RODRIGUES, Kadma Marques. As cores do silêncio: habitus silencioso e apropriação de pintura em Fortaleza (1924-1958). 2006. 230f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2006. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-28T19:15:39Z No. of bitstreams: 1 2006_tese_KMRODRIGUES.pdf: 7327311 bytes, checksum: 503630524656f70f3276a1edbcd611dc (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-29T14:45:00Z (GMT) No. of bitstreams: 1 2006_tese_KMRODRIGUES.pdf: 7327311 bytes, checksum: 503630524656f70f3276a1edbcd611dc (MD5) / Made available in DSpace on 2011-11-29T14:45:00Z (GMT). No. of bitstreams: 1 2006_tese_KMRODRIGUES.pdf: 7327311 bytes, checksum: 503630524656f70f3276a1edbcd611dc (MD5) Previous issue date: 2006 / O presente trabalho tem como objetivo principal problematizar a formação do habitus silencioso do público cultivado diante de pinturas como índice de autonomização do campo artístico, no domínio da pintura, na Fortaleza da primeira metade do século XX (1924-1958). Para tanto, a disposição silenciosa de um público cultivado particular, o qual estrutura suas categorias de percepção estética mediante familiaridade com o escrito, passa a ser entendida como manifestação do “olhar puro” de um público “civilizado”, de gestos contidos, cuja individualidade é valorizada no âmbito de um processo mais amplo de modernização urbano-industrial e modernismo cultural. É por meio de uma metodologia tríplice de análise que considero como fatores condicionantes da formação do habitus silencioso do público de pintura na capital cearense: 1) a produção da crítica de arte veiculada pelo jornalismo cultural da década de 20; 2) mudanças estruturais na organização de lugares de exposição nas décadas de 20 e 30; e 3) transformações formais das obras expostas ao longo das décadas de 40 e 50 no salão mais tradicional de Fortaleza – o Salão de Abril, mantido nesse período pela Sociedade Cearence de Artes Plásticas (SCAP). Concluo, portanto que o silêncio desse público integra uma série de experiências que se desenvolvem ao longo de gerações a fim de delinear a dinâmica de autonomização do campo artístico, tal como o conhecemos hoje. / Le présent travail a comme objectif principal interroger la formation de l’habitus de rester en silence du public cultivé devant peintures prinsent en tant qu’indice d'autonomisation du champ artistique, dans le domaine de la peinture, à Fortaleza de la première moitié du XXème siècle (1924-1958). Dans ce contexte, la disposition silencieuse d'un public cultivé particulier, qui structure leurs catégories de perception esthétique moyennant sa familiarité avec l'écrit, passe à être compris comme manifestation du « regard pur » d'un public « civilisé », de gestes contenus, dont l'individualité est valorisée dans le contexte d'un processus plus large de modernisation urbanoindustrial et de modernisme culturelle. C'est au moyen d'une méthodologie triple d'analyse que je considère comme des facteurs qui conditionnent la formation de l’habitus de rester en silence du public de peinture dans la plus importante ville du Ceará : 1) la production de la critique d'art propagé par le journalisme culturel de la décennie de 20 ; 2) des changements structurels dans l'organisation de places d'exposition dans les décennies de 20 et 30 ; et 3) des transformations formelles des oeuvres exposées au long des décennies de 40 et 50, dans le salon le plus traditionnel de Fortaleza - le Salon d'avril, maintenu dans cette période par la Société Cearence d’Arts Plastiques (SCAP). Je conclus donc que le silence de ce public intègre une série d'expériences qui se développent au long de générations afin de délinéer la dynamique d'autonomisation du champ artistique, tel que nous le connaissons aujourd'hui.

