Esta dissertação tem como principal objetivo a introdução à obra do designer Ruben de Freitas Martins (1929 - 1968), apreendendo a sua trajetória e algumas das principais características criativas de seu trabalho. Ele iniciou sua carreira como artista plástico, derivando-a para o design até atingir a posição de empresário do setor, engajado na divulgação da profissão no Brasil. Nessa condição, durante a década de 60 dirigiu a Forminform, considerado o primeiro escritório de design do país. Na primeira parte da dissertação, com o intuito de analisar de forma eficaz e comparativa o seu trabalho, buscamos investigar e reconstruir a trajetória de Ruben Martins, sua formação profissional e o círculo social com o qual conviveu. Para tanto, foi realizado um levantamento de dados sobre a história e o contexto do designer, incluindo a coleta de matérias jornalísticas, artigos e entrevistas realizadas com personalidades que possuem informações sobre o próprio, como João Carlos Cauduro e Karl Heinz Bergmiller, além da constante pesquisa junto ao Acervo Pessoal de Ruben Martins, recolhido pela família. Na segunda parte, encontra-se a análise detalhada de um de seus principais trabalhos, a marca criada para a Rede de Hotéis Tropical (1967), \"leitura\" esta construída a partir do rebatimento das informações levantadas na primeira parte do trabalho. / This dissertation has as main objective the introduction to the work of designer Ruben de Freitas Martins (1929 - 1968), seizing his career and some key features of his creative work. He began his career as an artist, deriving her to the design to reach the position of manager of the sector, engaged in spreading the profession in Brazil. In this condition, during the 60´s, directed the office Forminform, considered the first design office in the country. In the first part of the dissertation, in order to effectively analyze and compare their work, we investigate and reconstruct the trajectory of Ruben Martins, vocational training and social circle with whom he lived. To that end, we conducted a survey about the history and context of the designer, including collection of news stories, articles and interviews with personalities who have information about him, as João Carlos Cauduro and Karl Heinz Bergmiller, farther the constant search with the Personal Collection of Ruben Martins, picked up by family. The second part is the detailed analysis of one of his major works, the brand created for the Network of Tropical Hotels (1967), the \"reading\" is built from information gathered in the first part of the dissertation.

L'objectif de ce mémoire est de développer une réflexion sur les relations texte-image en jeu dans l'oeuvre de Paul-Marie Lapointe. À partir du recueil Le Vierge incendié, il s'agit de démontrer l'évolution du traitement de l'espace de la page, actualisant une étude sémantique, thématique et visuelle. Notre travail a donc pour but l'élaboration d'une étude actuelle de cette oeuvre de 1948, notamment de ses dimensions figurale et visuelle. Il convoque certaines théories littéraires (écriture fragmentaire, figure littéraire, lecture tabulaire), ainsi que des théories en arts visuels. il touche ainsi aux questions de la poésie visuelle et des livres d'artistes, mais aussi, il permet une étude génétique des poèmes. Les questions d'espace-page et de poème-tableau sont aussi convoquées. Nous posons l'hypothèse selon laquelle le poème permet, grâce à l'étude de ses qualités picturales et esthétiques, d'en élaborer une étude visuelle. Il s'agit de prolonger les analyses sémantique et thématique par ce lien indéniable qu'elles entretiennent avec le domaine visuel du texte poétique. En reliant les études déjà existantes (Haeck, Fisette et van Schendel), ainsi qu'en articulant une analyse exhaustive de la composition du recueil (Major, Melançon), tout en ralliant l'étude nouvelle des dimensions tant figurale (Lyotard, Gervais) que génétique (Martel, Maunet), Le Vierge incendié de PauI-Marie Lapointe justifie la méthode utilisée pour aborder et confirmer cette hypothèse. En effet, c'est à partir de la rencontre et du dialogue des concepts littéraires précédents (écriture fragmentaire: Blanchot, Michaud, ... ), ainsi que de ceux de lecture tabulaire (Krüger, Vandendorpe) et des travaux concernant le poème-tableau (Maunet, Cornu), que s'élaborent les principaux postulats de notre mémoire. Ils permettent une lecture toute autre du travail de Lapointe, une lecture picturale et esthétique, motivée tant par l'interrelation entre la variété formelle du recueil et sa composition thématique, par la figure littéraire qui façonne le texte et par le poème-tableau. Cette étude est novatrice en ce qu'elle offre des voies analytiques encore inexplorées. L'originalité du travail de recherche réside dans l'étude de nouveaux aspects théoriques et poétiques chez Lapointe (la figure littéraire, la dimension picturale et l'analyse génétique). Plutôt que de s'attarder uniquement au discours de révolte (souvent pointé chez Lapointe), les dimensions figurale, génétique et picturale rendent compte de la valeur et de la portée de ce recueil. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Le Vierge incendié, Figure, Génétique, Picturalité, Poésie québécoise, Poésie visuelle, Relation texte-image.

