Submitted by Maurílio Figueiredo (maurilioafigueiredo@yahoo.com.br) on 2013-03-04T22:30:02Z No. of bitstreams: 1 DISSERTAÇÃO_LucienFebvreMarc.pdf: 844008 bytes, checksum: 16a7ef77c5a058b2f538b32bf317ce51 (MD5) / Approved for entry into archive by Neide Nativa (neide@sisbin.ufop.br) on 2013-03-13T19:34:30Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_LucienFebvreMarc.pdf: 844008 bytes, checksum: 16a7ef77c5a058b2f538b32bf317ce51 (MD5) / Made available in DSpace on 2013-03-13T19:34:30Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_LucienFebvreMarc.pdf: 844008 bytes, checksum: 16a7ef77c5a058b2f538b32bf317ce51 (MD5) Previous issue date: 2010 / Lucien Febvre (1878-1956) e Marc Bloch (1886-1944), dois dos mais importantes historiadores do século XX, são estudados neste trabalho por meio de uma abordagem própria da história da historiografia. A investigação tem como foco as relações desses intelectuais com as ciências históricas alemãs, sobretudo a historiografia, mas também a economia política e a sociologia. No contexto das “guerras culturais” entre intelectuais franceses e alemães, analisa-se a convivência e a crítica produzida por Febvre e Bloch a respeito do pensamento histórico alemão, entre 1928 e 1944. A partir de um conjunto de fontes composto principalmente por resenhas produzidas pelos dois historiadores e por cartas trocadas entre ambos, investiga-se o peso da presença germânica em suas trajetórias, a influência de historiadores conhecedores da produção acadêmica alemã, como Henri Berr e Henri Pirenne, e o contato com acadêmicos alemães e austríacos, como Alfons Dopsch. Demonstrando como a crítica foi instrumento fundamental para Marc Bloch e Lucien Febvre, e como as ciências históricas alemãs ocuparam nela lugar privilegiado, procura-se compreender a relação ambivalente dos fundadores dos Annales com a Alemanha. _______________________________________________________________________________ / ABSTRACT: Lucien Febvre (1878-1956) and Marc Bloch (1886-1944), two of the most important historians of the twenty century, in this work are investigated by an approach typical of the history of historiography. The investigation focuses on the relatioship of intellectuals to the German historical sciences, almost the historiography, but also the political economy and sociology. In the context of "culture wars" between French and German intellectuals, it looks at the coexistence and the critical produced by Febvre and Bloch thought about German history, between 1928 and 1944. From a group of fonts composed mostly of book reviews produced by the two historians, and letters exchanged between them, we investigate the weight of the German presence in their trajectories, the influence of kowledgeable historians of German academic, as Henri Berr and Henri Pirenne, and the contact with German and Austrian scholars, as Alfons Dopsch. Demonstrating how the criticism was fundamental tool for Marc Bloch and Lucien Febvre, and how the German historical sciences occupied a privileged place in it, seeks to understand the ambivalent relationship of the founders of the Annales with Germany.

