Orientador: Marcio Bilharinho Naves / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-08T04:43:25Z (GMT). No. of bitstreams: 1 Silva_RafaelAfonsoda_M.pdf: 804324 bytes, checksum: 11865378ae1d651ceffb133f797845d6 (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa tem como propósito a análise e a reconstrução da reflexão de Lenin sobre a transição socialista em sua obra de 1917-1923, expondo criticamente seus dilemas e limitações. A reflexão leniniana é examinada por períodos, procurando apreender o seu discurso, na efetividade de sua entificação peculiar, em sua relação significativa com as necessidades práticas com que Lenin se defronta na dialética real da tentativa de iniciar um processo de transformação socialista das relações sociais na Rússia. Este estudo pretende, em primeiro lugar, contribuir para a compreensão da obra de Lenin. Em segundo lugar, tem por objetivo contribuir para o debate do tema da transição ao comunismo em uma perspectiva marxista. Espera-se que este trabalho possa servir para reforçar a relevância de tratar o tema da transição ao comunismo, fazendo um balanço das experiências e tentativas históricas de transição do século XX / Abstract: This research has as purpose to analyze and reconstruct Lenin¿s reflexion about the socialist revolution in his work from 1917-1923, explaining critically his dilemmas and limitations. Lenin¿s reflexion is divided into periods, in order to grasp his discourse in the effectiveness of its peculiar ontology and in its significant relation with the practical necessities, with which Lenin is confronted in the real dialectic of the attempt at beginning a process of socialist transformation of Russian social relations. This study intends firstly to contribute to the understanding of Lenin¿s work. Secondly it aims at discussing the subject of transition to communism from a marxist perspective. We hope this work serves to reinforce the relevance of dealing with the subject of transition to communism, taking a stock of the historical experiences and essays of transition in the 20th century / Mestrado / Mestre em Sociologia

