Orientador: Maria Lucia Levy Candeias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:49:02Z (GMT). No. of bitstreams: 1 Scandolara_Camilo_M.pdf: 4509987 bytes, checksum: c903d905692b040e95b375d9e3a3a31d (MD5) Previous issue date: 2006 / Resumo: Este trabalho aborda a experiência dos estúdios do Teatro de Arte de Moscou (T.A.M.) como um dos pilares da formação da tradição teatral ocidental do século XX. Os estúdios do T.A.M. inserem-se em um movimento característico do processo de renovação teatral do início do século passado: o afastamento em relação aos centros da produção com o objetivo de reconstruir o ofício do ator e do diretor desde as suas bases. Partindo da constatação de que renovar o teatro implicava, antes de tudo, em criar uma pedagogia teatral sólida, Leopold Sulerjítski, Evguiêni Vakhtângov e Konstantin Stanislávski geraram espaços de experimentação nos quais a pedagogia era concebida como ato criativo, como atividade de invenção de possibilidades de teatro. Utiliza-se nesta pesquisa a análise das trajetórias de Sulerjítski e de Vakhtângov junto aos estúdios como referência para a compreensão do estabelecimento de um entendimento do fazer teatral que antecede e transcende a dimensão do espetáculo / Abstract: This dissertation approaches the experience of the Moscow Art Theatre studios, as one of the pillars of the formation of theatrical tradition in the West, in the Twentieth Century. The studios of the Moscow Art Theatre are part of a movement which characterizes the theatre renovation process of the beginning of the Twentieth Century, that is, the detachment from the main stream production, in order to re-build both acting and directing from their basis. Based on the notion that any theatre renewing would imply in the creation of a solid theatrical pedagogy, Leopold Sulerjítski, Evguiêni Vakhtângov and Konstantin Stanislávski created spaces for experimentation, in which such a pedagogy was conceived as acts of creation, as the invention of possibilities in theatre. Thus, this research presents the analysis of Sulerjítski's and Vakhtângov's trajectory in the MAT studios and offers new elements for the understanding of theatre practices which precede and transcend theatrical performances / Mestrado / Mestre em Artes

