Thesis (Ph.D.)--Ohio University, August, 2005. / Includes bibliographical references (leaves 543-564)

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Orientador: Caio Navarro de Toledo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-28T14:10:06Z (GMT). No. of bitstreams: 1 Cotrim_LiviaCristinadeAguiar_M.pdf: 15300059 bytes, checksum: 0700250172024acc87507474f0975646 (MD5) Previous issue date: 1999 / Resumo: O objeto desta dissertação é a análise imanente dos discursos de Getúlio Vargas pronunciados durante o Estado Novo. A pesquisa, evidenciou a presença de uma concepção bem delineada sobre a realidade brasileira à época, bem como a defesa de um projeto de desenvolvimento nacional autônomo, referido às várias esferas da vida social, política e econômica. Em seu contorno mais geral, esse projeto mostrou-se como uma expressão da conciliação entre o historicamente novo e o historicamente velho. Conciliação cuja base é sua perspectiva econômica, nucleada pela industrialização centrada no setor de bens de capital, com vistas a alcançar a unidade e autonomia nacionais, sem, no entanto, romper com a estrutura agrária tradicional. A defesa da "modernização conservadora", da conciliação pelo alto, relaciona-se à negação do liberalismo econômico e político, que considera falido. Repudiando igualmente o que denomina de "totalitarismo" (nazi-fascismo e comunismo), defende o estado "institucionalmente forte", de fato um estado autocrático bonapartista, forma política que considera necessária para implementar as transformações econômicas projetadas, resguardando modernizadamente o atraso e mantendo a "paz social". É nesse âmbito que se inserem as legislações previdenciária, trabalhista e sindical, que expressam tanto a necessidade, posta pela industrialização nacional buscada, de ampliar o mercado interno e regulamentar a força de trabalho, quanto a impossibilidade de garantir a plena integração dos trabalhadores, seja no plano econômico, seja no político. A análise do discurso de uma das lideranças burguesas mais expressivas dos momentos iniciais da instituição do capitalismo industrial brasileiro permitiu-nos identificar característica do tipo de capitalismo industrial e de burguesia que aqui se constitui, bem como o limite máximo de "autonomia" e "completude" a que aspirou, e que, conquanto bastante estreitos, nem assim foram alcançados / Abstract: The subject of this dissertation is a c10seanalysis of Getúlio Vargas' speeches, delivered during the period known as Estado Novo. They emphasized the concept of the Brazilian reality at that time; as well as the defense of a national development project, extended to social, economic and polítical fields. In its general configuration that project presented itself as a reconciliation between the historica1ly new and the historically old. This reconciliation had an economic perspective as its foundation and industrialization as its core. Both were centered on the growth of capital goods, in order to reach political unity and economic independence, without however, breaking with the traditional agrarian structure. He defendedhis modei of "conservative modernity" and denied political and economic liberalism, which he considered a failure. He also denied what he called "totalitarism" (nazi-facism and communism), and he justified an "institutionallystrong" state which was in fact a bonapartist autocratic state. This was the political configuration which he considered necessary to imple~ent the planned economic transformations that could at the same time preserve both conservantism and "social peace". It was in this context that he ~posed Labor, Wellfare and Trade Unions Legislation. It disc10sed the need for industrialization to widen the internal market and to control the workforce. It made quite c1earthat it was impossible to integrate workers both economicallyand politically. The discourse analysis of this the most expressive leadership at the start of Brazilian industrial capitalism permits us to identify the characteristics of industrial capitalism and bourgeoisie establis,hedhere, as well as the desired "autonomy" and "completeness". However, ,~Vensuch restricted aims were not reach / Mestrado / Mestre em Ciência Política

Orientador: Italo Arnaldo Tronca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-25T16:02:25Z (GMT). No. of bitstreams: 1 Biroli_FlaviaMillena_M.pdf: 2883721 bytes, checksum: 437a88b12f2511f86a0d5b16f92ee17d (MD5) Previous issue date: 1999 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

