No description available.

La presente tesis es una lectura de El cuerpo de Giuliano, (en adelante, CGN) en donde el conflicto que permite que la obra sea fragmentaria, es la misma identidad inestable del personaje. A través de esto, busco probar que, CGN presenta uno de los pocos y logrados casos en los que se puede hacer un seguimiento de la identidad queer. La tesis, compuesta por tres momentos argumentativos, está orientada a recrear la hipótesis central del trabajo: Eduardo1, el personaje principal de la historia, demuestra a lo largo de su relato un proceso de construcción identitaria queer que surge y se desarrolla a través de un conflicto articulado por un doble deseo y consecuente doble culpa: siente deseo por su madre y por Giuliano, un joven que conoce en su adolescencia. Ambos deseos el edípico y el homosexual son prohibidos y castigados íntima y socialmente, por ello, ambos deseos conducen a una culpa que funcionará de modo constitutivo. Esta culpa constitutiva es el motor de su identidad queer, ya que debe liberarse de ella para poder retomar su autonomía y hacerse propiamente sujeto. / Tesis

Tesis

Orientador: Maria Stella Martins Bresciani / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T02:32:10Z (GMT). No. of bitstreams: 1 Mastromauro_GiovanaCarla_D.pdf: 9814530 bytes, checksum: 31e6e8e1381a627d4eae4a334e58abf4 (MD5) Previous issue date: 2013 / Resumo: A pesquisa trabalha o tema da tuberculose em São Paulo de 1900 a 1930 sob o olhar do higienismo quando das propostas formuladoras de uma sociedade e cidade ideal, pautadas na higiene e na salubridade.Antes da descoberta da cura da doença em 1940, o medo de sua contaminação estabeleceu uma situação de grande tensão em torno do tuberculoso, destinado à segregação física e social. Neste sentido, o estudo identifica e discute o ?lugar? que os fracos do peito ocuparam na cidade de São Paulo antes da inauguração do primeiro sanatório do Estado, aberto somente em 1924, na cidade de São José dos Campos. Dentro deste contexto, e sob a ótica da medicina higiênica, que tem como premissa a manutenção do estado sanitário da cidade, procurou-se identificar os caminhos percorridos pelo higienismo paulista nas medidas de controle da doença e na concepção dos olhares dos lugares específicos para a permanência desses enfermos, vistos como figura incômoda e constrangedora no meio urbano. No âmbito internacional, em todos os países onde a doença elevava o número das estatísticas de mortalidade o arsenal antituberculoso deveria ser feito através de três princípios: a manutenção da casa salubre, a educação sanitária e a construção de sanatórios. Dessa forma, cada cidade estabelecia ad hoc seus programas educativos e profiláticos em volta da doença. A pesquisa mostra como esses três princípios se fizeram em São Paulo levando em conta a tardia implantação dos estabelecimentos sanatoriais / Abstract: The research works the subject of tuberculosis in São Paulo from 1900 to 1930 under the hygienism view, wherein the formulating proposals of an ideal society and city were guided by hygienic and sanitation. Before the discovery of the cure of the disease in 1940, the fear of its contamination established a situation of great tension around tuberculosis patient, relegatedto the physical and social segregation. In this sense, the study identifies and discusses the "place" that the TB patient occupied in the city of São Paulo before the opening of the first state sanatorium, opened only in 1924 in the city of São José dos Campos. Within this context, and from the viewpoint of hygienic medicine, which is premised on the maintenance of the health of the city, the research sought to identify the paths taken by paulista hygienism to disease control in the design and looks of the specific locations for permanence of these patients, seen as uncomfortable and embarrassing figure in the urban environment. Internationally, in all countries where the disease increased the number of mortality statistics, the arsenal antituberculosis should be done in three principles: the maintenance of wholesome home, the health education and the construction of sanatoriums. Thus, each city established ad hoc education and prophylactic programs around the disease. The research shows how these three principles were made in São Paulo taking into account the delayed deployment of sanatoriums establishments / Doutorado / Politica, Memoria e Cidade / Doutora em História

