FREITAS, Norma Sueli Semião. Os Soldados de Cristo: igreja e migração para a Amazônia em tempos de guerra (1942-1943). 2015. 170f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-12-15T15:04:31Z No. of bitstreams: 1 2015_dis_nssfreitas.pdf: 3123183 bytes, checksum: ad6924d6e6603cc1e6472fae7db61da5 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-12-15T17:15:16Z (GMT) No. of bitstreams: 1 2015_dis_nssfreitas.pdf: 3123183 bytes, checksum: ad6924d6e6603cc1e6472fae7db61da5 (MD5) / Made available in DSpace on 2015-12-15T17:15:16Z (GMT). No. of bitstreams: 1 2015_dis_nssfreitas.pdf: 3123183 bytes, checksum: ad6924d6e6603cc1e6472fae7db61da5 (MD5) Previous issue date: 2015 / This study examines the alliance between the State and the Catholic Church in the process of mobilizing workers in northeastern of Brazil, mainly in Ceará, to the Amazon, in the context of the World War II and the New State. Such articulation was permeated by devices of the political universe and the Catholic religion, whose inclusion in this scenario carries a whole complexity and density of socio-cultural and historical implications. In this way, we seek to study the institutionalization of its own policy of this joint, a belief in politics, an operation on faith and the social imaginary of mobilized Catholics, cultivating hope about the best destinations in which poor people and destitute of all luck could project images of an almost messianic place expected, desired with faith as a "holy land", "land of hope". For this purpose we used sources such as: newspapers; official documents; photographs; letters; interviews; literature; official speeches; papal encyclicals; among others.Thus, this study aims to collaborate with the different approaches regarding the Battle of Rubber, mainly with regard to the link between temporal power and spiritual power in wartime. / O presente trabalho consiste em analisar a aliança entre Estado e Igreja Católica no processo de mobilização de trabalhadores da região nordeste do Brasil, sobretudo, do Ceará para a Amazônia, no contexto da Segunda Guerra Mundial e do Estado Novo. Tal articulação foi permeada por dispositivos do universo político e da religião católica, cuja inserção neste cenário carrega toda uma complexidade e densidade de implicações socioculturais e históricas. Desta forma, busca-se estudar a institucionalização de uma política própria dessa articulação, uma política da crença, uma operação sobre a fé e o imaginário social dos católicos mobilizados, cultivando esperanças, acerca de destinos melhores, no qual indivíduos pobres e desvalidos de toda sorte poderiam projetar imagens de um lugar quase messianicamente esperado, desejado com fé, como uma “terra santa”, “terra de esperança”. Para tal intento utilizou-se fontes como: jornais; documentos oficiais; fotografias; cartas; entrevistas; literatura; discursos oficiais; encíclicas papais, dentre outras. Logo, este estudo pretende colaborar com as diversas abordagens a respeito da Batalha da Borracha, principalmente, no que se refere à vinculação entre o poder temporal e o poder espiritual, em tempos de guerra.

Only a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life. In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting. The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition. The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure. Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon. / Arts, Faculty of / Music, School of / Graduate