Orientador: Luiz Cesar Marques Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T20:26:32Z (GMT). No. of bitstreams: 1 Marinho_Fernanda_D.pdf: 13219367 bytes, checksum: 713a6b51d616454de72391bbe1229641 (MD5) Previous issue date: 2013 / Resumo: O Antirrenascimento, de Eugenio Battisti, foi publicado pela primeira vez em 1962, durante um período no qual a cultura italiana, ainda com certa dificuldade devido aos resquícios do fascismo, batalhava por uma expansão político-cultural. O livro volta-se aos estudos da cultura popular, das ilustrações científicas, da iconografia das bruxas, da arqueologia das fábulas, compondo um variado mosaico do tecido cultural quinhentista. A presente Tese de doutorado o analisa sob três perspectivas principais: a trajetória biográfica de seu autor; o léxico conceitual do termo que intitula a sua obra; e o contexto historiográfico que a abrange. Battisti nasceu em Turim, em 1924 (faleceu em Roma, em 1989), tendo testemunhado a Segunda Guerra Mundial e, quando ainda jovem, durante o pós-guerra, militado junto aos movimentos de resistência em sua cidade natal. Nesta época envolveu-se principalmente com produções teatrais, demonstrando desde já especial atenção nos assuntos de cultura. A construção de seu pensamento estrutura-se num percurso crítico cujo leitmotiv é identificado como uma muito particular inquietude que lhe instigava à incessante revisão do status quo. Um ceticismo operante que organizava seu pensamento crítico em estruturas dialéticas como as oposições entre comédia e tragédia, entre renascimento e barroco, entre clássico e anticlássico, mas também - e principalmente - incitava-lhe à constante renovação e questionamento destas classificações. O termo antirrenascimento é abarcado nesta Tese para além de suas analogias com o termo maneirismo, com a crise do Renascimento ou do áulico clássico. Mas vem compreendido, acima de tudo, como uma categoria retórica de caráter vanguardista. Battisti fez parte do cenário cultural italiano ligado à escola de Lionello Venturi, oposta à escola de Roberto Longhi. Participou ativamente de fundamentais mudanças dos rumos da historiografia, quando esta experimentava uma maior influência das escolas alemãs, estreitando os confins que separavam os papéis do historiador e do crítico de arte. O Antirrenascimento, desta maneira, é aqui abordado como uma proposta de revisão da romântica, e ainda prevalente, noção de Renascimento enquanto um período que, superando as trevas medievais, alcançou o triunfo máximo da razão. Contrário a esta tradicional interpretação do Renascimento como turning point da história, Battisti investigou as manutenções do mundo medieval na cultura renascentista, a criatividade artística enquanto livre assimilação e emulação de ulteriores culturas. Trata-se de uma proposta historiográfica cujo modus operandi é o ceticismo, de metodologia utópica e livre de resultados conclusivos. Battisti desconfiou de toda premissa teórica - nada lhe é pressuposto científico. O conhecimento deve equilibrar-se em bases móveis, deve se atualizar e temer o estanque. Pretende-se aqui, primordialmente, a apresentação deste historiador da arte e do livro O Antirrenascimento no âmbito acadêmico brasileiro. Acredita-se numa frutífera recepção de seu legado na nossa recente e ativa produção em história da arte, caracterizada pela interdisciplinaridade, pelo caráter revisional dos estudos correntes, pela alteridade como constructo definidor da identidade cultural, determinantes estas tão caras a Eugenio Battisti / Abstract: Eugenio Battisti's Antirinascimento was first published in 1962 during a period in which Italian culture, while still coping with some restraints due to remnants of fascism, battled through political and cultural expansion. The book goes through studies in popular culture, scientific illustrations, iconography of witches, archeology of fables, composing a diverse mosaic of fifteen century's cultural fabric. This doctoral thesis analyzes its three main perspectives: the author's biography; the conceptual lexicon of the term which entitles his work; and the historical context of the encompassed period. Battisti was born in Turin in 1924 (and died in Rome in 1989) thus witnessing the Second World War and, as a young man during the postwar period, militating in his hometown's resistance movements. During this period he got involved mainly with theatrical productions, showing early signs of interest in cultural matters. His thoughts' progress is structured in a critical path whose leitmotiv can be identified as a very unique concern, inciting a constant review of the status quo, an ongoing skepticism that organized his critical thinking in dialectical structures exemplified by the opposition between comedy and tragedy, renaissance and baroque, classic and anti-classic, but, especially, inciting a constant renewal and questioning of these classifications. In this thesis, the term "antirinascimento" is encompassed beyond analogies with the term "mannerism", with renaissance's or classic aulic's crisis. It is understood, above all, as a vanguardist rethoric category. Battisti was part of the Italian cultural scene related to Lionello Venturi's school, which had a difficult conflict with Roberto Longhi's school. He took part in fundamental shifts in historiography in a time tremendously influenced by German schools, narrowing the boundaries separating roles of historians and art critics. Therefore, Antirinascimento is discussed here as a reviewing proposal of the romantic and still prevailing notion of Renaissance as a period that, once surpassed "medieval darkness", reached reason's ultimate triumph. In opposition to the traditional interpretation of Renaissance as a turning point in history, Battisti investigates medieval features in Renaissance culture, artistic creativity as free assimilation and emulation of subsequent cultures. It is a historiographical proposal whose modus operandi is a utopian methodological skepticism free from conclusive results. Battisti was suspicious towards every theoretical premise. For him, there are no scientific assumptions, and knowledge should be balanced in mobile foundations, it should be updated and dread motionless. The prior intention of this thesis is to introduce this art historian and Antirinascimento into Brazilian academics. It may well be a fruitful reception to his legacy in Brazil's recent and active production in art history, known for its interdisciplinarity, revisory approach in current research, otherness as defining structure of cultural identity, all of which are highly esteemed to Eugenio Battisti / Doutorado / Historia da Arte / Doutora em História

Orientador : Marcio Bilharinho Naves / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-02T06:52:40Z (GMT). No. of bitstreams: 1 Lazagna_Angela_M.pdf: 8084348 bytes, checksum: 94247354752ae11264b01df9f0ff4cf0 (MD5) Previous issue date: 2002 / Resumo: Esta dissertação é um estudo sobre o lugar privilegiado que o primado do desenvolvimento das forças produtivas ocupa no pensamento de Lenin. A partir daí, podemos entender qual é o conceito leniniano de socialismo, para compreendermos porque o taylorismo - um modo de organização do trabalho criado no início do século XX com o objetivo de intensificar o processo de extração da maisvalia relativa através da expropriação do saber-fazer operário, expropriação esta decorrente do aprofundamento da separação entre trabalho manual e intelectual, de concepção e de execução - teve lugar privilegiado no pensamento leniniano como um fator de desenvolvimento das forças produtivas para a superação do capitalismo e transição ao comunismo. Também demonstraremos como se deu o debate na década de 1920 na U.R.S.S. acerca da possibilidade da criação de um "taylorismo soviético" / Abstract: This dissertation is a study about the privileged place that the primacy of the productive forces development takes in Lenin's thought. Starting from that, we can apprehend thé true nature of leninian concept of socialism, to understand why the taylorism - a method of labor organization created in the beginning of XX century aiming at the intensification of the extraction of the relative surplus through the expropriation of the know-how from the workers, this same expropriation being bom from the deepenning of the splitting between manual and intelectual labour, of conception and execution - had its unique spot in Lenin's ideas as a development's agent of productive forces for the surpassment of capitalism and subsequent transition to communism. Also how unfolded the 1920's U.S.S.R. debate toward the possibility of creation of a "sovietic taylorism" / Mestrado / Mestre em Sociologia