Cette recherche porte sur l’analyse de la poésie d’Alexandre O’Neill, poète portugais de la seconde moitié du XXe siècle. O’Neill débute sa carrière en fondant le Mouvement Surréaliste de Lisbonne en 1947,mouvement artistique et littéraire bien postérieur à l’école française, et créé en contestation au régime salazariste. En 1951, avec la publication de Tempo de Fantasmas, son premier recueil de poèmes, le poète se détache radicalement du mouvement pour s’orienter vers une poésie originale. Pourtant, il restera longtemps considéré par les critiques comme un poète surréaliste. Son projet de transformation du réel se caractérise, dès le salazarisme, par une approche singulière du quotidien. Transformation du réel à travers l’éclatement du langage, transgressions du discours officiel dans le but d’attaquer le système politique en vigueur et les mœurs de la société portugaise, attaques humoristiques contre les canons de la littérature de ce pays : O’Neill utilise les ressorts de l’écriture surréaliste, mais les oriente vers une transgression spécifique. Son refus du langage lorsque celui-ci est circonscrit dans son usage ordinaire, son exploitation de la vie quotidienne, de l’observation du peuple et de ses questions identitaires et sociales forgent un matériau poétique singulier, dont l’horizon est émancipateur : il faut accéder poétiquement aux possibilités de construction d’une autre réalité.Libérateur et ferment de pensée, il démontre, par sa poétique, que d’autres manières d’utiliser le langage sont possibles, et que ce langage parviendra à recréer le monde : en remettant en question le système normatif de la représentation du réel, il crée une poétique de l’humain. / This research focuses on the analysis of the poetry of Alexandre O’Neill, a Portuguese poet from the second half of the twentieth century. O’Neill began his career as founder of the Surrealist Movement of Lisbonin 1947, an artistic and literary movement created thirty years after the French school, in opposition to theSalazar dictatorship. In 1951, with the publication of Tempo de Fantasmas, his first collection of poems,O’Neill radically detaches himself from the movement and creates an original form of poetry. Yet the criticswill, for a long time, consider him a surrealist poet. His project to transform reality is characterised by a singular approach to daily life. The transformation of reality through bursts of language, the transgression ofofficial discourse as an attack towards the political system and the morals of Portuguese society, the humorous attack against his country’s entire literature canon: O’Neill uses elements of surrealist writing and directs it towards a specific transgression. He refuses to limit language to an ordinary usage; his exploitation of everydayness, along with his observation of people, of their identity and of social matters, forge a singular poetical material with an emancipatory horizon: it is necessary to reach possibilities of building a different reality through poetry. As a liberator and a catalyst of thought, he shows, through his poetry, other ways in which the use of language is possible. This language is capable of transforming the world: by challenging the normative system of the normative system of representing reality, O’Neill creates the poetics of humans.

This thesis is devoted to the spa fashion and clothing in Czechoslovakia, particularly in the years 1924 - 1930. On the basis of sources and comparing the findings from the literature is reflected here penchant for spa clothing in the years 1924-1930 in Poděbrady. The entire work is divided into five sections. The first part focuses on the history of spas in Bohemia and in the context of Europe. The second part of the work attends the idea of the 1st Republic ideal of beauty. In the third section deals with the everyday venerable fashion during the given time. The fourth part introduces the readers to the history of the town, emergence of spa. It also deals with some points of interest about this local spa and, of course with spa advertising. The last part reflects the specific spa dress codes in Poděbrady. The work aims to describe local fashion site of this small town. The work also contains annexes, photographs that illustrate contemporary fashion ambience in provincial spa. The main source for the thesis was the fund of the Spa Poděbrady which is deposited at the Museum of the Labe Region. Key words: Fashion, history of spa, Czechoslovakia, period 1924 - 1930, ideal of beaty, photography, importace of fashion, dandy, countryside,

Winnie Verloc's role in "The Secret Agent" has received little initial critical attention. However, this character emerges as Conrad's hero in this novel because she is an exception to what afflicts the other characters: institutionalism. In the first chapter, I discuss the effect of institutions on the characters in the novel as well as on London, and how both the characters and the city lack hope and humanity. Chapter II is an analysis of Winnie's character, concentrating on her philosophy that "life doesn't stand much looking into," and how this view, coupled with her disturbing experience of having looked into the "abyss," makes Winnie heroic in her affirmative existentialism. Chapters III and IV broaden the focus, comparing Winnie to Conrad's other protagonists and to his other female characters.

Ferruccio Busoni (1866-1924) has a firmly established reputation as one of the giant pianists of his age, yet his compositions are largely neglected both in musicological circles and on the concert stage. A better understanding of his thought processes might lead to a greater appreciation of his art, and the acknowledgement of his reverence for the music of Bach is an important key to such an understanding. Busoni's Fantasia nach Bach and Toccata, although two decidedly dissimilar compositions in terms of purpose and conception, represent two manifestations of Busoni's respect for Bach, whether it be in the form of assimilating Bach's compositions into one of his own, or by creating an original work to the same mold as some of Bach's works.

This study compares Busoni's two original piano compositions, Indianische Fantasie for piano and orchestra (Indian Fantasy), op.44, and Indianisches Tagebuch (Indian Diary) Book I. They represent Busoni's late period of maturity and new aesthetical points of view on music. Both pieces are originated from Natalie Curtis's The Indian's Book, and particularly the Indian Diary is very closely related to the Fantasy, for three of the four pieces in the former work directly quote sections from the latter. To provide clear understanding of the composer's intention in creating two different versions from the same origin, this research examines how Busoni demonstrates his aesthetical ideas of new music in these two Indian piano compositions throughout structural and formal analysis. Busoni's adaption of Indian folk song in these works for the piano aimed at integrating Indian folk element with his personal harmonic language, both of which emphasized freedom in nature.

No description available.