Made available in DSpace on 2017-07-10T18:26:22Z (GMT). No. of bitstreams: 1 Michelle S Cabral.pdf: 1060781 bytes, checksum: b88fc5e113d9ff36c876bfbcf2c52bdd (MD5) Previous issue date: 2010-10-27 / Fundação Araucária / The goal of this dissertation is to investigate the statute of the notion of world in Husserl‟s phenomenology. It starts of an analysis of the elements involved in the characterization of this as universal objective correlate of the transcendental life. To do so, it was necessary to examine the notions of conscience and epoché, insofar as the understanding of its unique and original sense is determinative to a full apprehension of the proposed question. The notion of conscience is elaborated by Husserlian phenomenology in a radically opposing meaning to the modern conceptions of it, in which it was conceived, in general, as psychic interiority that articulates ideas or psychological data from incoming from stimulations received from the outside. According to Husserl, the true subjectivity should be described as ideal- transcendental field that encloses the constitution of both the poles involved in any experience. Its basic characteristic will be drawn by intentionality operative that ensure the direct correlation between possible subjects and possible objects. The method that allows to have access such field, becoming possible the pure description of the reference apriórica of the noetic acts its respective noematic correlates, is the method of epoché. The validation of this as appropriate procedure and demanded by the character of the inquiry is indispensable within the Husserlian thought. The process of eidetic variation and the role of the fantasy are also highlighted in function of its importance in the whole operation. The conception of the world drew from the use of this methodology that invalidates the natural attitude of consideration, while an naive and insufficient procedure to establish the knowledge, is extracted, first, in a movement of refutation to the concept modern of world. The conception of world as a horizon of meaning for each and every experience is based only through the overcoming of the traditional figures of conscience and idealism. The new meaning, established by phenomenology, brings as specificity determinative the essential character of the analysis, resource that allows it to raise it to the transcendental attitude of inquiry abandoning, concomitantly, the facticity imposed by natural consideration. The meticulous examination of the essential structure present in any one experience allows the verification of the horizons involved in each individual lived. The interconnection of these in an indefinite system of new experiences eidetically predetermined from the internal and external horizons of each objectivity individually taked, leads to the total horizon of the world. The world then will be characterized as the horizon of horizons or, still, as correlative infinite idea to infinities of possible experiences in the unity of one same life. It is, at last, to understand the world as sense Omni-encompassing that involves each individual experience in order to determine the indefinite possibility experiences possible according to the telos of agreement and sedimentation. / O objetivo da dissertação é investigar o estatuto da noção de mundo na fenomenologia de Husserl. Parte-se de uma análise dos elementos implicados na caracterização deste como correlato objetivo universal da vida transcendental. Para tanto, fez-se necessário examinar as noções de consciência e epoché, na medida em que a compreensão de seu sentido inédito e original é determinante para uma plena apreensão da questão proposta. A noção de consciência é elaborada pela fenomenologia husserliana numa significação radicalmente oposta às concepções modernas da mesma, nas quais era concebida, em geral, como interioridade psíquica que articula idéias ou dados psicológicos provenientes de estímulos recebidos do exterior. De acordo com Husserl, a verdadeira subjetividade deverá ser descrita como âmbito ideal-transcendental que abrange a constituição de ambos os pólos implicados numa experiência qualquer. Sua característica fundamental será traçada pela intencionalidade operante que garante a correlação direta entre sujeitos possíveis e objetos possíveis. O método que permite acessar tal âmbito, tornando possível a descrição pura da apriórica referência dos atos noéticos aos seus respectivos correlatos noemáticos, é o método da epoché. A validação deste como procedimento cabível e exigido pelo caráter da investigação se mostra indispensável no interior do pensamento husserliano. O processo de variação eidética e o papel da fantasia também são destacados em função de sua importância no todo da operação. A concepção de mundo haurida a partir do emprego desta metodologia que invalida a atitude natural de consideração, enquanto um procedimento ingênuo e insuficiente para fundar o conhecimento, é extraída, primeiramente, num movimento de refutação ao conceito moderno de mundo. A concepção de mundo como horizonte de sentido para toda e qualquer experiência somente encontra fundamento através da superação das tradicionais figuras de consciência e de idealismo. A nova acepção, instaurada pela fenomenologia, traz como especificidade determinante o caráter essencial da análise, recurso que lhe permite alçar-se à atitude transcendental de investigação abandonando, concomitantemente, a faticidade imposta pela consideração natural. O exame meticuloso da estrutura essencial presente em uma experiência qualquer permite a constatação dos horizontes implicados em cada vivido singular. A interconexão destes num sistema indefinido de novas experiências, eideticamente pré-determinadas a partir dos horizontes interno e externo de cada objetividade tomada individualmente, leva ao horizonte total do mundo. O mundo será então caracterizado como horizonte dos horizontes ou, ainda, como idéia infinita correlativa às infinidades de experiências possíveis na unidade de uma mesma vida. Trata-se, enfim, de compreender o mundo como sentido omni-englobante que envolve cada experiência individual de modo a determinar a possibilidade indefinida de experiências possíveis segundo o telos de concordância e sedimentação.