O presente Trabalho discute as práticas sociais de pessoas, ligadas ao Movimento dos Focolares, da cidade do Recife, (o protagonismo sociopolítico e religioso) fundamentado naquilo que Jürgen Habermas denomina razão comunicativa, através da ética do discurso. Na sociedade Moderna, a razão instrumental exacerbada, característica do Capitalismo, canaliza as ações para determinados fins utilitaristas. Os relacionamentos humanos, assim, tendem à degradação, a tirar proveito, à contratação: são relações análogas à compra e venda. Ainda mais, a vulgar interpretação do amor se mistura ao egoísmo em que cada um procura ganhar, e os nobres sentimentos desta maneira sempre se definham e são sufocados. No entanto, a Teoria da Ação Comunicativa visa ao entendimento, através da linguagem, tendo como parâmetro, o consenso, em que os atores agem na liberdade. A linguagem coordena as ações: pretende ter uma função emancipadora. Trata-se de uma abordagem direcionada aos vários aspectos da construção da identidade humana, na relação social. Partindo da analise do discurso do material colhido, nas entrevistas tornou viável traçar um paralelo entre as propostas de vida que as pessoas do Movimento dos Focolares assumiram, como meta, a vivência da Arte de Amar, da Fraternidade universal, da Unidade na diversidade e os pressupostos da Teoria da Ação Comunicativa, i é a prática do melhor argumento, o diálogo. Registro de análise dos depoimentos identificou a correspondência dos objetivos do Movimento dos Focolares com os conceitos de Racionalidade Comunicativa e da Ética do Discurso de Habermas. O cerne desta Pesquisa está no reconhecimento de valores que dão sentido a ações que levam ao protagonismo do grupo, em estudo. / This Work discusses persons-who are bonded to the Focolari Movement - social practices (sociopolitical and religious protagonism), based - this work debate - in Jürgen Habermas Communicative Reason i. e. Jurgen Habermas conception through his discourse Ethics. In modern society, Instrumental, Reason in its exarcebated sense, typical to Capitalism, conveys, as a kind, a sort of channel, man actions toward determined upshots, so to say inescapable purposes. Human rapports tend, are conducted to degradation, to take profit from everything and everyone, to bargain; they are rapports that are analogous, in all senses, to purchase and selling. In deeper instances, love vulgar interpretation is confounded with egoism, mixes with selfishness with each one in seeks to gain greedly always to detriment to the noblest feelings that are supposed to be, at any cost, suppressed. Nevertheless, The Theory of Communicative Action aims at understanding, through language, having as parameter Consensus which the actors behave in at liberty. Language coordinates men actions: it pretends having, aims at having an emancipating function. One is dealing with an approach directed to human identity construction, building several aspects, in a social rapport which, i.e. the abovementioned approach, based, founded in the Focolari Movement, departing from Discourse Analysis about the gathered material through interviews rendered, made possible, workable a certain parallel, comparison between the life proposals that the Focolari Movement persons adopted as their life goal, their utmost life purpose, their Art of Love liveliness, as well as they embraced Universal Fraternity and unity in diversity ideals, between, so to say, all these conceptions and deeds and the Communicative Action Theory presuppositions, so to say: best argument practice is dialogue. It was, also, possible to observe, to verify that both these conceptions constitutive elements are intercomplementary, compatible in their nature, being both these of them, nearly, each other foundation. At least, as one understands Jürgen Habermas`s theory, on can the Focolari Movement`s ideas, so to say Ideal. This researchs nucleus is found in the values recognition that bestows a great sense, meaning to actions, deeds that bring forth to this studied group protagonism.

