Orientador: Claudiney Rodrigues Carrasco / Acompanhado de 1 DVD de exemplos em áudio e vídeo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T00:35:37Z (GMT). No. of bitstreams: 1 Spada_ThiagoGobet.pdf: 16849080 bytes, checksum: c00d85b4a449635048583cf976b5df1b (MD5) Previous issue date: 2006 / Resumo: David Tygel é um compositor brasileiro de trilhas musicais atuante desde o início dos anos 80 até os dias de hoje. É reconhecido pelo meio cinematográfico brasileiro, com uma filmografia de cerca de 26 longas metragens, e diversos outros trabalhos, tendo sido premiado com quatro kikitos no festival de gramado. David Tygel também é reconhecido no meio educacional, sendo um dos primeiros a compartilhar sua experiência e seus conhecimentos em cursos sobre o assunto no Brasil, atualmente é o professor responsável pela disciplina de Trilhas Musicais na PUC do Rio de Janeiro. Este trabalho visa a análise de suas trilhas musicais nos longas metragens para os quais compôs no período de 1980 a 2005. São analisados aspectos tanto do ponto de vista cinematográfico e narrativo quanto musical. São comentadas suas abordagens composicionais, a estruturação formal da música com relação à estrutura narrativa do filme, o uso de leitmotivs, instrumentação, inserções diegéticas e não-diegéticas, uso de efeitos e sintetizadores, e o uso de elementos da música brasileira. O trabalho disponibiliza ao leitor, a oportunidade de assistir, ouvir e tocar a música de David Tygel, através de exemplos em vídeo, áudio e partituras, permitindo não apenas a assimilação dos procedimentos observados e citados no texto, tornando acessível este material como referência para outros estudos ligados ao cinema brasileiro e sua música / Abstract: David Tygel is a brazilian soundtrack composer, actively working since the early eighties until nowadays. He is well known in the brazilian cinematographic mainstream, with a credits list with more than 26 feature films, and many other works, have been awarded with 4 kikitos of Gramado's cinema festival. David Tygel is also known in the educational mainstream, being one of the pioneers to share his experience and knowledge through his courses about the subject in Brazil, actually being the Soundtrack professor at PUC in Rio de Janeiro. This work analises his musical scores for the feature films he worked from 1980 to 2005. It analises aspects from both cinematographic, narrative and musical points of view. It comments about aspects like his compositional approaches, music formal structure in relation with film narrative structure, the use of leitmotivs, instrumentation, diegetic and non-diegetic insertions, the use of effects and synths, and the use of brazilian music elements. This work brings to the reader the opportunity to watch, listen, and play the music of David Tygel through examples in video, audio and musical scores, allowing not only the learning of the procedures observed and quoted in the text, but also that the reader himself could make his conclusions and making this material acessible as reference for other studies on brazilian cinema and its music / Dissertação (mestrrado) - Univ / Mestre em Música

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. / Rodrigo Lira es en la actualidad uno de los poetas más recordados de los ochentas; este joven poeta ha sido levantado como un icono por la prensa , con lo cual ha ido creándose en torno a su imagen un mito, el cual surge de ciertas circunstancias que rodean su vida, lo extraño de su personalidad, lo irreverente de sus escritos o la trágica manera de dar término a su vida; frente a estos hechos y a la creación de su mito debe surgir la sospecha; pues Rodrigo Lira, a pesar de la acogida que ha tenido en Referencias Críticas, ha sido poco o escasamente estudiado en el ámbito académico. Por esto creemos que debe ser estudiado con más detenimiento, agregamos a esto, el plantear este estudio como un llamado de atención sobre la producción poética de los poetas de los’80 calificados como “neovanguadistas” por la crítica entre ellos se cuentan, por ejemplo, Raúl Zurita, Juan Luis Martínez, Diego Maquieira, Juan Cameron; y por otro lado, constatar o rebatir lo señalado anteriormente respecto de la poesía de Lira, es decir, ponderando en forma más equilibrada sus escritos con el objetivo de arribar a conclusiones desapasionadas, tanto en lo que lo favorezca como desfavorezca, luego del análisis pertinente, dejando que los textos “hablen” expresen su contenido, sin el prejuicio de “lo que se ha dicho” anteriormente de sus escritos.