Orientador: Fernando Antonio Lourenço / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T03:34:56Z (GMT). No. of bitstreams: 1 Re_HenriqueAntonio_M.pdf: 12537503 bytes, checksum: 54ee64f4a603082c0e0c14278ea46ab6 (MD5) Previous issue date: 2005 / Resumo: Este trabalho procura discutir a interpretação do andamento histórico da sociedade brasileira, apresentada por Roberto Schwarz, a partir de duas de suas fontes: o livro RaÍzes do Brasil, de Sérgio Buarque de Holanda e alguns ensaios de Antonio Candido, com destaque para a "Dialética da malandragem". Este procedimento permitiu compreender de que modo algumas contribuições desses dois autores foram incorporadas ou recusadas quando da construção daquela interpretação. Possibilitou ainda compreender essas divergências como contribuições ao processo de fonnação do pensamento social brasileiro, uma vez que foram analisadas através do debate intelectual no qual surgiram / Abstract: The present dissertation strives to discuss the interpretation of the historical process of the Brazilian society presented by Roberto Schwarz, from two sources: the book Raizes do Brasil, by Sérgio Buarque de Holanda and some essays by Antonio Candido, chiefly the "Dialética da malandragem". The procedure enabled the comprehension of how the contributions of both authors were accepted or refused when that interpretation was made. It also enabled the comprehension of the divergences as contributions to the process of formation of the Brazilian social thought, since they were analyzed through the intellectual debate from which they came u / Mestrado / Sociologia / Mestre em Sociologia

A social-constructionist ecofeminist perspective argues that patriarchal society separates the human (or culture) from nature, which causes a false assumption that humanity possesses the right, as a superior species, to dominate nature. This perspective integrates the domination of nature with social conflicts, including but not limited to racial discrimination, gender oppression, and class hierarchies. Understanding how these various forms of oppression interrelate forms the main goal of an ecofeminist perspective. Since the nature-culture, female-male, and whitenonwhite conflicts resonate and interlock throughout South Africa's history, socialconstructionist ecofeminism is an indispensable perspective for analysing South African literature. This thesis takes a social-constructionist ecofeminist approach and applies it to four women authors that write about South African society between the years 1860-1900. This thesis includes the following authors and their works: Olive Schreiner (1855-1920) and two of her novels, The Story of an African Farm (1883) and From Man to Man (published posthumously in 1927); Pauline Smith (1882-1959) and her novel The Beadle (1926); Dalene Matthee (1938- ) and three of her novels, Circles in a Forest (1984), Fiela's Child (1986), and The Mulberry Forest (1987); and Marguerite Poland (1950- ) and one of her novels, Shades (1993). This thesis investigates two women from the time period (Schreiner and Smith) and two women from a late twentieth century perspective (Matthee and Poland) and compares how they depict the natural environment, how they construct gender, and how they interpret class and race power struggles. This thesis concludes that the social-constructionist perspective offers unique insights into these four authors. Schreiner's novels reveal her concerns about gender and racial conflicts in South Africa and her understanding of the nature-culture dichotomy as sustained by Social Darwinism. Smith offers insights into the complex power structures in a rural Afrikaans society that keep women and nonwhite races silent. Matthee writes nature as an active participant in her novels; the social and ecological conflicts emphasise the transformation of the Knysna area. Poland explores the racial tensions, gender conflicts, and environmental concerns that preceded the South African War. Schreiner, Smith, Matthee, and Poland make up a small cross-section of South African literature, but they provide a basis for further discussing the ecofeminist perspective within a South African context. / KMBT_363 / Adobe Acrobat 9.54 Paper Capture Plug-in

