CASTRO, Wagner José Silva de. No tom da canção cearense: do rádio e TV, dos lares e dos bares na era dos festivais (1963-1979). 2007. 200f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2007. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T16:29:18Z No. of bitstreams: 1 2007_Dis_WJSCastro.pdf: 15201433 bytes, checksum: 7beb02540e8452689a9ee56aa1254c6e (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-20T14:01:36Z (GMT) No. of bitstreams: 1 2007_Dis_WJSCastro.pdf: 15201433 bytes, checksum: 7beb02540e8452689a9ee56aa1254c6e (MD5) / Made available in DSpace on 2012-07-20T14:01:36Z (GMT). No. of bitstreams: 1 2007_Dis_WJSCastro.pdf: 15201433 bytes, checksum: 7beb02540e8452689a9ee56aa1254c6e (MD5) Previous issue date: 2007 / This work aim is to tell about, through interviews and bibliographic sources, the history of a cultural and musical revolution that derived from Fortaleza, in the sixties. This movement involved the radio, theater, plastic arts and politics, specially in relacion to music and musician, his life experience and social condition. The confluence of cultural expressions and producing spaces, at the beginning of 60’s: Alberto Nepomuceno Conservatory, groups as Cactus and Gruta, Phisics and Arquitecture Institutes and the Law College. Some pubs as Balão Vermelho, Estoril and Anísio were of fundamental importance for congregating young artists and spread out their compositions. Famous festivals which happened in the second half of 60’s, particularly the IV Festival of Ceará’s Popular Music and other ones in those years attracted TV interest and put these composers in contact with great national names. So, the target of this study is to feed the comprehension of how these new artists moved, including composing by order and using important musical events as a spring-board for their careers. Fighting to get a place in the brazilian phonographic market, they became known, in the whole country as “Pessoal do Ceará”. / Este trabalho busca, através das entrevistas e fontes escritas, narrar a História de um movimento cultural e musical que se originou em Fortaleza, nos anos 60, envolvendo o rádio, o teatro, as artes plásticas e a política, especialmente a relação, músico e música, suas experiências de vida e condição social. A confluência de movimentos culturais e espaços produtores, no início dos anos 60, Conservatório, grupos como o Cactus e o Gruta, os Institutos de Física e Arquitetura e a Faculdade de Direito. Os Bares, Balão Vermelho, Estoril e Anísio foram de fundamental importância para a aproximação dos jovens artistas e produção musical. Os Festivais produzidos na segunda metade dos anos 60, particularmente o IV Festival da Música Popular do Ceará, o I Festival da Música Popular Aqui e os Festivais Nordestinos com eliminatórias em Fortaleza foram decisivos para que os jovens artistas acreditassem nos trabalhos, favorecidos também pelos programas de televisão, “Porque Hoje é Sábado” e o “Show do Mercantil”, incentivando-os em suas apresentações no contato com artistas consagrados. Portanto, a preocupação central será a compreensão de como esses artistas moveram-se em busca do sucesso e suas inserções no ambiente musical, participando de programas como “Proposta”, fazendo música por encomenda, usando o Festival de Brasília e o III e o IV Festival Universitário da Música Popular Brasileira como vitrine, vergando os entraves para alcançar uma maior receptividade no mercado fonográfico a nível local e nacional, conhecidos como “Pessoal do Ceará”.

The purpose of this study is to introduce the three posthumous narrative poems of C. S. Lewis. Chapter One is an introduction to Lewis's life and scholarship. The second chapter is concerned with "Launcelot," in which the central theme of the story explores the effect of the Quest for the Holy Grail on King Arthur's kingdom. Chapter Three studies "The Nameless Isle," in which Celtic and Greek mythic elements strongly influence both characterization and plot. The fourth chapter is an analysis of The Queen of Drum and its triangular plot structure in which the motivating impetus of the characters is the result of dreams. Chapter Five recapitulates Lewis's perspectives of life and reviews the impact of his Christianity on the poems. The study also shows how each poem illustrates a separate aspect of the cosmic quest.

In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.

