Thèse 3 cycle--Histoire--Montpellier III, 1975. / Bibliogr. p. I-XVI.

Thesis (M. Phil.)--University of Hong Kong, 1995. / Includes bibliographical references (leaves 258-270).

Thesis (M.A.)--Victoria University of Wellington, 2009. / Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia de Produção. / Made available in DSpace on 2012-10-21T10:10:34Z (GMT). No. of bitstreams: 0 / O estudo identifica as fontes de referências utilizadas, pelas costureiras e clientes que consumiam a roupa sob medida, na década de 1950 em Florianópolis, para obter informações de moda. Através da análise bibliográfica e documental de teses, dissertações e acervo têxtil, levanta os valores estéticos, aplicados ao corpo e à moda. Define o New Look e a Alta Costura francesa como tendências de moda para o Brasil e o Rio de Janeiro para Florianópolis. Aborda ainda como influenciadores de moda: jornais, revistas, rádio - especialmente as radionovelas - cinema, música, desfiles de empresas têxteis e eventos sociais. Com as mesmas técnicas usadas para registrar a história oral, focaliza as costureiras, identificando, nas suas práticas, no seu "saber-fazer" na moda, as soluções que desenvolveram para adaptar a moda dos figurinos ao corpo de suas clientes. Comprova, através de fonte documental, soluções semelhantes às propostas pelas costureiras. The following study approaches the sources used by needlewomen and clients, who used to consume the customized clothing, in the 1950's, in Florianópolis, to obtain fashion references. Through the bibliographic and documental analysis of thesis, dissertations and textile stocking, this study identifies the static values, aplied to the body and to the fashion. It defines the New Look and the French Haute Couture as a tendency of fashion to Brazil and Rio de Janeiro to Florianópolis. It still aproaches the fashion influencing elements, such as: newspapers, magazines, cinema, music, radio - specially the soup operas - textile companies parades and social events. With the same techniques used to register the oral history, it focuses the needlewomen, identifying, in their practices - their "fashion making" - the solutions they develop to adapt the fashion of the model to the body of their clients.The study confirms, through documental researches, similar solutions to the ones proposed by the needlewomen. It sugests that the study will work as basis for other wider investigations, with more synthesized proccedures and that the obtained information would be instrumentalised, in a way wich they can be subsiding the searching, criation and clothing tecnology disciplines of the Courses of Fashion.

Orientador: Carlos Roberto Antunes dos Santos / Dissertação(mestrado) - Universidade federal do Parana, Setor de Ciencias Humanas, Letras e Artes

Made available in DSpace on 2015-05-14T12:09:44Z (GMT). No. of bitstreams: 1 parte1.pdf: 4319832 bytes, checksum: 79c07a6d9ab1b622daf3939bb90654e1 (MD5) Previous issue date: 2008-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation studies the role played by the public architecture produced between 1900 and 1950 at the capital of Paraíba State (Brazil) in the transformation of its townscape occurred between those years. This architecture introduced into the town many public buildings that were much larger and taller than the existing ones and styles that had not been used there yet, such as the academic classicism, the Neocolonial language, the Art Deco and the International Style (the last three, created during the above period). The dissertation examines over forty buildings that contributed to the mentioned transformation; they were both new constructions and the result of works of renovation or extension. Most of these buildings appeared during the 25 years comprised between 1916 and 1940 and many of them were produced by the government as part of its policy to embellish the capital of the State. The transformation of the townscape took place mainly at major squares and along the two main traffic routes of the town, one stretching from the north to the south and the other from the east to the west. / Esta dissertação estuda a contribuição da arquitetura pública produzida entre 1900 e 1950 na capital do estado da Paraíba para a transformação da paisagem desta então ocorrida. Tal arquitetura introduziu na cidade muitos prédios públicos bem maiores e altos que os existentes e linguagens que ali não tinham sido usadas ainda, como o classicismo acadêmico, o estilo neocolonial, o art déco e o modernismo as três últimas, criadas no período estudado. A dissertação examina mais de quarenta edifícios que contribuíram para a transformação mencionada; uns eram novas construções, outros eram o resultado de obras de reforma ou ampliação. A maioria dessas edificações surgiram nos 25 anos compreendidos entre 1916 e 1940 e muitas foram produzidas pelo governo, como parte de sua política visando o embelezamento da capital do estado. A transformação da paisagem teve lugar principalmente em praças importantes e ao longo dos dois principais eixos viários da cidade, um se estendendo do norte para o sul e o outro do leste para o oeste.