Made available in DSpace on 2017-06-01T18:12:41Z (GMT). No. of bitstreams: 1 eraldo_ribeiro_tavares.pdf: 1006263 bytes, checksum: 63c5ddf8fdf0b3063870fe6a8afb3e5e (MD5) Previous issue date: 2014-01-06 / Known as a criminal, man of no mercy, a blood kille , monster and even as the own encarnation of the devil, Virgulino Ferreira da Silva, marked the History of the northeast region of Brazil and even the brasilian one, with his long twenty runaway years and crimes through the northeast sertão region of Brazil. This work shows what few people know and just a few researchers dedicated themselves to unveil: The Cangaceiro Lampião, whom altogether with the other members of his group, developed the other side of the existence as a being the issue of his religiosity. As most of the northeast people who practise the so called popular catholicism, Lampião, kept his relationship with angels and saintmen, he prayed every day and had his beliefs in ocult forces and in dreams. He never tried to get away with the rules on which he was upbrought since he was a kid, which were imposed by his mother and grandmother, who were the responsilble ones for his religious education. He was devoted for some saintmen, in special Hail Mary of Conception (Nossa Senhora da Conceição). He had the habit of saying last minute catholic masses along with his partners, who are known as cangaceiro, and who lived under his laws. That worked as a respect sign and served to diminish the possible sufferings of the soul that could float over them. Then, the question of religiosity inside the cangaço turns into a fundamental thing to enrich the thematic in which, now and then, the interested ones would have to face with new works. However, they do not mention exclusively the question of the religious life of the group or as known the gang. many works about the cangaço have been published, and especially about Lampião, being one more this essay was written with the purpose of contributing with the expanding of the view about the cangaço phenomenon, in special using the elements of the Religious Sciences to understand a little more about the religious life of Lampíão and also of his partners, the cangaceiros who lived under his orbit and command. / Tido como um facínora, homem sem piedade, bandido sanguinário, monstro e até como a própria encarnação do diabo, Virgulino Ferreira da Silva, o Lampião, marcou a história do Nordeste e até a do Brasil, com seus longos vinte anos de correrias e crimes pelo sertão nordestino. Este trabalho mostra o que poucas pessoas sabem e poucos pesquisadores se dedicaram a desvendar: o cangaceiro Lampião, juntamente com os outros membros do seu bando, desenvolveu outro lado da sua existência como ser - a questão da sua religiosidade. Como a maioria dos sertanejos praticantes do chamado catolicismo popular, Lampião, mantinha relação com anjos e santos, rezava todos os dias e acreditava em forças ocultas e em sonhos. Nunca buscou fugir às regras em que foi educado desde criança pela sua mãe e pela sua avó que foram as responsáveis pela sua formação religiosa. Era devoto de alguns santos, em especial de Nossa Senhora da Conceição. Tinha como hábito realizar missas improvisadas sempre acompanhado dos demais cangaceiros que viviam sob seu comando. Isso funcionava como fator de respeito e servia para amenizar possíveis sofrimentos da alma que pairassem sobre eles. Assim, a questão da religiosidade dentro do cangaço torna-se fundamental para enriquecer a temática na qual, volta e meia os interessados se deparam com novas obras. Todavia, elas não tocam exclusivamente na questão da vivência religiosa do bando. Muitos trabalhos já foram publicados sobre o cangaço e, em especial, sobre Lampião. Sendo mais uma, esta dissertação foi escrita com a finalidade de contribuir para alargar a visão sobre o fenômeno do cangaço, em especial utilizando os elementos das Ciências da Religião para entender um pouco mais sobre a questão da religiosidade na pessoa de Lampião e dos cangaceiros que viveram em sua órbita de comando.

This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.

American composer Roy Harris began writing a symphony for the Tommy Dorsey band in 1938, but the piece was never completed. This dissertation project chronicles the events surrounding the interesting collaboration between the composer and the bandleader, including problems incurred during the rehearsal process, the eventual abandonment of the project, and the discovery of the little-known band work. The paper includes information on the composer's life and works, an in-depth discussion of the compositional technique that Harris called “autogenesis,” and a detailed analysis of the two surviving movements of the band piece. The piece is also discussed comparatively with other significant works in Harris' symphonic genre, most notably his Folksong Symphony, also known as his Fourth Symphony. A significant portion of the research and preparation for the project was spent reconstructing a modern wind ensemble edition of the two surviving movements. A complete score of the reconstructed edition is included as part of this project.