PORTO, Márcio de Souza. Modernidade e Catolicismo: o episcopado de Dom José Medeiros Delgado no Ceará (1963-1973). 2014. 241f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-28T17:10:20Z No. of bitstreams: 1 2014-TESE-MSPORTO.pdf: 11996772 bytes, checksum: e34d8494b601d043ac74c63ec83a92a0 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-04-01T11:12:00Z (GMT) No. of bitstreams: 1 2014-TESE-MSPORTO.pdf: 11996772 bytes, checksum: e34d8494b601d043ac74c63ec83a92a0 (MD5) / Made available in DSpace on 2014-04-01T11:12:00Z (GMT). No. of bitstreams: 1 2014-TESE-MSPORTO.pdf: 11996772 bytes, checksum: e34d8494b601d043ac74c63ec83a92a0 (MD5) Previous issue date: 2014 / In Brazil, the modernizing impact of the 1950s and 1960s and the victory of the Cuban Revolution in 1959, has produced fears within the conservative sectors of Brazilian society, especially for the Catholic church. In these years, two perspectives of interpretation about those signs of modernity had been solidified and radicalized: one from liberal hue which argued that the Church should be open to new times; another, inherently conservative, was articulated in order to disqualifying efforts on update and insertion of the Church on problematic of Brazilian reality. The first stream, was named the "Catholic Left" for defending theses that could cause disruptions in the socioeconomic structure that kept the country in the list of underdeveloped nations and has its origin in movements led by bishops, priests and laity, especially from the Northeast, such as "Movement from Natal", the creation of the National Conference of Bishops of Brazil (CNBB) and the "Basic Education Movement". At that historical moment, the Second Vatican Council, convened by Pope John XXIII, assumes before the Catholic Church a position of openness, dialogue with the world and challenge of an aggiornamento, inspiring new designs to Catholicism, corroborating, somehow, some actions already developed by pastoral from Church in Brazil, especially in the Northeast. The main scope of this thesis is to narrate the major social, political and pastoral issues that marked the passing of Don Jose de Medeiros Delgado by Archbishop of Fortaleza, between the 1960s and 1970s decades. / No Brasil o impacto modernizador das décadas de 1950 e 1960 e a vitória da Revolução Cubana em 1959, produziram temores no seio dos setores conservadores da sociedade brasileira, em especial para a Igreja Católica. Nesses anos, solidificaram-se e radicalizaram-se duas perspectivas de interpretação daqueles sinais da modernidade: uma, de matiz liberal defendia que a Igreja deveria ser aberta aos novos tempos; outra, de natureza conservadora, articulava-se no sentido de desqualificar os esforços de atualização e de inserção da Igreja nas problemáticas da realidade brasileira. A primeira corrente, passou a ser denominada de “esquerda católica” por defender teses capazes de provocar rupturas na estrutura socioeconômica que mantinha o país no rol das nações subdesenvolvidas e tem sua origem em movimentos liderados por bispos, padres e leigos, principalmente da região Nordeste, tais como o Movimento de Natal, a criação da Conferência Nacional dos Bispos do Brasil (CNBB) e o Movimento de Educação de Base. Naquele momento histórico, o Concílio Vaticano II, convocado por João XXIII assume diante da Igreja uma posição de abertura, de diálogo com o mundo e de provocação de um aggiornamento, inspirando novos desenhos para o catolicismo, corroborando, de certa forma, algumas ações já desenvolvidas pelas pastorais da Igreja no Brasil, em especial a do Nordeste. O escopo principal desta tese é narrar as principais questões sociais, políticas e pastorais que marcaram a passagem de Dom José de Medeiros Delgado pelo arcebispado de Fortaleza, entre as décadas de1960 e 1970. Palavras-chave: Catolicismo brasileiro; Concílio Vaticano II; História da Igreja Católica.

The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.

This dissertation treats the theory and practice of C. S. Lewis's theological imagination, focussing upon the imaginative use he made of his professional expertise in medieval and renaissance literature. Its approach is principally expository rather than an evaluative. Chapter One outlines the centrality of the imagination to a proper understanding of Lewis's works. Chapter Two examines Lewis's own theory of imagination and surveys how he practised it as a literary critic. We compare and contrast Lewis's theory and practice of imagination with that of his friend, the theologian, Austin Faffer. Chapter Three looks in more detail at Lewis's imaginative practice, in particular his fascination with the images supplied by the seven planets of the Ptolemaic cosmos, which he termed 'spiritual symbols of permanent value'. We analyse what he meant by 'sprit' and 'symbol'. Chapter Four introduces the main argument of the dissertation namely that these seven spiritual symbols structure the works for which Lewis is best known, the seven 'Chronicles of Narnia'. We claim to have uncovered the governing imaginative blueprint of the septet. We address Lewis's capacity for and interest in secrecy and consider why this planetary theme has remained hitherto undetected. In Chapters Five to Eleven we take the seven planets in turn and trace the use Lewis made of them through out his writings. We analyse the planetary symbolism undergirding each Chronicle and conclude each chapter with an exegesis of the Christological message of each book so understood. Chapter Twelve examines factors which motivated Lewis to focus his imaginative energies upon Ptolemaic cosmology and suggests one particular occasioning factor behind the composition of the Chronicles. In addition, we consider theological and pedagogical reasons why he kept silent about the planetary theme. We conclude by indicating certain consequences that our argument has for future readings of these seven works.

This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

Uppsatsen belyser delar av komplexiteten i Bob Dylans författarskap via en analys av det medvetna bruket av intertextualitet i sex låtar från tre olika album, alla från mitten av 1960-talet. Det klarläggs att Dylan inte kan förenklas till endast alluderingar till Shakespeare, utan att författarskapet innehåller en hög grad av komplexitet. Syftet är alltså att visa på låtskrivarens medvetna influenser, alluderingar, citat, omskrivningar och satir och hur det påvisar tesen. Analysexemplen, som de framstår via det litteraturvetenskapliga verktyget, påvisar olika kopplingar. Även om författaren är komplex från första texten utvecklas poeten från att referera till folktraditionen till att alludera till författare som Edgar Allen Poe, William Blake, Dylan Thomas och Allen Ginsberg i de senare exemplen. / This essay highlights parts of the complexity in Bob Dylan’s authorship via an analysis of the conscious usage of intertextuality in six songs from three different albums, all from the middle of the 1960’s. It is elucidated that Dylan’s lyrics cannot be simplified as only allusions to Shakespeare and it is shown that the lyrics contains a high level of complexity. The purpose is to display the author’s conscious use of references such as allusions, quotes, euphemisms and satire and show how those supports my thesis. The texts, as they are perceived through intertextuality, shows different connections. Even though the author is complex from the first example to the last, it is shown in this essay that he progresses from referring to the old folk music tradition to alluding to authors such as Edgar Allen Poe, William Blake, Dylan Thomas and Allen Ginsberg in the later examples.

In what is historically a brief number of years, the life and times of John F. Kennedy have taken on legendary proportions. His presidency began with something less than a mandate from the American people, but he brought to the White House an inspiration and a style that offered great promises of things to come.

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