O personalismo de Emmanuel Mounier não é nem uma filosofia do sujeito, nem uma de suas expressões, como filosofia do Eu ou filosofia da consciência; nem uma filosofia da morte do sujeito e nem também uma filosofia do objeto. O personalismo de Emmanuel Mounier é uma filosofia da relação. Ao eleger a intuição da experiência originária como sendo o modo de ser da relação, ele junta a conseqüente inscrição da afirmação da vida no cerne mesmo do movimento mais próprio da pessoa criadora em sua luta pelo real. Isso faz com que ele perspective, por sua vez, sob o modo de ser do artefato, a maneira pela qual a pessoa se compreende a si mesma e compreende o mundo. Ou seja, não somente como quer a ideologia do trabalhismo como homo faber. Pois desde a manifestação do Ser em suas formas mais simples até a sua expressão mais grandiosa, que é a pessoa criadora e afirmadora de vida não somente enquanto expressão empírica, quantitativa, mas qualitativa, ou seja, como afirmação do amor, quer dizer, Eros cativo por Agápe, o personalismo vai dizer não somente homo artifex est, mas homo perfectibilis est e, em seguida, ampliará mais ainda para omnia arte facta sunt. Para o personalismo: tudo está por se fazer, a própria pessoa e o mundo. Essa tarefa é realizada em dois níveis em mútua interação: no da expressão singular, em que à pessoa cabe a execução de uma tarefa que pertence só a ela como expressão de sua especificidade na realização de sua vocação singular e única, em sua luta pelo real, e no da expressão da pessoa em comunidade. Não há aqui separação, mas distinção, pois se trata, em suma, para o personalismo, de uma mesma tarefa cujas dimensões e tratamento das problemáticas específicas implicarão o êxito ou o fracasso na realização integral da vida pessoal, quer dizer, em sua manifestação singular e em comunidade. A manifestação da pessoa singular, portanto, só encontrará sua realização plena quando ela tomar parte, como elo insubstituível, na formação de uma pessoa de pessoas: a comunidade. Todavia para essa tarefa coletiva cada um é convocado, pois cada pessoa, em sua expressão singular, é, para o personalismo, o nó górdio que desata um mundo de criação e de sentido insuspeito. Assim, Mounier colocará, em sua busca de diálogo, como critério para avaliar e pesar a densidade das outras filosofias, compreender o quanto elas, permanecendo fiéis a si mesmas, ou seja, aos seus valores, permanecerão fiéis, 10 ao mesmo tempo, à pessoa e o quanto os seus conteúdos cooperarão para o cumprimento dessa vocação fundamental da pessoa ou se elas não serão apenas mais um adiamento e protelação ocidentais que, apesar de sua maior antiguidade, Mounier prefere datar do século XVI e com o surgimento da burguesia e do individualismo reivindicador; adiamento e protelação ocidentais sempre da escolha da pessoa livre e criadora por alguma outra coisa, ou seja, para o personalismo, mais um tipo de alienação fundamental, ou mais um tipo de objetificação da pessoa. Assim, a crítica personalista, entendendo a Razão como a lógica da personalidade integral, será um complemento necessário à crítica kantiana ao dogmatismo do além da razão; ou seja, a crítica personalista será uma crítica ao dogmatismo do aquém da razão que tem se fixado dentro do pensamento contemporâneo, quer dizer, pós-kantiano, como sendo a última palavra. / The personalism of Emmanuel Mounier isnt a philosophy of the subject, or one of its expressions as a philosophy of the I or a philosophy of consciousness; or a philosophy of the death of the subject; or even a philosophy of the object. The personalism of Emmanuel Mounier is a philosophy of connection. When He elects as a fundamental intuition of originary experience the mode of being of connection, he attaches the consequent inscription of the affirmation of life into the pith even of movement more proper of creator person in its fight for the real. This makes him to put in perspective, consequently, under the mode of being of artifact the way by means of that the person comprehends him/herself and the World. In other words, it isnt as the ideology of labourism wants: to present man only as homo faber. The personalism of Emmanuel Mounier wants to go farther: till the manifestation of Being in its more simple forms until its more sublime, that is, the creator person and affirmer of life, and that not only as empiric expression, or quantitative, but qualitative expression, it sees the manifestation of person as unconditional affirmation of love, that is, Eros captive for Agápe. So, personalism goes to say not only homo artifex est, but homo perfectibilis est and, in continuation, it increases still more for omnia arte facta sunt. In the personalism of Emmanuel Mounier all is yet to be made, the person itself and the World. The latter task is realized in two levels in loan company interaction: in the singular expression, in which only to the person belongs the action of the accomplishment, task that belongs him/her as a realization on the strength of the expression of his/her specific character in his/her accomplishment of his/her singular and unique vocation in his/her fight for the real, and too in the expression of the person in the community. There isnt here separateness, but distinction, for this matter, in short, for the personalism of Emmnauel Mounier, is one same task whose specific dimensions and treatment of the specific problems will implicate the success or the ruin in the integral realization of personal life. That is, in its singular manifestation and in its life of the inter-connection in community. The manifestation of the singular person, therefore, only will meet its full realization when the person takes part, as an irreplaceable link, in the constitution of the one person of persons: that is, the community. However, for this collective task each one is convoked, 12 for each person, in his/her singular expression, is, for the personalism of Mounier, the Gordian-knot that unfastens a World of creation and sense unexpected. Then, Mounier posits, in his quest for dialogue, as the criterion by which he evaluates and to ponder the density of others philosophies and by which he understands how far persons have been faithful to themselves, that is, to their worth, and at the same time have been faithful to the person. If their contents announce the accomplishment of this fundamental vocation of the person or if they would be only one more occidental adjournment and procrastination that, in spite of their more ancient history, Mounier prefers to start from XVI century and with the appearance in history of the bourgeoisie and claimant individualism; Occidental adjournment and procrastination that has been in all time the choice of other thing than free and creator person. That is, for Mounier, one more kind of fundamental alienation, or one more kind of objectification of the person. Thus, Personalist criticism, which understands Reason as the logic of integral personality, will be a necessary complement to Kantian criticism of the dogmatism of the beyond of reason; that is, Personalist criticism will be a criticism of the dogmatism of the below of reason, that has fixed itself into contemporary thought, that is, pos-Kantian, as being the last word.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