Call number: LD2668 .T4 1961 H65

Call number: LD2668 .T4 1962 C67

彭淑芬. / 論文(神學碩士) -- 香港中文大學硏究院宗敎與神學學部, 1995. / 參考文獻: leaves i-iv (3rd group) / Peng Shufen. / 序 --- p.i / 撮要 --- p.iii / 前言 --- p.1 / Chapter 第一章 --- 尋根探源 / Chapter 一. --- 理智和宗敎植根期(1909-1924) --- p.5 / Chapter 二. --- 智識開展與獻身社運期（1925~1936) --- p.7 / Chapter 三. --- 神秘經驗與信仰闡釋期（1937~1949) --- p.9 / Chapter 第二章 --- 歷代愛觀與神秘主義方式 / Chapter 一. --- 基督敎傳統中的愛觀 --- p.13 / Chapter 1. --- 奧古斯丁： caritas的宗敎 --- p.14 / Chapter 2. --- 阿奎那：caritas的繼承 --- p.17 / Chapter 3. --- 路德：agape的恢復 --- p.19 / Chapter 二. --- 薇依的神秘主義方式 --- p.21 / Chapter 1. --- 神秘主義的特徵 --- p.21 / Chapter 2. --- 言說愛的方式 --- p.23 / Chapter 第三章 --- 薇依之愛的思想 / Chapter ´ؤ. --- 愛與認識 --- p.27 / Chapter 二. --- 愛上帝與不幸 --- p.29 / Chapter 三. --- 友誼 --- p.33 / Chapter 四. --- 愛鄰舍 --- p.36 / Chapter 五. --- 愛世界之美 --- p.38 / Chapter 六. --- 愛宗敎與聖事 --- p.41 / Chapter 第四章 --- 對談：薇依思想與基督敎愛觀 / Chapter 一. --- 愛上帝：agape與eros之間的爭論 --- p.45 / Chapter 二. --- 十字架聖愛：基督敎的核心愛觀 --- p.55 / Chapter 第五章 --- 綜合評價 / Chapter 一. --- 愛的實行 --- p.63 / Chapter 二. --- 對薇依的評述 --- p.68 / 結論 --- p.76 / 參考資料 --- p.（i)

Au cœur du débat qui anime la conception urbaine, la frontière entre les interventions des paysagistes et celle des urbanistes est marquée par des questions de concurrences et de complémentarité (Champy, 2000, Donadieu, 2012). Autour des années 2000, plusieurs balises semblent marquer un « tournant » favorable au croisement disciplinaire. Il s’inscrit dans un mouvement général initié dès le milieu des années 1960 (Estienne, 2010). Il matérialiserait ce que certains avaient énoncé comme « l’alternative du paysage », en faveur d’un sub-urbanisme (Marot, 1995, 1999, 2006), et ce qui pourrait être aujourd’hui identifié comme un « urbanisme de révélation » (Fromonot, 2011). Au cœur de la conception urbaine, quels échanges animent l’interface mise en jeu entre l’urbanisme et le paysage ? La thèse prend corps sur l’analyse d’une séquence urbaine : trois projets lillois qui se succèdent sur un territoire et durant un quart de siècle (1989-2013) : Euralille 1, Euralille 2 et Saint-Sauveur. Dans ce récit, le travail met en évidence les relations qui marquent les travaux réalisés à la fois par les urbanistes et par les paysagistes. Le regard est principalement porté dans les étapes préalables d’assemblages des concepts mobilisés pour construire le projet. La recherche prend corps par une étude de traces, et mêle exploration des documents produits par les concepteurs et analyse des discours formulés. Les travaux proposent une caractérisation des échanges opérés au cœur de l’interface synaptique entre l’urbanisme et le paysage, et ouvre le débat sur la sollicitation du travail du paysagiste ou de la pensée du paysage dans la fabrique de la ville contemporaine. / In France, some urban design general discussions focus on the border between the projects made by the urban designer and the one made by the landscape architects (Champy, 2000): between concurrency and complementary (Donadieu, 2012). In the 2000s, we can give a mark on a movement involved in some disciplinary crosses, between landscape and urban design. It takes place into an historic development of the landscape architect profession since the late 1960s (Estienne, 2010). Others observe what they call sub-urbanism (Marot, 1995, 1999, 2006), or “urbanisme de révélation” (Fromonot, 2011). In urban design practices, what kind of exchanges can lay out the interface between landscape and urbanism? This thesis analyses a local urban sequence, one territory in the city of Lille made by three projects over a quarter of a century (1989-2013): Euralille 1, Euralille 2, Saint-Sauveur. The investigation highlights the relations in the works made by the landscape architects and the urban designer. The analysis looks mainly on the opening works and designs, and study as much as graphic documents produced in the studios than the discourse logic associated to the projects. The work shows the exchanges that could organize the synaptic interface between urbanism and landscape design or planning. It opens directions for the consideration of the landscape architect work and the landscape thinking method, in the development of our contemporary cities.