Orientador: Milton Jose de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-24T23:58:30Z (GMT). No. of bitstreams: 1 Silva_AcirDiasda_M.pdf: 1133394 bytes, checksum: 19e2e9e99909cdd71daf7218dbf7dcc1 (MD5) Previous issue date: 1999 / Mestrado

This thesis explores the archetypal theme of initiation in selected texts by Joseph Conrad. The Introduction first surveys critical attention to initiatory motifs in Conrad with the objective of demonstrating the need for an approach to the topic informed by a more formal and theorized understanding of initiation. It then offers a prima facie case for the centrality of the idea of initiation in Conrad's oeuvre, based on references culled from a range of the author's writings. Chapter One seeks to contextualise initiation by providing a history of anthropological research into and theorisations of the rite, proceeding to a description of its typical structure and functions. A detailed account is given of the most widely accepted model of initiation, Arnold van Gennep's tripartite schema. Moving on to Conrad's writing, Chapter Two draws on both his fiction and more personal writings in order to provide a provisional account of the writer's own understanding of initiation and its importance, and to offer some explanation of why Conrad should have been prompted to accord the motif such prominence in his work. Conrad's presentation and (impliedly) his understanding of initiation was never entirely consistent and underwent some change in the course of his writing career. The critical assessment of "Typhoon" in Chapter Three depicts Conrad's more optimistic conception of initiation as a rite benefitting both society, by promoting solidarity, and the individual, by advancing self-knowledge. Chapter Four introduces, via analyses of the novellas "Youth" and "The Shadow Line", that variation on the motif of initiation which is more typical of its manifestation in Conrad: the failure of individuals to complete their cycles of initiation. Chapter Five identifies those characteristics of initiation which appear to be determinative in the representations of incomplete initiation in Conrad's work. Initiation seems to play out approximately seven paradoxes; the impact of some of these is examined through analysis of the initiatory ordeals of the main protagonists in The Secret Agent. Integral to this discussion is an attempt to demonstrate the vital role which initiation plays in the healthy maintenance not only of social order but also of faith and life itself. The Conclusion summarises the more important findings of the study and indicates some directions for further, related research.

The purpose of this study is to show that many of Conrad's women characters were not merely passive factors and that their inclusion in his fiction was more functional than incidental.

This thesis is a design for Puccini's opera, La Boheme, which I have set in the 1890’s instead of the l830's in which Puccini originally set it. The main reason for this period change is based on the fact that the music, the spirit, and the characters themselves, seem to fit naturally and appropriately into the glitter, the charm, and the artistic mood of the "gay nineties". I have set the opera on the Metropolitan Opera House stage, and have included-photographs of the half-inch scale model constructed for this purpose. The actual settings are simple, suggesting only the basic architectural necessities, in order to allow the background - a system of projection screens and mirrors, to predominate and filter through the action constantly. In designing the costumes, I have adhered closely to the silhouette of the 1890's, exaggerating, simplifying, or emphasizing particular elements in order to heighten their dramatic effect. I have assigned specific, restricted colour schemes to the characters which I considered appropriate and in character. Although I did not rely entirely on artistic works, the majority of the research into the period is centred around the paintings of Toulouse-Lautrec, Degas, and Utrillo, as well as the lithographs and posters of Lautrec, Cheret, and other turn-of-the-century artists. The thesis also includes technical drawings and a lighting layout, section, and instrument schedule. Generally speaking, charm, simplicity, and a romantic mood, are the qualities for which I strove in the design of the opera. / Arts, Faculty of / Theatre and Film, Department of / Graduate

