, o pensamento de Nietzsche, Haeckel, Kant, Schopenhauer e Bergson; sobre a mimese aristotélica, as tragédias grega e moderna; estudar a etimologia das palavras de Augusto e tecer um paralelo com Ruínas de um Governo, de Rui Barbosa, encontrando um sentido para esse poema lírico-trágicomoderno, o Eu e sentir essa dor da solidão humana no homem desamparado neste país de tantas injustiças sociais. / Abstract: A new reading of the book Eu (I), of Augusto dos Anjos, is the largest proposal of this thesis, which also has secondary objectives, as an incursion by the magazines, books and periodicals of the late nineteenth century and beginning of XX, to understand the vision of the intellectual world that season, to understand the allegories and metaphors of decay, used by the poet and the survey on the "I" of a men, designed the "I" of a group, which is his monadology line, wich is the philosophy that was guide Augusto dos Anjos, see what is conveyed , then, what are published on Buddhism, on Teosofy, and about the Nietzsche's thought, and Haeckel, Kant, Schopenhauer and so Bergson, know about the Aristotelian mimesis, the Greek tragedies and modern tragedies, consider the etymology of the Augusto vocabulary and make a parallel with Ruins of a Government, of Rui Barbosa, finding a meaning to this lyric-tragic-modern poetry, the Eu; and try to feel the pain of loneliness in the human naked and alone man in this country of so many social injustices. / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Pierre Loti est encore considéré par bien des lecteurs comme désuet, voire complètement démodé. Or le démodé est en réalité une caractéristique essentielle de l’homme et de son style. Cette étude démontre que le temps est une clef de lecture fondamentale pour aborder l’œuvre de Loti et comprendre une esthétique qui trahit sa relation au monde, plus temporelle que géographique. Loti n’est rien moins qu’obsédé par le temps, par un temps qui engendre inexorablement la perte – une perte tout à fait ambivalente puisqu’elle est positive dans sa négativité, désirée comme redoutée. Le passé est rassurant parce qu’intangible. Cette recherche explore l’enfance de Loti comme souvenir rétrospectif, construction littéraire et création d’un mythe personnel. L’enfance est le paradis perdu que Loti regrettera toujours avec une profonde mélancolie, tandis que ses voyages ultérieurs formeront une recherche d’Éden, mais d’un Éden qui apparaît toujours déjà en ruine. L’essai propose aussi une analyse de l’élaboration d’une identité hétéronymique : c’est par les pouvoirs de la littérature, du transvestissement, du divertissement nocturne et des scénographies du moi que Julien Viaud devient Pierre Loti. Ce nouveau soi, concourant et non concurrent de l’autre, doit être vu comme une construction comblant les pertes de sa propre vie. De manière similaire, la mort de son frère aîné détermine sa recherche d’une mâle altérité, tant fictive que réelle, tout comme elle innerve son œuvre de nouvelles disparitions qui rejouent l’originelle. L’étude analyse également la mise en scène de l’échec dans différents romans de l’auteur, la mort des héros amenant à une démonstration de la fascination de Loti pour la mort. Enfin, l’œuvre de Loti est passée au crible de la mélancolie de son regard, de la nostalgie de son écriture et de la fadeur de son style, dans le but de révéler l’ampleur de sa prédilection pour le passé, toujours préféré au présent ou à l’avenir. Et cela parce que le passé, même chimérique, est le seul refuge contre la vanité de l’existence. / Pierre Loti is still considered by most readers as old-fashioned. But being old-fashioned, or even moreout-of-fashion is an essential characteristic of Loti’s mind and stylistics. This study aims at showing how time isa fundamental key in reading Pierre Loti’s books and in understanding his aesthetics, which betray his rathertemporal than geographic relationship to the world. Loti is not less than obsessed by time: time goes by in apermanent flow that generates loss – an ambivalent loss which is both positive and negative, desired and feared.The past is comforting because intangible. This research explores Loti’s childhood as a retrospective memory, aliterary construction and a mythologizing of self. Childhood is a paradise lost which Loti will always regret witha deep melancholy as his own travels can be seen later on as a quest for Eden, but for an Eden that will alwaysappear already ruined. Then, the essay suggests an analysis of the construction of a heteronymic identity: JulienViaud becomes Pierre Loti by the powers of literature, travesty, parties’ entertainment and scenographies of theself. This other self, completing, not competing with the other one, can be considered as a construction fulfillingthe losses of his own life. In the same manner, the death of his older brother determines his search of fictive andreal manly otherness, as well as it innervates his work with further disappearances replaying the original one.Therefore, the essay highlights the staging of failure in different novels of the author, the death of heroes leading to an explanation of Loti’s fascination for death. At last, Loti’s work is being looked over through thecriteria of melancholy of sight, nostalgia of writing and blandness of stylistics, in order to unveil the width of hisfondness for things past, always preferred to the present ones, or to events to come. An this because the past –even if chimerical – is Loti’s only refuge against his feeling of the vanity of life.