This study presents an overview of the compositional style of David Maslanka and an analysis of his piece for wind band Unending Stream of Life. The sevenmovement work is based in part on the melody of the hymn tune “Lasst uns Erfreuen”, which is commonly known as “All Creatures of Our God and King.” David Maslanka has developed a unique compositional style that has been strongly influenced by the chorales of J.S. Bach and the writings of Swiss psychologist Carl Jung. Through the process of “active imagining” (Jung, 1964) Maslanka creates original works for wind band. The use of a hymn tune melody and short motives, both conventional and contemporary harmonic progressions, baroque and classical forms, tonal centricity, strong rhythmic drive, expanded instrumentation, and the theme of transformation are all essential to Maslanka’s compositional style. The study is intended to inform scholars and conductors about the: (1) melodic material, (2) harmony and tonality, (3) form, rhythm and tempo relations, (4) orchestration, and (5) unifying elements and musical nuances of David Maslanka’s Unending Stream of Life. / Introduction to the study -- Review of related literature -- Compositional style of David Maslanka -- History and analysis of the hymn tune Lasst uns erfreuen -- Background and analysis of Unending stream of life -- Summary and conclusions. / School of Music

Access to abstract permanently restricted to Ball State community only / Access to thesis permanently restricted to Ball State community only / School of Music

Ce mémoire de maîtrise en est un de création et par conséquent, il se divise en deux parties. L'une est consacrée à la rédaction d'une pièce de théâtre, Là où les contes de fées ont échoué, et l'autre, à l'étude du discours de la dispute amoureuse au théâtre à partir de l'échelle et du modèle de François Flahault. L'intuition à laquelle ce mémoire veut donner réalité est celle que la dispute amoureuse fait basculer la parole et qu'en ce sens, il existerait une écriture de la dispute. Là où les contes de fées ont échoué raconte l'histoire de Sarah et de Simon, qui sont tous deux dans la fin vingtaine. Sarah veut - et croit qu'elle doit - quitter Simon. La nuit suivant la réception de leur mariage, aux petites heures du matin, elle fait ses valises, non pas pour partir en voyage de noces comme elle le prétend, mais bien pour le quitter. Alors que Simon croit - à tort - avoir enfin atteint son idéal amoureux et aspire à construire une famille, Sarah ignore encore ce qu'est l'amour. C'est en entamant la création de Là où les contes de fées ont échoué que s'est imposée notre réflexion sur l'écriture de la dispute amoureuse. Il paraissait impossible d'échapper aux archétypes des conflits amoureux les plus connus, d'innover. La dispute conservait toujours ce quelque chose de déjà vu, de déjà dit. Et s'il existait un modèle, avons-nous pensé. D'où l'entrée en scène de l'échelle et du modèle de Flahault. Puis, l'écriture de la pièce s'est volontairement poursuivie et achevée sans que nous ne nous préoccupions des outils et ce, dans le seul but de constater a posteriori à quel point la théorie rejoignait la fiction et s'appliquait à la nôtre. Ce mémoire interroge donc essentiellement la dispute amoureuse dans sa façon d'être écrite, structurée. Il ne s'agit pas d'une analyse à proprement parler de la scène de ménage, mais d'une réflexion sur le sujet. En plus d'interroger le discours dans lequel elle s'inscrit, nous tentons de mettre en lumière les altérations du langage qu'elle provoque. À l'aide d'extraits de la pièce Who's Afraid of Virginia Woolf? d'Edward Albee et des outils de François Flahault, nous proposons une façon d'écrire la dispute amoureuse au théâtre et de la mettre en mots. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Théâtre, Amour, Discours, Écriture de la dispute, Flahault

Thèse de doctorat : Histoire : Metz : 1997. / 1997METZ010L. 380 ref.