This research explores the shopping cultures of the 1930s West End, arguing for the recognition of this as a significant moment within consumption history, hitherto overlooked in favour of the Victorian and Edwardian periods. The approach is interdisciplinary, combining in a new way studies of shopping routes and networks, retail architecture, spectacle, consumer types and consumption practices. The study first establishes the importance of shopping geographies in understanding the character of the 1930s West End. It positions this shopping hub within local, national and international networks. It also examines the gender and class-differentiated shopping routes within the West End, looking at how the rise of new consumer cultures during the period reconfigured this geography. In the second section, a case study of two new Modern shops, Simpson Piccadilly and Peter Jones, provides the focus for a discussion of retail buildings. Architecture is presented as an important way in which the West End was transformed and modernity articulated. Modernism was a significant arrival in the West End's retail sector: it provided a new architectural approach with a close, if often problematic, relationship with shopping. The study thus reassesses common assumptions about the fundamental irreconcilability of modernism with consumption, femininity and spectacle. The third section makes a more detailed examination of the staging of shopping cultures within the West End street, looking at window display, the application of light and decoration to facades, and participation in pageantry. The study thus revisits retail spectacle, an important strand within histories of shopping and of the urban, looking at how established strategies were adapted and developed to stage modernity, emerging consumer cultures and the West End itself during the 1930s.

In November of 1965, the Great Proletarian Cultural Revolution, was launched in China when a Shanghai newspaper editor, Yao Wen-yuan, published an attack on the play which is translated here, Hai Jui Dismissed from Office. The fact that this event constituted the beginning of what later became a political struggle of vast proportions was recognized only belatedly by most Western analysts. When the Cultural Revolution moved into high gear with the launching of the Red Guard movement in the spring of 1966, vague references were made in some Western commentaries to the fact that the explosion seemed to have been ignited, by the public exposure of a drama which had purportedly satirized the Communist Party and Mao Tse-tung. No one appeared to have any certainty about exactly what the play had said and in what way it satirized Mao and the Party. As far as I am aware, this is the first translation of the entire text of the play, or any part of it, into English. Aside from simply translating the text of the play, the purpose of this thesis is to analyze the events of late 1965 and early 1966 and place them both in chronological order and in political perspective. In this way, it is clearly shown how the attack on Wu Han led to attacks on other "bourgeois" writers and intellectuals. Eventually, this latter group was linked to high officials in the Peking Municipal Committee of the Chinese Communist Party. Finally, the "cultural" aspect of the Cultural Revolution gave way to a full-fledged political battle within the Party itself. / Arts, Faculty of / Asian Studies, Department of / Graduate

This thesis aims to shed new light on the Chinese character xia 侠 and the literature and history of the Republican Era (1912-1949) that revolves around it. Xia refers to either a concept (identifiable with kindness, altruism, righteousness, etc.) or to a person who practices this concept. Ever since its arrival in Chinese texts in the sixth century BC, it has created controversy for some and sympathy for others. In Modern China, xia became the central aspect of a literary genre that reached its zenith in production and consumption in the Republican Era, i.e. wuxia fiction 武侠小说, which can be translated as “using martial arts (wu 武) to obtain xia”. The concept of xia was an integral part of presumably the most widespread literary genre of the time, but why were Republican-era readers so interested in it? Why did they relate to xia and what do the themes of these novels say about the chaotic Republican Era? To answer these questions, this thesis presents a case study of a wuxia pentalogy written by Wang Dulu at the end of the Republican Era and attempts to identify the topics and aspects most reflective of that historical period, showing that, despite the heavy criticism of intellectuals of that time, these “easy” popular novels contain innovative and modern aspects and can become today of great historical importance. The thesis starts with two literature reviews. The first determines that the term xia has not received enough scholarly attention, calling for a reassessment. The second literature review focuses on Republican Era wuxia fiction, showing how there is a gap in scholarship on this period. This is followed by a discussion of the methodology used for the analysis of the case study on Wang Dulu’s Crane-Iron Series written in Qingdao (1938-1944), presented in the final three chapters of the thesis. Chapter one analyses the origins of the term xia in texts from the Warring States Period (475-221 BC) and Han Dynasty (206 BC-AD 220), presenting new interpretations for a more comprehensive understanding of the term. Chapter two gives a historical overview of xia¬-related literature and addresses the historical reasons for the changes that xia underwent throughout Chinese history. Chapter three includes a historiography of the Republican Era in combination with the life of the author Wang Dulu and identifies the aspects of the author’s life that will become important in the textual analysis in the chapters to follow. Chapter four focuses on xia in the Crane-Iron Series. After having collected the terms and identified the semantic spheres that include the Chinese character xia, the chapter demonstrates how the story of one of the series’ protagonist can be seen as an personification of Republican-era China, proving the historical dimension and value of these novels. Chapter five analyses yi 义 (righteousness) and represents the virtuous aspect of xia, concluding that, according to Wang Dulu, for the concept of xia, virtue is more important than being trained in martial arts (wu). Chapter six focuses on the literary figure of the baobiao 保镖 (protector) and is seen as the commercialisation of martial arts not necessarily linked to xia, showing how entrepreneurship and violence were characteristics of the time.