La découverte de l’Orient prend une place importante au sein des écrits de Maurice Barrès en 1914. Ses notes sont systématiquement définies par ses projets du voyage, sachant que, jusqu’alors, il avait professé un certain mépris pour le déplacement, feignant d’être ennuyé de voyager pour avoir la confirmation de ce qu’il savait déjà par ses lectures. Ainsi, le sujet et l’objet de son écriture et de son imagination se marquent dans ses rédactions, se pliant aux règles qui définissent le récit de voyage depuis le début du XIXe siècle. Celles-ci consistant en un mélange de journal intime et de descriptions des lieux et hommes qui prennent le lecteur à témoin. Au XIXe siècle, des écrivains comme Chateaubriand, Lamartine et Nerval se mettent à rédiger leurs notes de Voyage en Orient où leurs découvertes et leurs sensations se mêlent à la représentation qu’ils s’en faisaient avant le départ. La dimension autobiographique de ces textes qui dévoilent une étape de l’existence de leurs auteurs est considérable. L’esprit du voyage et l’application du genre seront repris au tournant des XIXe et XXe siècles, notamment par Barrès à partir de 1887, époque où il commence à effectuer des séjours en Italie de 1890 à 1904. Le fait de partir au Levant en tant que missionnaire de la Chambre pour rendre objectivement compte de la présence française en Orient, tout en sachant que le voyage est un élément de la confrontation du Moi avec un univers nouveau, comblait à la fois les aspirations politiques et poétiques de Barrès. Dans le Culte du Moi, Barrès montrait déjà son désir de s’évader de la communauté et de tout ce qui est monotone d’une part et négatif d’autre part. Il prendra ses distances avec toutes ses activités politiques et tous les tourments de la vie, en s’éloignant de son univers habituel pendant deux mois. Malheureusement la Grande Guerre éclatera un mois après son retour et il laissera ses projets pour la propagande française inaccomplis. / The discovery of the East takes an important place in the writings of Maurice Barres in 1914. His notes are always defined by his travel projects, knowing that until then he had professed a certain contempt for the move, feigning be bored to travel to have confirmation of what he already knew from his reading. Thus, the subject and object of his writing and imagination are marked in its editorial, bending the rules that define the travelogue from the early nineteenth century. They consisting of a mixture of diary and descriptions of places and men who take the witness to drive. In the nineteenth century, writers such as Chateaubriand, Lamartine and Nerval begin to write their travel notes East where their discoveries and sensations mingle with the idea they had in prior to departure. The autobiographical dimension of these texts that reveal a stage of existence of the authors is considerable. The spirit of travel and application of the kind will be taken at the turn of the nineteenth and twentieth centuries, including Barres from 1887, when it begins to make stays in Italy from 1890 to 1904. Being from the Levant as a missionary of the House to objectively reflect the French presence in the east, knowing that the journey is a confrontation of the element Me with a new world, filled both political and poetic aspirations of Barres. In the Self Worship, Barres was already showing his desire to escape from the community and all that is monotone on one side and negative on the other. He distanced himself with all his political activities and all the torments of life, away from his usual world for two months. Unfortunately the Great War breaks out one month after his return, and he will let his plans for the French unfulfilled propaganda.