M.A. / Heinrich Manns Engagement als politischer Essayist zwischen 1900 und 1950 ist bedeutend. Er hat groBenteils seine Essays auf unmittelbare Offentliche Anlasse bezogen. In seinem essayistischen Werk, vor allem in den Aufsatzen und Reden der Weimarer Zeit, ist deutlich eine Parteinahme zu erkennen. Heinz Gockel benennt diese in folgender Weise: Sie ist eher eine Parteinahme fur die "Produktivitat des Menschengeistes". Auch die Essays, die sich mit einzelnen Iiterarischen Figuren befassen, sind dieser Parteinahme verpflichtet. In der Tat kann man die Diskussion Ober den Geist als ein Leitmotiv in Heinrich Manns Essayistik bezeichnen. Betont wird jedoch am starksten die Kombination von Geist und Tat, deren Fehlen in Deutschland er als einen Mange! ansieht. Viele seiner Essays haben Bekenntnischarakter, was einer unmittelbaren politischen Stellungnahme gleichkommt. Obwohl seine politischen Forderungen keineswegs verwirklicht wurden, ob im Kaiserreich oder spater, hat Heinrich Mann sein Werben fur die Herrschaft des Geistes nie aufgegeben.

Many critics examine Shaw's plays in terms of the subjects they deal with, but they often ignore what aspects of these subjects Shaw draws on or how he uses them. One subject that appears in many of his works is war. This thesis examines Shaw's treatment of war in Arms and the Man and Heartbreak House, and attempts to discover a common element between them that reveals something not only about the plays themselves, but also about Shaw's drama in general. The chapter on Arms and the Man notes how Shaw makes war a highly visible element of the play, but avoids dealing with issues directly related to war. Shaw does not draw on war itself, but on its image. The sources for Catherine's and Bluntschli's impressions of both war and Sergius—Lady Butler's paintings, the military melodrama and extravaganza, Tennyson's "Charge of the Light Brigade," and accounts of the Battle of Balaklava—indicate that the play's focus is not on war, but on how one perceives the world. This idea is further reinforced by Shaw's own views about idealism, romanticism, and realism. Unlike Arms and the Man, war is an integral part of Heartbreak House. Shaw uses elements from the British homefront during the First World War—the wasted lives of England's youth, the lies of the government and the press, and the potential for violence both on the front and at home during the conflict—to help create the play's deep sense of crisis and impending doom. But as with Arms and the Man, Heartbreak House is not a play about war. Whereas war is highly visible in the former, its presence is negligible in the latter: there are no military characters or any clear indication that a war is in progress until the end of the play. Moreover, Shaw does not draw on sources related only to the war. Thus while Heartbreak House was born largely out of the despair of the First World War, its themes go beyond that conflict to deal with questions about the individual, the family, and the fabric of society itself. This thesis concludes by briefly examining Saint Joan, and notes that it combines the two approaches to war found in Arms and the Man and Heartbreak House, but distances its intended audience—the English—by using a historical conflict where Englishmen are the enemy. In comparing the three plays' treatment of war, one can conclude that the common element in Shaw's treatment of war is his distancing of an audience from the subject itself. Moreover, one discovers that this distancing is related to the nature of the subjects that Shaw uses for his plays. Only subjects that he believed were complex were suitable for creating his dramatic works. Therefore, it is fruitless for critics to examine Shaw's plays for his opinions about a subject; they should concentrate on how Shaw uses these subjects in his plays instead. / Arts, Faculty of / English, Department of / Graduate