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No description available.

This doctoral thesis analyzes the plays of Tristan Tzara, specifically La Premiere Aventure Celeste de Monsieur Antipyrine (1920), La Deuxieme Aventure Celeste de Monsieur Antipyrine (1920), Coeur a Gaz (1921) et Mouchoir de Nuages (1924). / In the first part of our study we examine the production of (dramatic) language in its oral, graphic and written qualities. The dada language of the two drama-manifestoes tends to adopt a syllabic writing which defines itself as a sonorousness free of syntaxico-semantic contingencies. The writing in Coeur a Gaz is more graphic in that it defines linear writing in terms of its inscription in a bidimensional frame (list, table) which caracterizes theatre in itself. And while Mouchoir de Nuages adhers more closely to dramatic writing of a metadiscursive nature, the apparent linearity of the writing of this drama leads to the subversion of the stage writing (scenography) and therefore of theatre itelf. / In the second part of our thesis we study the question of language reception, indispensable for the understanding of the Dada phenomenon in particular and theatrical in general. The aleatory vocality La Premiere Aventure Celeste de Monsieur Antipyrine provoked a violent reception by the historical spectator of 1920, whose esthetic parameters (horizon of expectation) are analyzed. Insofar as Coeur a Gaz is concerned the performance of 1923 consecrated the rupture of Andre Breton with the Dada group and led to the birth of the surrealist movement. Finally, the revolutionary scenographic work of Mouchoir de Nuages radically modifies the scenic perception of the spectator and announces the pluralist art of the twentieth century.

The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process. / Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course. / Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry. / All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality. / According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.

Note: / The brilliant musical career of Paul Hindemith (1895-1963) could be definedaround two roles: the virtuosic interpreter, and the prolific composer. In 1922,Hindemith's fascination with the viola d'amore, as a performer, brought him closer to theworld of early music. His fascination led him to write two pieces for viola d'amore: theKleine Sonate for viola d'amore and piano, Op. 25, No.2 (1922) and the KammermusikNo.6 for viola d'amore and orchestra, Op. 46, No.1 (1927). These pieces represented aimportant turning point for Hindemith, in that their composition led him to develop a newtechnical and stylistic approach to his main instrument: the viola. / La brillante carriere musicale de Paul Hindemith (1895-1963) se partage entredeux aspects distincts de son enorme talent: l'interprete virtuose innovateur et Ieprolifique compositeur. En 1922, Hindemith se rapproche du monde de la musiqueancienne via sa fascination, en tant qu'interprete, pour la viole d'amour. C'est ainsi queHindemith aura compose deux reuvres pour la viole d'arnour: la petite sonate pour violed'amour et piano, Op. 25 No.2 (1922) ainsi que Ie Kammermusik No.6 pour violed'arnour et orchestre, Op.46 No.1 (1927). Ces pieces se veulent un veritable pointtoumant pour Ie cornpositeur puisqu'a travers eUes, il developpera des nouvellesapproches techniques et stylistiques pour son instrument de predilection, ralto.

There is no abstract available for this thesis.

There is no abstract available for this thesis.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-05-02T13:09:57Z No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-05-02T15:24:13Z (GMT) No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / Made available in DSpace on 2016-05-02T15:24:13Z (GMT). No. of bitstreams: 1 2016_JorioCorreaCunhaFilho.pdf: 519665 bytes, checksum: 8ddfb75a6276069a95dab8ea6c57717f (MD5) / O presente procura concretizar a tradução para o português brasileiro de um total de 19 poemas de Robert Frost, de acordo com um projeto de integração dos elementos formais mais característicos de sua poesia na tradução. Para tanto, uma análise da escansão dos versos em inglês é empreendida, tomando por base a obra de Pires-de-Mello (PIRES-DE-MELLO, 2001), para que possa ser feita uma comparação entre as formas de escansão de poesia nas línguas inglesa e portuguesa. A proposta baseia-se na ideia de tradução do ritmo do texto literário de Meschonnic (MESCHONNIC, 1999) e na incorporação de elementos estrangeiros ao texto traduzido de Berman (BERMAN, 2012). Uma apresentação do poeta e de sua obra é feita inicialmente, a ver quais são as características que o definem e que deverão, certamente, ser mantidas quando de uma tradução de seus textos. Entre a apresentação e a análise, uma seção é dedicada à discussão sobre a intradutibilidade da poesia, argumentando em seu favor, ainda que admitindo, como apresentado ao final do trabalho, a possibilidade de uma intradutibilidade tópica ou circunstancial, segundo o termo cunhado por Mário Laranjeira (LARANJEIRA, 1993). _______________________________________________________________________________________________________ ABSTRACT / This study seeks to present a translation into Brazilian Portuguese of 19 poems by Robert Frost, pursuant to a project whose aim is to integrate the formal elements most characteristic of his work into the translated texts. To that intent, the poems have been analysed as to their metrical patterns with the book by Pires-de-Mello (PIRES-DE-MELLO, 2001) as a parametre for comparison. The proposal is based on the idea of translation of rhythm in literary texts by Meschonnic (MESCHONNIC, 1999) and on the ncorporation of foreign elements into the translation by Berman (BERMAN, 2012). With that in mind, a presentation of the poet is made and his work, so that the main characteristics of his poetry, the ones that should be retained in translation can be brought to the fore. Between this introduction and the analysis of formal elements, a discussion on the supposed untranslatability of poetry is included, arguing against it, despite admitting the possibility raised by Mario Laranjeira (LARANJEIRA, 1993) of topical or circumstantial unstranslatability in poetry.

Submitted by Kelly Ayala (kelly.ayala@fgv.br) on 2016-06-06T12:15:45Z No. of bitstreams: 1 000049040.pdf: 9775913 bytes, checksum: f49cee9c2a559271effca75efafc5bf4 (MD5) / Made available in DSpace on 2016-06-06T12:16:17Z (GMT). No. of bitstreams: 1 000049040.pdf: 9775913 bytes, checksum: f49cee9c2a559271effca75efafc5bf4 (MD5) Previous issue date: 1983-04-28 / This research is about the beginning of school education Supervision in Brazil, that started with the North-American penetration in Brazilian education, adopting a program of technical assistance and also a post-war financial help to Brazil. The Brazilian-American Assistance program to Elementary Teaching (PABAEE) was analyzed as it is one of a kind of those programs and the rising of Brazilian school Supervision was analyzed too. After having established the beginning of Brazilian Supervision, we studied School Supervision in Goiás, that was unstained in the CTM of Inhumas and a new Institutional piece was widowed to it after the 5.540/68 law. We made a comparison between Inhumas Supervision and University and finally we discussed about the place and the task that should be developed by the Supervisor in nowadays Brazilian educational system. / O presente estudo trata das origens da Supervisão Escolar no Brasil, marcada pela penetração norte-americana na educação brasileira, através da implementação dos programas de assistência técnica e ajuda financeira ao Brasil no pós-guerra. Analisou-se o Programa de Assistência Brasileiro-Americana ao Ensino Elementar (PABAEE) como um destes programas e de onde surgiu a Supervisão Escolar Brasileira. Definida a origem da Supervisão brasileira, analisou-se a Supervisão Escolar em Goiás, instalada no CTM de Inhumas e definida em nova situação institucional após a lei 5.540. Comparou-se a formação do Supervisão de Inhumas e da Universidade, e discutiu-se, para finalizar, qual o espaço e qual a tarefa do Supervisor no sistema educacional brasileiro hoje.