Indiana University-Purdue University Indianapolis (IUPUI) / Frances Hodgson Burnett’s life revolved around her love of story-telling, her sons, nature, and the idealized notion of childhood. Burnett had an ability to recapture universal aspects of childhood and transform them into realistic stories containing elements of the fantastic or fairy tales. Her ability to tell stories started at a young age when she and her sisters were given permission to write on old pieces of paper. Burnett’s love for storytelling, reading, and writing was fostered in her parents’ household, in which a young Burnett was given free reign to explore her parents’ book collection and also left unhindered to imagine and act out stories by herself and with her sisters and close friends. Later her love for telling tales became a means of providing for her family—beginning with short story submissions to magazines. Although Burnett did not necessarily start out writing for children her career ended up along that path after the success in 1886 of her first children’s book, Little Lord Fauntleroy. After this success, she was a recognizable author on both sides of the Atlantic. Sara Crewe; or, What Happened at Miss Minchin’s, the 1887–88 serial publication in St. Nicholas magazine and the 1888 short story publication both were titled the same, and the subsequent reworkings of Sara’s world in the forms of two plays, A little un-fairy princess (England, 1902), and A Little Princess; Being the Whole Story of Sara Crewe, Now Told for the First Time (United States, 1903), and the 1905 full-length novel which retained the American 1903 play’s title, outlines the creative process that Burnett undertook while exploring the world of Sara Crewe. By examining the above forms, readers and scholars gain an insight into not only the differences between the forms, but also a view of how the author approached adapting an already published work, and the influence of editors on an authors work. The examination of the development of Sara’s timeline will bring light onto Burnett’s growth as a writer and specifically her transition into her role as a children’s literature author.

The objective of the dissertation is to examine certain correlations between Busoni the philosopher and Busoni the composer. His aesthetic and theoretical points of view, which are of vital importance for an appreciation of his compositions, are reviewed. The manifestation of his musical thinking in his own compositional practice is substantiated through an analysis of two of his late works for the piano: the Sonatina seconda and the Toccata. In addition to the lecture recital, based on the dissertation and given on February 18, 1991, three other public recitals were performed. The first, on November 30, 1987, included works of Bartok, Brahms, Mozart, and Granados. The second program, a chamber recital on January 16, 1989, featured works by Brahms. The third recital was performed on April 23, 1990, and included works by Beethoven, Prokofieff, and Chopin.

本論文共分為五章十七節，約計八萬餘言，主要探討中國國民黨自同盟會後至改組中 國國民黨期間，由內外環境輸入種種需求（demands）、期望（expectations ）支持 （supports），導玫政黨組織出現了一些問題與困難，而亟須加以調適的整個運作過 程。 第一章緒論：說明本論文之研究動機、研究方法與架構、研究範圍和理論之界定。第 二章中國現代化的經驗與困難：中國國民黨所處之外環境作一說明，分就中國政治現 代化的背景、政治認同的分合、政治權威的危機和政治權力的分配等四節予以陳述。 第三章政治現代化對中國國民黨的影響：以政治發展之五個危機變項一認同、合法性 、貫徹、參與、分配，來分析中國國民黨發展所遭遇的困難。第四章中國國民黨調適 危機的三個發展階段：將中國國民黨在民初時期之發展，分為三個階段來探討一同盟 會成為公開政黨和改組為國民黨；成立中華革命黨；改組中國國民黨。第五章結論： 說明改組在中國現代史的價值及其影響，並認為改組是持續發展的中間過程概念，惟 有不斷調適，方能維持政黨之適應性和成長。