Most analysts study leadership succession in communist states as a "crisis" which ensues after the death of a dominant leader. This study takes an alternative approach. It is a survey of provisions for leadership succession in the People's Republic, of China. This involves a comparison of the strategies and motivations of Mao Zedong and Deng Xiaoping in providing for their own succession. Deng Xiaoping's more extensive provisions for leadership succession during the CCP's transition towards a more institutionalized one-party bureaucratic rule are likely to be more durable than Mao's provisions in the earlier period. Nevertheless, guarantees of smooth and regularized succession, especially of protégés promoted on the basis of personal ties within the leadership core, may be impossible to obtain. Mao's provisions were aimed largely at what he saw as a probable, but deplorable, bureaucratic future of the PRC. Deng, on the other hand, perceives an element of opportunity in the succession process. He has tried to provide leadership that will, in his estimation, be better able to bring about China's modernization. In both leaders' provisions for succession, the elevation to the status of "heir apparent" of individuals has been a political liability to those individuals, especially when their promotion is perceived to be based largely on personal ties to the dominant leader. This liability becomes more pronounced in a period of bureaucratic, collective leadership. Because of his shifting policy preferences, his status as charismatic leader, and the ambitious nature of his protégés, Mao Zedong was unsuccessful in providing for his own succession. Deng Xiaoping, on the other hand, has been successful in cultivating a reserve of young, well-educated cadres. These provisions, because they are extensive and exist in a more subdued, consensus-oriented political environment, may well be Deng's most enduring legacy. / Arts, Faculty of / Political Science, Department of / Graduate

The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires. The Introduction defines the Menippean satire and considers possible sources for this genre as found in the works of Hoban and Murakami. Parts I and II examine several novels by Hoban and by Murakami respectively, demonstrating how their works conform to the conventions of the Menippean satire. In examining Murakami's fiction, Part II also considers possible antecedents in Japanese literature for tropes and topoi that appear Menippean in the light of Western genre theory; there is a special emphasis on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru (1994-6, The Wind-up Bird Chronicles). The Conclusion examines why these two authors write Menippean satires. No claim is made that either author has chosen this genre in deliberate imitation of classical or Renaissance models. Rather, from the standpoint of cultural history, the thesis argues that the Menippean satire—or at least a form of postmodernist novel with notable affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on examples from the fiction of Murakami and Hoban, the conclusion demonstrates that central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres, invented languages, and the descent into hell—are particularly appropriate for the fictional treatment of life in a postmodern world. Moreover, these features are serviceable not only in a Western context. Murakami Haruki, despite his Japanese cultural background and his avowed intention to write about Japan, relies on many of the same generic strategies as does Russell Hoban. / Arts, Faculty of / English, Department of / Graduate

Considered "the father of the science of human relations," Elton Mayo was instrumental in the development of industrial psychology and sociology in America. The career of Elton Mayo and his attraction to influential figures like John D. Rockefeller, Jr., provide a chronological order and interpretive force to understand this development. Mayo's concern about human behavior in the modern industrial world and management's concern over the future of industrial relations, found common ground in their support for the development of a science of human relations. It is not a coincidence then, that the social sciences developed at a time when industrial capitalism shifted its energies from organizing material resources to organizing human resources. The development of modern social science can best be understood, thus, as a phase of the social history of corporate capitalism. The career of Elton Mayo and his attraction to influential figures like John D. Rockefeller, Jr., provide a chronological order and interpretive force to understand this development.

The purpose of this document is to examine Richard Strauss's 1918 song cycle Der Krämerspiegel in order to discern compositional intent and to address problems performers may face in communicating the work to a contemporary audience. Examining the existing literature, it is never clearly stated why Strauss composed such an anomalous song cycle that defied aesthetic and generic norms of the day. The premise taken in this study is that Strauss, who was litigiously forced to write the work in order to fulfill a contract with the publisher Bote & Bock, composed certain difficulties into the cycle to make it less marketable and thus less profitable for the firm. Furthermore, he commissioned a text that lampooned the publishing industry in general and certain firms and individuals in particular. Following a brief history of Strauss's involvement with the publishing industry, general considerations for interpretation are examined. The individual songs are then explored, keeping in mind the text's word play and parody, Strauss's use of self-quotation, and the challenges performers and audiences face when confronting Krämerspiegel. Finally, the individual songs are explored, and suggestions for preparation and performance of Krämerspiegel are given suggesting a more operatic understanding of the piece, especially given the cycle's relationship to Strauss's opera Der Rosenkavalier.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Lingüística