Esta dissertação tem como principal objetivo a introdução à obra do designer Ruben de Freitas Martins (1929 - 1968), apreendendo a sua trajetória e algumas das principais características criativas de seu trabalho. Ele iniciou sua carreira como artista plástico, derivando-a para o design até atingir a posição de empresário do setor, engajado na divulgação da profissão no Brasil. Nessa condição, durante a década de 60 dirigiu a Forminform, considerado o primeiro escritório de design do país. Na primeira parte da dissertação, com o intuito de analisar de forma eficaz e comparativa o seu trabalho, buscamos investigar e reconstruir a trajetória de Ruben Martins, sua formação profissional e o círculo social com o qual conviveu. Para tanto, foi realizado um levantamento de dados sobre a história e o contexto do designer, incluindo a coleta de matérias jornalísticas, artigos e entrevistas realizadas com personalidades que possuem informações sobre o próprio, como João Carlos Cauduro e Karl Heinz Bergmiller, além da constante pesquisa junto ao Acervo Pessoal de Ruben Martins, recolhido pela família. Na segunda parte, encontra-se a análise detalhada de um de seus principais trabalhos, a marca criada para a Rede de Hotéis Tropical (1967), \"leitura\" esta construída a partir do rebatimento das informações levantadas na primeira parte do trabalho. / This dissertation has as main objective the introduction to the work of designer Ruben de Freitas Martins (1929 - 1968), seizing his career and some key features of his creative work. He began his career as an artist, deriving her to the design to reach the position of manager of the sector, engaged in spreading the profession in Brazil. In this condition, during the 60´s, directed the office Forminform, considered the first design office in the country. In the first part of the dissertation, in order to effectively analyze and compare their work, we investigate and reconstruct the trajectory of Ruben Martins, vocational training and social circle with whom he lived. To that end, we conducted a survey about the history and context of the designer, including collection of news stories, articles and interviews with personalities who have information about him, as João Carlos Cauduro and Karl Heinz Bergmiller, farther the constant search with the Personal Collection of Ruben Martins, picked up by family. The second part is the detailed analysis of one of his major works, the brand created for the Network of Tropical Hotels (1967), the \"reading\" is built from information gathered in the first part of the dissertation.