This master's thesis focuses on how the Czech Television covered the one hundredth anniversary of the founding of Czechoslovakia in its main evening news program. It was an important theme of the whole year 2018, it wasn't the only anniversary we commemorated in that year, though. In 2018, eighty years have passed since the signing of the Munich Agreement in 1938 and seventy years since the 1948 Czechoslovak coup d'état. It's also been fifty years since the Prague Spring and the Warsaw Pact invasion of Czechoslovakia in 1968. Last but not least, we celebrated twenty-five years since the founding of the Czech Republic in 1993. All these events are significant milestones in Czech and world history of the twentieth century. Therefore, the thesis analyzes to what extent Czech Television dealt with these events. The aim of the thesis is to get an insight into the coverage of this topic throughout the year 2018 and to find out how much space was provided for each anniversary and what the nature of the posts was.

El presente trabajo tiene como objetivo principal explorar y explicar la relación entre la construcción de una música tecnologizada peruana y el uso de los elementos poéticos nacionales a través del análisis de Intensidad y Altura (César Bolaños, 1964) y Los Dados Eternos (Rajmil Fischman, 1991). Los compositores de ambas piezas, César Bolaños y Rajmil Fischman, son considerados como símbolos de una electrónica peruana no fomentada desde el Perú, y que hacen uso los poemas de César Vallejo para representar identidad nacional. Para lograr dicho objetivo, se debe definir una cronología de la cultura musical electrónica del Perú que permita relacionar los principios y elementos de las obras a analizarse con el contexto histórico, analizar la estructura de las obras propuestas en la cual se involucran aspectos poéticos, contrastar y relacionar las obras propuestas en base a su construcción a través del discurso poético, para, finalmente, interpretar la construcción identitaria en las composiciones a través de los elementos poéticos. La metodología que se emplea para el análisis formal es el método de la partitura auditiva, propuesto en la tesis doctoral de Megan Fogle: Understanding Electronic Music: A Phenomenological Approach; mientras que para el análisis tipo-morfológico se sigue de referencia el método de Pierre Shaeffer, plasmado en el Tratado de los objetos musicales. / The main objective of this study is to explore and explain the relationship between the construction of peruvian computer music and the use of national poetic elements through the analysis of Instensidad y Altura (César Bolaños, 1964) and Los Dados Eternos (Rajmil Fischman, 1991). The composers of both pieces, César Bolaños and Rajmil Fischman, are considered symbols of an electronic peruvian music promoted from abroad. Also, both of them used the poems of César Vallejo to represent national identity. To achieve this objective, we must define a chronology of the electronic musical culture of Perú that allows relating the principles and elements of the works to be analyzed with the historical context, such as analyze the structure of the proposed works in which poetic aspects are involved, contrast and relate the pieces based on their construction through poetic discourse, to finally, interpret the identity construction in the compositions through the poetic elements. The methodology used for the formal analysis is the method of the listening score, proposed in Megan Fogle's doctoral thesis: Understanding Electronic Music: A Phenomenological Approach; while for the type-morphological analysis the method of Pierre Shaeffer, embodied in the Teatrise on Musical Objects, is followed as a reference.

Varios críticos han notado la influencia de Gabriele D’Annunzio en la obra de Don Ramón del Valle-Inclán y uno, Julio Casares, ha señalado un episodio de clara imitación, pero, por lo que pudimos averiguar, no se ha hecho un estudio detenido puntualizando las muchas semejanzas específicas que existen entre los dos autores. En este trabajo se examinarán varios recursos estilísticos y temas que aparecen en algunas obras en prosa de la fase modernista de Valle-Inclán, relacionándolos con los que fueron empleados anteriormente por Gabriele D’Annunzio en sus obras en prosa. Esto pondrá en evidencia las semejanzas específicas que se hallan en los varios escritos, y comprobará que Valle-Inclán verdaderamente siguió las huellas dannunzianas. En este estudio se tomarán en cuenta únicamente los rasgos más significativos para mostrar puntos comunes entre los dos autores. Nos remitimos a los escritos de D’Annunzio solamente en lo que puede tener relación con los escritos de Valle-Inclán considerados aquí.