SILVA, Francisca Luciana Sousa da. De exílio em exílio: um diálogo entre Eurípides e Clara de Góes na peça Medea en Promenade. 2015. 166f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-05T16:39:01Z No. of bitstreams: 1 2015_dis_flssilva.pdf: 3767809 bytes, checksum: 6ba722a9950245ad0a7f31c2684e2366 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-05T17:10:47Z (GMT) No. of bitstreams: 1 2015_dis_flssilva.pdf: 3767809 bytes, checksum: 6ba722a9950245ad0a7f31c2684e2366 (MD5) / Made available in DSpace on 2016-08-05T17:10:47Z (GMT). No. of bitstreams: 1 2015_dis_flssilva.pdf: 3767809 bytes, checksum: 6ba722a9950245ad0a7f31c2684e2366 (MD5) Previous issue date: 2015 / This dissertation analyzes the unpublished text by Clara de Góes, Medea en Promenade (2012), based on the homonymous tragedy of Euripides' Medea (431 BC). The target text narrates the meeting of Glauce, (the young one), Medea (the woman) and the love of Medea (the old one), three women "in a sort of desert outside of time and space" according to the words of the author. Punctuating the speech of these women, the voice of Corifeu is perceived, often in the dark. Thus, we propose a critical reflection, turning our gaze to the protagonists of this poetic work, whose speeches are characterized by the following questions: "What is my place in exile? Do I belong to the exile ? "Such questions reinforce a longstanding demand of women, not only in Athens, but in many other places, especially the foreign ones. In order to understand these banks and the reason why there are so many crossings, many of them forced, we choose exile as a theme, considering it a object of interest not only of the Classics, but also of the cultural studies, for example. Our aim is to show, comparatively, how the so called "dialogue" between Euripides and Clara Garcia is constructed, trying also to discover another reading for the Medea myth, parallel or beyond the metaphor itself, concerning especially the heroin journeys. As pointed out by Jan Felix Gaertner, one of the authors that support our research, exile "has been one of the most productive literary themes in the literature of the twentieth century" (2007, p. 1) and has become a central theme in postcolonial literature or in association with another themes related to distance, separation, displacement, detachment and diaspora. Our hypothesis is to recognize the exile as a device, as Agamben would define (2009) – a key technical term in Foucault's thinking strategy, - not only a political device but also an existential one. All of this analysis, according to Medea, of Euripides, who immortalized her as an infanticide, but not without questioning her status as a foreign woman. In order to study this condition, we support ourselves especially in the works of Pierre Vidal - Naquet (1999) and Vernant (2009), Queiroz (1998) and Jasinski (2012). The following studies don’t seem to contradict our hypothesis, given their hybridization aspect: Sara Forsdyke (2005) and Gayatri C. Spivak (2014). The theoretical syllabus about the theater - from Greek tragedy to the contemporary scene – is based on the following works: Albin Lesky, Jacqueline Rommily, Marie - Claude Hubert and Patrice Pavis (2011). / A presente dissertação analisa o texto de Clara de Góes, Medea en Promenade (2012), a partir da tragédia homônima de Eurípedes, Medeia, (431 a.C.). O texto de chegada narra o encontro de Glauce, (Jovem), Medeia (Mulher) e a ama de Medeia (Velha), três mulheres “em uma espécie de deserto fora do tempo e do espaço”, nas palavras da autora. Pontuando a fala dessas mulheres, ouvimos a voz do Corifeu, quase sempre à penumbra. Propomos, assim, uma reflexão crítica, voltando nosso olhar para as protagonistas dessas poéticas, cujas falas são marcadas por questionamentos: “Qual meu lugar no exílio? Seria o exílio meu lugar?” Tais perguntas reforçam uma antiga reivindicação das mulheres, não só de Atenas, mas de muitos outros lugares, especialmente as estrangeiras. Foi buscando entender essas margens e o porquê de tantas travessias, muitas delas forçadas, que elegemos o tema do exílio, haja vista constituir objeto de interesse não só dos Estudos Clássicos, mas também dos Estudos Culturais, por exemplo. Nosso intuito é mostrar como ocorre o que ora chamamos “diálogo” entre Eurípides e Clara de Góes, numa perspectiva comparada, buscando imprimir outra leitura para o mito de Medeia, paralela ou além da metáfora, especialmente voltada para os constantes deslocamentos da heroína. Como salienta Jan Felix Gaertner, um dos autores que fundamentam nossa pesquisa, o exílio “tem sido um dos temas literários mais produtivos em literatura do século XX” (2007, p. 1) e tornou-se um tema central na literatura pós-colonial em associação a temas relacionados a distância, separação, deslocamento, desprendimento e diáspora. Nossa hipótese é reconhecer ou ler o exílio como dispositivo, conforme Agamben (2009) – termo técnico decisivo na estratégia do pensamento de Foucault, do qual foi tomado de “empréstimo” – não só político, mas também existencial, a partir da Medeia, de Eurípides, que a imortalizou como infanticida, não sem antes problematizar seu status de mulher estrangeira. A respeito dessa condição, apoiamo-nos, especialmente, em Pierre Vidal-Naquet (1999) e Vernant (2009), Queiroz (1998) e Jasinski (2012). A fim de confirmar, em parte, nossa hipótese, dado o hibridismo da análise, apoiamo-nos em Sara Forsdyke (2005) e Gayatri C. Spivak (2014). Como aporte teórico do teatro – da tragédia grega à cena contemporânea –, Albin Lesky (2010), Jacqueline de Romilly (2013), Marie-Claude Hubert (2013) e Patrice Pavis (2011).