Made available in DSpace on 2016-04-18T12:12:39Z (GMT). No. of bitstreams: 4 Fanny Schroeder de Freitas Araujo1.pdf: 2458556 bytes, checksum: 808f27a2e2d6f81fd97f0d212b852ae3 (MD5) Fanny Schroeder de Freitas Araujo2.pdf: 2560800 bytes, checksum: c59d8237c380424dc07b4e0d42e6b546 (MD5) Fanny Schroeder de Freitas Araujo3.pdf: 2378016 bytes, checksum: 62b386617a6c4c1ec4d122c8ec5feba1 (MD5) Fanny Schroeder de Freitas Araujo4.pdf: 1309466 bytes, checksum: 62f41688c20d1484feb06d1a16a41609 (MD5) Previous issue date: 2009-08-24 / Fundo Mackenzie de Pesquisa / This study shows the production of the architect Telésforo Giorgio Cristófani(1929-2002) under the scope of São Paulo modern architecture in the second half of XXth century. The analysis of the buildings was based on the architect's original collection which was catalogued, systemized, scanned and published as "Arquitetos paulistas, idéias e obras: um banco de dados" in 2006 and 2007. This study was divided into three parts: the first one shows a panorama on the trajectory of the architect and the complete listing of his projects. In the second, conceptual tools were developed in order to analyze Cristófani's oeuvre. The third part is composed by the analysis of the selected buildings: Edifício Baviera, Edifício Giselle and Edifício Paulista I. / Este trabalho apresenta a produção do arquiteto Telésforo Giorgio Cristófani (1929-2002) observando-a sob a ótica do desenvolvimento da arquitetura moderna paulista na segunda metade do século XX. A análise das obras deu-se sobre o material do acervo original do arquiteto que foi catalogado, sistematizado e digitalizado pelas pesquisas Arquitetos paulistas, idéias e obras: um banco de dados nos anos de 2006 e 2007. Este trabalho foi organizado em três partes: a primeira faz um panorama sobre a trajetória do arquiteto através de uma listagem completa de seus projetos. Na segunda são formulados instrumentos de análise conceitual da obra de Cristófani. A terceira é composta pelas análises dos edifícios selecionados: Edifício Baviera, Edifício Giselle e Edifício Paulista I.

La firma del Tratado de Ancón el 20 de octubre de 1883 dio fin al conflicto bélico entre Perú y Chile en la guerra del Pacífico, pero marcó el inicio de una nueva etapa de tensión a nivel diplomático entre ambos países, la cual culminaría con la firma del Tratado de Lima en 1929. En este periodo, se redefinió el nacionalismo peruano sobre la base de los recuerdos de la guerra presentes en la memoria colectiva de la población. Además, se construyó una imagen negativa de Chile, que se convirtió en el enemigo de la nación. En la presente tesis, analizamos el antichilenismo popular y sus diversas manifestaciones entre 1884-1929 y su influencia sobre la vida cotidiana de la población chilena residente en Lima en ese período. En ese sentido, a través de la consulta y análisis de diversas fuentes que versan entre censos, códigos civiles, constituciones, prensa, obras de teatro, cancioneros, imágenes, fotografías y registros parroquiales, proponemos que a pesar de la existencia de antichilenismo en el ámbito popular, la población chilena no fue objeto de violencia física por parte de la población peruana. Chile fue percibido como enemigo a nivel de discurso y a nivel diplomático, y por ello no se concretaron ataques directos contra la población chilena. Ante ello, también analizamos los momentos de encuentro y conciliación entre peruanos y chilenos en el periodo estudiado. / Tesis

The thesis deals with the Utopian and dystopian aspects of Ursula K. Le Guin's The Dispossessed and Always Coming Home. To provide a basis for comparison with the endeavours of previous utopists, the first part is devoted to a historical account of literary Utopias, and to an examination of the signposts of the genre. This history is restricted to practical blueprints for the ideal commonwealth and excludes creations of pure fantasy. In tracing Utopian development from Plato to Wells, the influence of historical events and the mainstreams of thought, such as Renaissance humanism, the Reformation, the rising importance of science, the discovery of new lands, the Enlightenment, Locke's Theory of Perfectability, Bentham's utilitarianism, the Industrial Revolution, socialism, the French Revolution, Darwinism, and the conflict between capital and labour is demonstrated. It is also shown how the long-range results of the Russian Revolution and the two world wars shattered all Utopian visions, leading to the emergence of the dystopia, and how the author reversed this negative trend in the second part of the twentieth century. In a study of forms of Utopian presentation, the claim is made that The Dispossessed features the first Utopia that qualifies as a novel: not only does the author break with the genre's tradition of subordinating the characters to the proposal, she also creates the conflict necessary for novelistic structure by juxtaposing her positive societies with negative ones. In part two, the Utopias and dystopias of both books are examined, and their features compared to previous endeavours in the genre. The observation is made that although the author favours anarchism as a political theory, she is more deeply committed to the Chinese philosophy of Taoism, seeing in its ideals the only way to a harmonious and just existence for all. In order to prove her point, Le Guin renders her Utopias less than perfect, placing one society into an inhospitable environment and showing the other as suffering from genetic damage; this suggests that the ideal life does not rest in societal organization or beneficent surroundings, but in the minds of the inhabitants: this frame of mind—if not inherent in a culture—can be achieved by living in accordance with the tao. Lastly, an effort is made to determine the anthropological models upon which Utopian proposals are constructed. The theory is put forth that all non-governed, egalitarian Utopias represent a return to the societal arrangements of early man, when his communities were still small and decentralized, and before occupational specialization began to set in; that all democratic forms of government are taken from the Greek examples, that More's Utopia might well have been modelled on the Athenian clans of the pre-Cleisthenes era, and that the Kesh society of Always Coming Home is based exclusively on the kinship systems of the Pueblo Indians of the American Southwest. / Arts, Faculty of / English, Department of / Graduate