This thesis has two purposes. The first is to trace the gradual transformation of certain Gothic traits, primarily those of the veil and the Doppelganger, from their original form in the historical Gothic to the manner of their use by Joseph Conrad. The second is to interpret Moby-Dick. Lord Jim. The Secret Sharer, and Benito Cereno in terms of Gothicism, and by this interpretation both to strengthen some common interpretations and to indicate how certain others have resulted from the authors' careful and successful attempts to hide from their critics the moral beliefs and dilemmas in their works. When Coleridge wrote the Rime, he was introducing a new and very important setting into Gothic literature: the sea. Because of the formlessness of the sea, because of the suddenness of its change in appearance from serenity to malicious killer, and because its glassy surface hides unimaginable unknowns, it is obviously well-suited to Melville's purposes in Moby-Dick. He makes use of his readers' acquaintance with Gothic tales in portraying Ahab and Ishmael, who struggle for self-knowledge by facing the sea and its terrors. In Lord Jim, Conrad uses the same initial situation: the unseen agent of destruction which takes all security from Jim's life, and prompts in him a quest like that of the Ancient Mariner or the Wandering Jew. He exists behind a veil which represents, as it does in Moby-Dick, Benito Cereno, and most Gothic novels, the inability to clarify moral issues and act according to personal moral beliefs. This moral ambiguity is often phrased in other terms, namely the duality of being, the "good"-"bad" dichotomy, where two aspects of the same person are often separated by a veil of some sort; this can be seen in such stories as Stevenson's Dr. Jekyll and Mr. Hyde, Wilde's Dorian Gray, and Poe's William Wilson. It is also the case with The Secret Sharer. In this story, Conrad makes a point of showing how the moral dilemma which Leggatt's presence evokes is dealt with by the captain--but not, I feel, to the captain's credit. The veil and the double motifs in these stories reveal an interesting transformation; though in early Gothic they are little more than plot devices, they become in Conrad central concerns, through which the interpretations of his stories may be effected. Thus, as I have tried to show, Gothicism, far from being a minor and short-lived type of fiction which died out in the early part of the last century, exerts a potent and central influence in such literature as Melville's and Conrad's. / Arts, Faculty of / English, Department of / Graduate

The main aim of the study was to examine and discover the use of the clarinets and bass clarinet, in combination with other instruments, to portray the libretto in Puccini's opera Tosca. • scrutiny of the literature about Puccini's life and works, • an analysis of the score with emphasis on the clarinets', bass clarinet's and singers' parts and specific attention to the demands of the libretto, and • listening to a number of recordings of the opera A variety of different aspects are organized in the following chapters: Chapter 1 consists of general information about the study. Chapter 2 offers a short biography, while Chapter 3 provides a discussion about the libretto. In Chapter 4 the author deals with tonguing and articulation. Chapter 5 examines melodic aspects and Chapter 6 consists of views on dynamic aspects. In Chapter 7 a discussion about rhythmic aspects takes place, and in Chapter 8 the author explores the combination of the clarinets and bass clarinet with other instruments. Finally, Chapter 9 is a summary of the conclusions drawn in this study. • Puccini's predilection for continuous mixing of instrumental colours sometimes makes it difficult to separate the clarinet for analytical purposes. Nevertheless, the importance of the use of the clarinets or bass clarinet can clearly be detected. • Puccini employs all creative and technical capabilities of the clarinet and bass clarinet in creating and changing the atmosphere, depicting human emotions and emphasizing dramatic moments. • Carefully chosen and applied articulation, trills, tremolos and repeated notes in the clarinet and bass clarinet parts are Puccini's gestures in the expression of love, anger and fear. However, articulation in the clarinet and bass clarinet parts mainly matches the other instrumental lines in the orchestra. • Because the clarinet and bass clarinet blend well with any instrument and with the human voice, Puccini uses them in solo parts, in unison with the singer, or as an accompaniment to the singer's line. • As a consequence of Puccini's need to consciously pay minute attention to the details of the libretto, the structure, shape and length of the clarinet phrases constantly change. • Exploring the dynamic's capabilities of the clarinets and bass clarinet presents the wide palette of colours and nuances which these instruments can produce. Puccini uses a large number of dynamic markings in the clarinet and bass clarinet parts. They range between ppp and fff. The piano dynamic level is mainly used to suggest fear and suspicion or to portray lyrical moments in the libretto, while the forte level is a tool to create drama and express human anger, pain, or the struggle between good and bad. • Puccini puts very strong emphasis on rhythm as a device for illuminating the details of the libretto, stage actions, human feelings, and different atmospheres in the opera Tosca. The different rhythmical patterns and changes of metre affect all instruments. Sometimes the clarinet line has the same rhythmical figures as the rest of the woodwind, but very often the clarinet plays a different rhythm from the rest of the orchestra or the singer's melody. / Dissertation (M Mus (Performing Art))--University of Pretoria, 2007. / Music / unrestricted

This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. Linear analysis provides a means of unravelling the dense fabric of voices and illustrating the underlying harmonic progressions, which most often consist of parallel, primarily semitonal, progressions of tertian sonorities. Chapter 1 provides a backdrop for this study, including a brief summary of Busoni’s ideas on the aesthetics of music and a summary of his influence and development as a composer. Chapter 2 addresses the concept of polyphonic harmony in more detail, some theoretical ideas related to it, and characteristics of Busoni’s late style that reflect this concept. Chapter 3 is dedicated to analytical methodology, addressing concepts which emerge from various linear approaches to the analysis of some twentieth-century music. Chapters 4, 5, and 6 are each dedicated to a specific work, the purpose being to illuminate through linear analysis compositional characteristics and techniques related to the concept of polyphonic harmony, including the flexibility between the melodic and harmonic realms, chord misalignment, overlap, and superposition.