II ne s'agit pas, dans cet essai, d'étudier l'évolution du féminisme de Colette à Simone de Beauvoir, mais simplement de voir, à travers les romans, ce qu'est le féminisme pour Colette et pour Simone de Beauvoir, d'essayer de décider en quoi il diffère chez les deux auteurs, et la raison de cette différence. II n'est pas question pour les héroïnes de Colette ni pour celles de Simone de Beauvoir de "lutter collectivement"(Jeanson-264) en faveur de revendications féministes, de soutenir la cause de la femme contre l'homme, de réclamer des droits qui leur seraient déniés. Il s'agit pour toutes les héroïnes d'une "manière de vivre individuellement" (idem), c'est-à-dire d'affirmer leur indépendance, leur être propre. Cette étude va done porter sur la femme elle-même, sur sa situation dans le monde et sur son attitude par rapport à la vie. Il était difficile de comparer, point par point,les héroïnes des deux auteurs qui sont par trop différentes: elles vivent dans des mondes différents, à des époques différentes, elles ont une nature différente, les unes, celles de Colette, sensuelle, les autres, celles de Simone de Beauvoir, intellectuelle à une exception près. II fallait done les étudier séparement, et, pour être en mesure de voir la progression du féminisme, réserver la première partie aux héroïnes de Colette et la seconde aux héroïnes de Simone de Beauvoir. Dans la première partie, le premier chapitre sera consacré a la sociéte dans laquelle vit la femme et à l’importance minime que cette société prend dans sa vie. Il s’agira ensuite d'étudier ce que la femme cherche dans la vie: l'amour d'abord, parcequ'il lui réserve ses plus grandes émotions, l'indépendance ensuite, quand elle a découvert que sa vie, qui dépend de ses emotions, est une jouissance égoïste, sa propre création. L'auteur glorifie la femme qui est capable d'évoluer en vieillissant, qui découvre non seulement qu'elle est justifiée par la vie en elle, mais encore qu'elle est responsable de cette vie. Dans la deuxième partie, le premier chapitre sera aussi consacré a la société et au monde dans lequel vit la femme pour montrer combien ce monde a pris d’importance dans sa vie depuis que l'égalité sociale lui a été accordée. II faudra ensuite montrer que la nature de la femme ne s'est pas développée aussi vite que la condition féminine et décrire le conflit qui en résulte chez la femme. Ou bien elle refuse d’admettre le rôle du monde dans sa vie, ou bien elle le reconnait mais ne trouve en l'amour partagé qu'une solution temporaire. Xavière aidera à tirer les conclusions: heroine de Colette dans ce monde nouveau de Simone de Beauvoir qui demande a être reconnu, elle échoue dans sa vie comme toutes les autres héroïnes de Simone de Beauvoir. L'héroïne de Colette pouvait vivre hors du monde parce que le monde ne la reconnaissait pas. En acceptant des droits égaux à ceux des hommes, la femme doit aussi accepter les mêmes responsabilités. Elle échoue parce qu'elle n'est pas encore capable de les assumer / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Award-winning composer John Musto stands at the forefront of modern American art-song composition. Many of his songs, such as "Litany" from Shadow of the Blues, have already achieved a place in the standard contemporary repertory for singers. His compositional technique weaves influences of jazz, blues, ragtime, and popular music with classical technique to make music that is decidedly modern but accessible and well liked both by critics and audiences. Unfortunately, though he is still actively composing, very little has been written about Musto and there is a lack of information available about his more recent compositions. This performance guide addresses one of Musto's acclaimed song cycles, Penelope, (a cycle of seven songs for soprano and piano) commissioned and premiered in 2000. The story of the cycle is an updated version of the character Penelope from Homer's The Odyssey and was a collaboration between Musto and poet Denise Lanctot. Including interviews with Musto, and his wife, soprano Amy Burton, who premiered the cycle and for whom it was written, the document provides background information on how the cycle was conceived and gives in-depth performance information on each of the seven songs of Penelope. In addition to musical examples and poetry from the songs, this study also contains a catalogue of Musto's compositions listing premiere dates, performers, and information about the commission of each work.

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