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

Tesis para optar al grado de Magíster en Estudios de Género y Cultura en América Latina mención Humanidades / No autorizada su publicación a texto completo, según petición de su autor. / El objetivo de la presente investigación será volver sobre la división social en Marx con la intención de introducirla críticamente en el debate contemporáneo de género signado por los trabajos de Foucault y Butler, teniéndose como hipótesis que las dificultades y aporías en el constituir proyectos políticos emancipatorios pueden verse mermadas radicalmente con hacer entrar en juego aquel asunto de la división. La investigación se estructura en cuatro partes. En la primera realizaremos una sinopsis intencionada del debate en los estudios críticos de género a fin de trazar el contexto de la presente tesis. En la segunda parte abordaremos conceptualmente el debate contemporáneo crítico de género, centrándonos en su matriz predominante: la matriz foucaultiana y butleriana de la subjetividad y del poder y su aporía en torno a la emancipación y el resistir. La intención de esta segunda parte será preguntarnos si ahí donde el poder tiene la forma de productor de la subjetividad como sujecionada (assujetti), habrá todavía un lugar para la emancipación. En la tercera parte se buscará trazar el asunto de la división social en los primeros escritos de Marx, así como el lugar fundamental en esta problemática de elementos como la enajenación, la emancipación humana, el asunto del género humano, entre otros. La intención de esta tercera parte será delinear las imbricancias entre esta problemática de la división y la constitución de la subjetividad, para así, posteriormente, poder hacer entrar en diálogo –de mismos términos– el pensamiento de Marx con el debate contemporáneo de género, debate que tiene lugar –como señalamos– excelsamente en términos de subjetivación. Trazado aquel nivel de términos para la división en Marx, en una cuarta y última parte, se establecerán implicancias críticas de su problemática de la división para el debate contemporáneo de género. La intención de esta última parte es establecer en esa confrontación la posibilidad crítica de la emancipación en las luchas políticas de género, abriéndose así la posibilidad de desbordar la aporía del resistir que nos embarga.

Orientador: Iara Lis Franco Schiavinatto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T21:48:18Z (GMT). No. of bitstreams: 1 Zerwes_ErikaCazzonatto_M.pdf: 7142214 bytes, checksum: 5ff053df25eee0a0095af8bfefeba586 (MD5) Previous issue date: 2008 / Resumo: Buscou-se com este estudo analisar as fotografias produzidas pelo construtivista russo Aleksandr Rodchenko, entre 1924 e 1930, a partir de suas tramas internas, e a relação entre as imagens e o engajamento político do artista. Em sua concepção, a arte possuía um papel efetivo na construção da sociedade. Isto se daria com o emprego de uma estética fotográfica revolucionária, que, demandando uma postura ativa de seu observador, engendraria um novo homem. Este ficou conhecido como Novo Homem Soviético, noção utópica partilhada pela vanguarda russa. A partir de sua ligação com o formalismo e o futurismo russos, bem como com o grupo LEF, fundado em 1923 pelo poeta Maiakovski, Rodchenko foi pioneiro na construção de uma nova visualidade, que julgava mais coerente com o mundo moderno. Nestes seis anos, ele empenhou-se na reinvenção do fazer e da linguagem fotográficos, explorando sua singularidade técnica. / Abstract: This study intents to analyze the photographs made by the Russian constructivist Aleksandr Rodchenko from 1924 to 1930, in its inner conformities and the relation between his images and his political engagement. To him, art had an important role in the construction of society. It would be done with a revolutionary photographic aesthetics which demanded from the observer an active posture that would create a new man. This new man became known as the New Soviet Man, a utopist notion that was shared by the Russian avant-garde. From his knowledge of formalist and futurist theories and the LEF group, founded by the poet Mayakovsky in 1923, Rodchenko pioneered in the construction of a new visuality which according to him was more coherent to the modern world. In these six years, he committed himself to the reinvention of photographic making and language, exploring its technical singularity. / Mestrado / Politica, Memoria e Cidade / Mestre em História