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

A presente pesquisa partiu do desejo de se investigar as possibilidades terapêuticas do tratamento psicanalítico. A partir do estudo da obra Entre o sonho e a dor, do psicanalista J.-B. Pontalis, este campo inicial por demais abrangente pôde ser delimitado, e a questão do trabalho de pesquisa circunscrita. Optou-se por centralizar o estudo no processo de constituição daquilo que o autor chama de espaço psíquico uma metáfora que indica a realidade psíquica, ou, em outras palavras, a própria subjetividade, desde que viva. Esta noção do vivo é fundamental porque, diante de uma situação clínica em que o analista (Pontalis, no caso) experimentava a morte do espaço psíquico do paciente, colocava-se precisamente a necessidade de constituir ou recuperar esse espaço psíquico amortecido: que o sujeito pudesse nascer para si mesmo. O tratamento psicanalítico, então, para Pontalis, teria, entre outras, essa possibilidade terapêutica: favorecer a constituição (ou reinstalação) do espaço psíquico. Compreender analiticamente esse processo constitutivo, mediante o esclarecimento de suas bases metapsicológicas, é o objetivo deste trabalho. Para tanto, foram utilizados basicamente três conjuntos de referenciais teóricos: 1) alguns trabalhos do próprio Pontalis que constam da obra supracitada; 2) as posições esquizoparanoide e depressiva, do arsenal teórico kleiniano e, por fim, 3) as matrizes da intersubjetividade (Coelho Jr. e Figueiredo, 2004) e a metapsicologia do cuidado (Figueiredo, 2009). Esses fundamentos metapsicológicos estão apresentados, a título de organização, em dois eixos: no primeiro, os fundamentos relativos à dimensão intersubjetiva na constituição do espaço psíquico a que se atribuiu o nome de trabalho de transmissão, e cujo foco, nesta pesquisa, está nas funções exercidas pelos objetos primários. No segundo eixo, situam-se os fundamentos relativos à dimensão intrapsíquica da subjetividade, entre os quais, a partir de Melanie Klein e Luis Claudio Figueiredo, se destaca o trabalho do luto. Enfatizou-se e justificou-se que as dimensões intersubjetiva e intrapsíquica são interdependentes, não se opõem como experiências nem como conceitos antagônicos, de modo que o pareamento nos dois eixos foi tão-somente um recurso para organizar a estrutura da dissertação. Nas Considerações Finais, a hipótese da constituição do espaço psíquico como uma possibilidade terapêutica do tratamento psicanalítico é retomada, e acrescida de algumas considerações que a articulam à metapsicologia do cuidado. Em linhas gerais, sustenta-se que a instalação do espaço psíquico ou da metáfora materna (Pontalis) representa justamente a constituição de uma matriz de cuidado, isto é, da capacidade de cuidar de si e dos outros. Estas seriam, dentre outras, perspectivas terapêuticas que um processo psicanalítico pode almejar / The present work has stemmed from a wish to investigate the therapeutic possibilities of the psychoanalytic treatment. Starting with the study of Between the dream and psychic pain, by psychoanalyst J.-B. Pontalis, this initial and extraordinarily broad field could be limited, and the research question could be circumscribed. We chose to center the study in the process of constitution of what the author calls psychic space a metaphor that designates psychic reality or, in other words, subjectivity itself, as long as it is alive. This notion of aliveness is essential because, facing a clinical situation in which the analyst (Pontalis, in this case) experienced the death of the patients psychic space, there arose precisely the need to constitute or recover this deadened psychic space: that the subject could be born to him/herself. According to Pontalis, the psychoanalytic treatment would thus have this therapeutic possibility among others: to favor the constitution (or reinstallation) of the psychic space. The objective of the present work is to analytically understand this constitutive process, by means of the clarification of its metapsychological bases. Three groups of theoretical frameworks have been used to achieve said objective: 1) some papers by Pontalis, pertaining to the aforementioned work; 2) the paranoid-schizoid and depressive positions, from the Kleinian theoretical framework, and finally 3) the patterns of subjectivity (Coelho Jr. & Figueiredo, 2004) and the metapsychology of caring (Figueiredo, 2009). These metapsychological foundations are presented, for didactical purposes, in two axes: firstly, those foundations related to the intersubjective dimension of the constitution of the psychic space which have been termed work of transmission, and whose aim, in the present research, is on the functions exerted by the primary objects. Secondly, the foundations related to the intrapsychic dimension of subjectivity, among which, according to Melanie Klein and Luis Claudio Figueiredo, the work of mourning is emphasized. It has been emphasized and justified that the intersubjective and intrapsychic dimensions are interdependent, i.e. they are not opposed to each other as experiences nor as antagonistic concepts, so that the pairing of both axes is a mere resource to organize the thesis structure. On the Concluding Remarks, the hypothesis of the constitution of the psychic space as a therapeutic possibility of the psychoanalytic treatment is readdressed, added by some considerations that connect it to the metapsychology of caring. In general terms, it is argued that the installation of the psychic space or the maternal metaphor (Pontalis) refers precisely to the constitution of a pattern of caring, i.e. the ability to take care of oneself and of others. These, among others, would be therapeutic perspectives that a psychoanalytic process can aspire to