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

No description available.

緒論 第一章 護法運動的源起 第一節 護法運動發生的歷史背景 第二節 中山先生號召護法之目的 第二章 軍政府大元帥時期 第一節 護法軍政府的成立 第二節 軍政府的困境 第三節 軍政府的改組 第三章 離粵赴滬時期 第一節 護法政府名存實亡 第二節 南北和會的召開及影響 第三節 中山先生與新文化運動 第四節 革命理論的奠基─建國方略 第章章 正式政府非常大總統時期 第一節 重振護法聲威─粵軍回粵 第二節 組織正式政府的經過 第三節 中山先生與聯省自治 第四節 中山先生廣州蒙難 第五章 護法運動的終結 第一節 中山先生重回廣州 第二節 中山先生放棄護法 第六章 護法運動失敗的原因和影響 第一節 護法運動挫敗的反省 第二節 挫敗後的奮起─國民革命的再出發 結論

This is the first intensive study of Henri Bergson's influence on Katherine Mansfield's fiction. As I shall explore more fully in Chapter 1, it has frequently been mentioned that Bergson was a great influence on modernist writers and artists, and even on the public at that time. Although it has been at least acknowledged that Mansfield was also inspired by Bergson's philosophy, with the exception of Angela Smith's discussion in Katherine Mansfield: A Literary Life, no detailed account has been offered as to how much and in what ways Bergson's philosophy influenced Mansfield's writing. The lack of studies on this topic might seem surprising, given that Mansfield played some part in introducing the then new philosophy of Bergson to British literary society, with her colleagues, working on the Bergsonian magazine,Rhythm. Nevertheless, it is no wonder that the link between Mansfield and Bergson has not been dealt with in most studies in Mansfield's fiction, considering that her writing does not show what commentators at present commonly know as 'Bergsonian' as obviously as works by some of her contemporaries do. It might seem easier to link Bergson and writers whose famous works are experimental such as James Joyce and Virginia Woolf In this thesis, however, I argue that this view of the difference between Joyce and Woolf, who are 'Bergsonian', and Mansfield, who is not, results from basic misunderstandings and stereotypicali deas of Bergson's philosophy and Modernism in present literary criticism. Agreeing with other Mansfield critics, I find it worth noting that her fiction has not been appreciated as much as work of some of her contemporary writers such as Woolf, who was jealous of Mansfield's writing. Just like Bergson, who was extremely popular in his lifetime but soon lost his fame posthumously, Mansfield has failed to attract as much critical attention as might have been expected, although it is significant that her work is popular with common readers, and has never gone out of print. Scholars of her work have studied her as a modernist, woman, and colonial writer, but she is seldom discussed in detail in extensive studies on Modernism; her work has not been a major focus for feminist or postcolonial critics either despite the fact that she is a female New Zealand writer. I argue that the ambiguity, or duality, of Mansfield's writing in terms of nationality, gender, and class which often prevents us from reaching a lucid conclusion on these issues in her stories, is one of the causes of the difficulty of approaching Mansfield's apparently simple writing. Although her well planned ambiguity, like Bergson's, might cause her ideas to be wrongly interpreted as inconsistent at times, I see it as her crucial link with Bergson, or as a strong piece of evidence of her modernity. The aim of this thesis is to reassess Mansfield from multiple perspectives by closely examining her connections with Bergson.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

Gestalt Work for the Actor is a documentary about Dr. Renee Vincent's Gestalt acting exercise. Students are trained to recall powerful emotions and then employ the conjured passions into performance. This documentary examines the Gestalt acting exercise and what benefits it affords actors. The accompanying production book explains the production processes: preproduction, production, and postproduction, as well as the theoretical approaches used in the documentary.