La réflexion critique de ce mémoire se veut une étude approfondie des thématiques communes au mythe d'Orphée et Eurydice ainsi qu'au roman Prochain épisode d'Hubert Aquin. C'est la puissance du langage poétique d'Aquin qui nous permet d'établir des liens entre mythe et roman, puis la présence de thèmes tels que la mort, le doute, l'amour et la musique, le regard en arrière, la figure du double, le pays perdu et la révolution. La section création regroupe quarante-huit poèmes. Elle est née et s'est nourrie d'une expérience humaine infernale et extraordinaire, rapportée dans le mythe d'Orphée et le roman d'Aquin, soit le processus de mort, de métamorphose et de renaissance.

Η εργασία αναφέρεται στον τρόπο με τον οποίο αντιμετωπίστηκε η εκπαιδευτική μεταρρύθμιση του 1929 της κυβέρνησης του Ελευθέριου Βενιζέλου, δηλαδή τα εκπαιδευτικά νομοσχέδια που κατατέθηκαν επί Υπουργίας Κ. Γόντικα (1929) και Γ. Παπανδρέου (1930 -1932), από μία εφημερίδα του Τύπου της εποχής, μη προσκείμενης στην κυβερνητική παράταξη, την εφημερίδα «Ακρόπολις». Θεωρήθηκε ενδιαφέρον να μελετηθεί η άποψη της συγκεκριμένης εφημερίδας, αφού σημείωνε επιτυχία ως προς την κυκλοφορία της, κι επειδή φιλοξένησε στις σελίδες της άρθρα για την επιχειρούμενη εκπαιδευτική μεταρρύθμιση του Δημήτρη Γληνού, παιδαγωγού και διανοούμενου που είχε αναλάβει σημαντικό ρόλο στην εκπαιδευτική μεταρρύθμιση του 1913, η οποία είχε κατατεθεί και πάλι από την κυβέρνηση των Φιλελευθέρων. Εκτός από τις αναφορές σε βιβλιογραφικές πηγές, γίνεται παράθεση και ανάλυση των δημοσιευμάτων της εφημερίδας, με τη μέθοδο της ανάλυσης περιεχομένου, που αναφέρονται στην εκπαιδευτική μεταρρύθμιση του 1929. / This thesis deals with the criticism on the Greek education reform of 1929, comprising from the education bills submitted when ministers of education were K. Gontikas (1929) and G. Papandreou (1930-1932), by the government of Eleftherios Venizelos, from a newspaper not supporting the governing party, namely newspaper “Akropolis”. The study of this particular newspaper was considered interesting, since it achieved high circulation and contained articles written by D. Glinos, an educator and intellectual who played an important role in the education reform of 1913, which had also been submitted by the governing party of Liberals led by Eleftherios Venizelos. Apart from the bibliographic references, newspaper articles are provided and analyzed, using content analysis, referring to the education reform of 1929.

pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma \"arquitetura\" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação? / This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque \'architecture\' in the images of the actor\'s body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?