A presente pesquisa partiu do desejo de se investigar as possibilidades terapêuticas do tratamento psicanalítico. A partir do estudo da obra Entre o sonho e a dor, do psicanalista J.-B. Pontalis, este campo inicial por demais abrangente pôde ser delimitado, e a questão do trabalho de pesquisa circunscrita. Optou-se por centralizar o estudo no processo de constituição daquilo que o autor chama de espaço psíquico uma metáfora que indica a realidade psíquica, ou, em outras palavras, a própria subjetividade, desde que viva. Esta noção do vivo é fundamental porque, diante de uma situação clínica em que o analista (Pontalis, no caso) experimentava a morte do espaço psíquico do paciente, colocava-se precisamente a necessidade de constituir ou recuperar esse espaço psíquico amortecido: que o sujeito pudesse nascer para si mesmo. O tratamento psicanalítico, então, para Pontalis, teria, entre outras, essa possibilidade terapêutica: favorecer a constituição (ou reinstalação) do espaço psíquico. Compreender analiticamente esse processo constitutivo, mediante o esclarecimento de suas bases metapsicológicas, é o objetivo deste trabalho. Para tanto, foram utilizados basicamente três conjuntos de referenciais teóricos: 1) alguns trabalhos do próprio Pontalis que constam da obra supracitada; 2) as posições esquizoparanoide e depressiva, do arsenal teórico kleiniano e, por fim, 3) as matrizes da intersubjetividade (Coelho Jr. e Figueiredo, 2004) e a metapsicologia do cuidado (Figueiredo, 2009). Esses fundamentos metapsicológicos estão apresentados, a título de organização, em dois eixos: no primeiro, os fundamentos relativos à dimensão intersubjetiva na constituição do espaço psíquico a que se atribuiu o nome de trabalho de transmissão, e cujo foco, nesta pesquisa, está nas funções exercidas pelos objetos primários. No segundo eixo, situam-se os fundamentos relativos à dimensão intrapsíquica da subjetividade, entre os quais, a partir de Melanie Klein e Luis Claudio Figueiredo, se destaca o trabalho do luto. Enfatizou-se e justificou-se que as dimensões intersubjetiva e intrapsíquica são interdependentes, não se opõem como experiências nem como conceitos antagônicos, de modo que o pareamento nos dois eixos foi tão-somente um recurso para organizar a estrutura da dissertação. Nas Considerações Finais, a hipótese da constituição do espaço psíquico como uma possibilidade terapêutica do tratamento psicanalítico é retomada, e acrescida de algumas considerações que a articulam à metapsicologia do cuidado. Em linhas gerais, sustenta-se que a instalação do espaço psíquico ou da metáfora materna (Pontalis) representa justamente a constituição de uma matriz de cuidado, isto é, da capacidade de cuidar de si e dos outros. Estas seriam, dentre outras, perspectivas terapêuticas que um processo psicanalítico pode almejar / The present work has stemmed from a wish to investigate the therapeutic possibilities of the psychoanalytic treatment. Starting with the study of Between the dream and psychic pain, by psychoanalyst J.-B. Pontalis, this initial and extraordinarily broad field could be limited, and the research question could be circumscribed. We chose to center the study in the process of constitution of what the author calls psychic space a metaphor that designates psychic reality or, in other words, subjectivity itself, as long as it is alive. This notion of aliveness is essential because, facing a clinical situation in which the analyst (Pontalis, in this case) experienced the death of the patients psychic space, there arose precisely the need to constitute or recover this deadened psychic space: that the subject could be born to him/herself. According to Pontalis, the psychoanalytic treatment would thus have this therapeutic possibility among others: to favor the constitution (or reinstallation) of the psychic space. The objective of the present work is to analytically understand this constitutive process, by means of the clarification of its metapsychological bases. Three groups of theoretical frameworks have been used to achieve said objective: 1) some papers by Pontalis, pertaining to the aforementioned work; 2) the paranoid-schizoid and depressive positions, from the Kleinian theoretical framework, and finally 3) the patterns of subjectivity (Coelho Jr. & Figueiredo, 2004) and the metapsychology of caring (Figueiredo, 2009). These metapsychological foundations are presented, for didactical purposes, in two axes: firstly, those foundations related to the intersubjective dimension of the constitution of the psychic space which have been termed work of transmission, and whose aim, in the present research, is on the functions exerted by the primary objects. Secondly, the foundations related to the intrapsychic dimension of subjectivity, among which, according to Melanie Klein and Luis Claudio Figueiredo, the work of mourning is emphasized. It has been emphasized and justified that the intersubjective and intrapsychic dimensions are interdependent, i.e. they are not opposed to each other as experiences nor as antagonistic concepts, so that the pairing of both axes is a mere resource to organize the thesis structure. On the Concluding Remarks, the hypothesis of the constitution of the psychic space as a therapeutic possibility of the psychoanalytic treatment is readdressed, added by some considerations that connect it to the metapsychology of caring. In general terms, it is argued that the installation of the psychic space or the maternal metaphor (Pontalis) refers precisely to the constitution of a pattern of caring, i.e. the ability to take care of oneself and of others. These, among others, would be therapeutic perspectives that a psychoanalytic process can aspire to