Tesis (magíster en derecho con mención en derecho público) / El feminismo como teoría crítica y movimiento social tiene siglos de historia. Con vaivenes, con sus conquistas y sus retrocesos, la teoría feminista ha logrado insertar en el orden social una reflexión y acción frente a la dominación masculina, siempre desde la producción teórica consciente y polémica. En esa lid se inserta este trabajo, cuyo propósito es aportar elementos teóricos para la construcción del sujeto político del feminismo, en una perspectiva institucional; es decir, desde el Estado. Para ello, se desarrolla una aproximación al sujeto del feminismo que reúne las aportaciones de los feminismos liberal, radical, postmoderno y postestructuralista, con el objeto de reconocer subjetividades nuevas, distintas y cambiantes, a partir de las cuales insertar el feminismo en el Estado. Ello se compromete con dos cuestiones que están presentes a lo largo de todo este trabajo: por un lado, la importancia de la dimensión polémica en la construcción de las identidades colectivas –de allí la necesidad de detenernos en el dominio de lo político– y, por otro, el desafío de traer estas diversas formas de vida, envueltas en la categoría mujeres, a una forma jurídica. Con el afán de formular una alternativa teórica al segundo de los compromisos señalados, se propone una lectura de la noción de movimiento teorizada por el jurista alemán Carl Schmitt en 1933. / Proyecto FONDECYT regular no.11160037

This study attempts to explore the factors that contributed to the rise and fall of military regimes in the Sudan from independence in 1956 to 1989. Further, the study tries to identify the factors that led to the collapse of either or both civilian and military regimes. Most of the studies on military politics have focused their research on either military coups or, more recently, on military withdrawal from politics. This work tries to synthesize the study of military coups and military withdrawal from politics into a single theoretical framework.

Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septet for Clarinet, Bassoon and String Quintet, Op. 172a, Serenade for Clarinet and String Orchestra (without opus number), and Sonata No. 1 for Clarinet and Piano, Op. 161. This project not only brings to light Grechaninov's unpublished clarinet works, but also emphasizes the importance of his published clarinet pieces which have to date been forgotten, especially in the United States. The writer prepares a performance edition of the Sonata No. 1, Op.161 from Grechaninov's original autograph manuscript which is held in the New York Public Library's Toscanini Archives. After a brief introduction, the document describes Grechaninov's biography, including his historical and societal background, compositional growth throughout his career, and outside influences to which he would have been exposed (Chapter 2). Chapter 3 discusses in details Grechaninov's compositional output and distinct features of his style. Chapters 4 and 5 discuss the published and unpublished works for clarinet by Grechaninov. Chapter 6 provides a detailed structural and tonal analysis of the Sonata No. 1, Op. 161 and discusses the process of editing. Included in the appendices are: performance edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and clarinet part); photocopy of the original autograph manuscript of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and viola part); photocopy of the original autograph manuscript of the Septet for Clarinet, Bassoon and String Quintet, Op. 172a; and photocopy of the original autograph manuscript of the Serenade for Clarinet and String Orchestra, without opus number.

The thesis deals with thought, mentality and conceptions of the higher education students. It focuses especially on discussions and controversies between students and party, state or universities authorities and aims at frictions which spread in official discourse and arose from student demands on more space for autonomous activity. Its main concern is the way in which these controversies were related to power transformations in the Central-European dictatorship since 1956. As an example of young intelligentsia, activists of youth and student organizations at higher education institutions in Warsaw, Prague and Bratislava have been chosen. The thesis is divided into three parts. The first part researches on the conceptions of intimate, especially problems of youth sexuality, student marriage and living conditions of young families. The second part deals with the conceptions of equality in relation to centralized work-placement of graduates. The power authorities in the state-socialist society laid stress on social equality of all citizens, but paradoxically it produced strong inequality at a local level and undermined work, social and transnational mobility. The third parts researches on conceptions of difference. In this case, authorities claimed generation unity and culture uniformity for the whole...

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