This study is, by its intention at any rate, an attempt at assembling the scattered fragments of Can Themba’s life to make a composite being out of the various existing phenomena that shaped the contours of his life in both literary and literal senses. Given the disjunctive manner in which Can Themba and his work have been represented thus far, a combination of Historical and Biographical research methods will underpin the approach of this study. The resultant approach is the Historical-Biographical method of research. According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of the characters in the work.” This research is premised on the conviction that an individual is a constellation of multiple factors that play a pivotal role in the construction of their persona. These factors will be traced from his family background, early schooling, tertiary education, socio-economic conditions as well as his contribution to various newspapers and journals. While so much has been written about Themba and his work, there is no comprehensive biography of Can Themba as a person. Most importantly, the factors that contributed to his making as well as his breaking, or destruction, have not been interrogated in a form of comprehensive academic research. Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced from the moment he won the inaugural Drum Magazine short story competition. Themba became one of the most popular journalists and rose within the ranks of Drum to become the Assistant Editor. However, my research demonstrates that winning the Drum short story competition was the culmination of a literary talent that was developed and had been simmering for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951 alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe, Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to The Fortharian, a university publication that published opinion pieces, poems and short stories. This is a vital component of Themba’s intellectual growth and it remains the least explored aspect of his life. As a result, what has been discursively documented by various scholars, writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre. / English Studies / D. Litt. et Phil. (English Literature)

No description available.

Malgré la notoriété de Gabriel Fauré, le style particulier de sa musique chambre reste encore difficile à appréhender par l’analyse. La construction formelle y est un réel sujet de questionnement. Tandis que certains analystes essaient d’attester son originalité en examinant en quoi elle s’éloigne de la tradition, d’autres proposent des analyses de la dynamique caractéristique de ses thèmes, dont le développement continu aboutit à la réalisation de la grande forme. Ces dernières se sont jusqu’à présent appuyées sur un corpus limité. Cette thèse se propose d’élargir le corpus aux cinq grandes œuvres de chambre pour cordes et piano – deux Quatuors op. 15 et 45, deux Quintettes op. 89 et 115 et le Trio op. 120 et d’y cerner la « dynamique formelle ». Après l’étude des témoignages de l’époque du compositeur qui permet de mettre en relief la conception de l’originalité formelle dans son œuvre, l’analyse porte sur l’agencement interne des thèmes et sur la réalisation de la grande forme à partir de l’étude des partitions mais aussi à l’aide d’une représentation donnée par un logiciel informatique qui permet de visualiser l’enveloppe dynamique et de repérer des climax. En révélant en quoi consiste ce processus, la présente thèse contribue à mieux rendre compte du style personnel de Fauré et de la façon dont il élabore une musique qui donne l’impression d’une progression et d’un développement continus se prolongeant jusqu’à la fin de l’œuvre. / Despite the notoriety of Gabriel Fauré’s musical style, the particular style of his chamber music still remains difficult to comprehend by analysis. Formal construction is a real subject of question. While some analysts try to attest to his originality by examining how it departs from tradition, others offer analyses of the dynamic characteristic of its themes, whose continuous development leads to the realization of large form. The latter have so far relied on a limited corpus of works. This thesis proposes to expand the corpus to the five large chamber works for strings and piano - two Quartets op. 15 and 45, two Quintets op. 89 and 115 and the Trio op. 120 in order to define the “formal dynamics.” After the study of testimonies from the composer's time that highlights the formal originality in his work, the subsequent analysis deals with the internal arrangement of themes and the realization of large form from the study of scores. I conduct my analysis with the help of graphic representation created by a computer software that can visualize the enveloping dynamic and identify climaxes. By revealing the contents of this process, this thesis helps to better reflect the very personal style of Fauré and the way in which he creates music that gives the impression of continuous progression and development extending to the end of the work.