Orientador: Armando Boito Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T18:18:24Z (GMT). No. of bitstreams: 1 Martuscelli_DaniloEnrico_D.pdf: 3767563 bytes, checksum: 2ec523b4abcbd3daa0e07be6d9b1e7a4 (MD5) Previous issue date: 2013 / Resumo: Esta tese analisa as crises políticas ocorridas no capitalismo neoliberal brasileiro, a saber: a crise do governo Collor (1992) e a crise do partido do governo (PT), vulgarmente conhecida como crise do "mensalão" (2005). Propomo-nos a discutir essas crises, enfatizando a dimensão das contradições de classe engendradas pelo processo de implementação da política estatal e pela própria iniciativa das classes e frações de classe nas conjunturas de transição ao capitalismo neoliberal e de reformas deste no país. A crise política de 1992 caracteriza-se como uma crise do governo a qual emergiu de um processo de instabilidade hegemônica e na qual a hegemonia política foi exercida sob a forma de condomínio entre as frações do grande capital, tendo como resultado a destituição do Presidente da República do cargo por um movimento dirigido pela burguesia interna e contando com a base social de apoio predominantemente de setores das classes médias, descontentes com os efeitos gerados pela política estatal. Muito distante de esse processo encerrar a hegemonia política dessas classes que compunham o movimento contra o governo federal, essa crise política poria em evidência os limites da oposição ao neoliberalismo no país. Esta logrou tão somente fazer resistências pontuais e seletivas a alguns pontos do programa neoliberal ou, na melhor das hipóteses, a lutar contra os efeitos dessa política. A crise política de 2005 caracteriza-se como uma crise do partido do governo, surgindo de um processo de crise de representação política do PT, que passou a sustentar, no governo, os interesses da grande burguesia interna e a acomodá-los no núcleo hegemônico do bloco no poder, sem, com isso, colocar em xeque o poder político da grande burguesia financeira internacional. Trata-se, portanto, de um contexto de reformas no capitalismo neoliberal, no país, criando condições favoráveis para a realização de mudanças na política estatal. Nesse caso, tanto o governo federal quanto a grande burguesia interna sairiam vitoriosos da crise / Abstract: This thesis analyzes the political crises that occurred in Brazilian neoliberal capitalism, namely the crisis of the Collor government (1992) and the crisis of the ruling party (PT), commonly known as "mensalão" crisis (2005). We propose to discuss these crisis, emphasizing the dimension of class contradictions engendered by the process of implementation of the state policy and the own initiative of classes and class fractions in the transition conjunctures to the neoliberal capitalism and its reforms in the country. The political crisis of 1992 is characterized as a government crisis which emerged from a process of hegemonic instability and in which political hegemony was exercised in the form of condominium between fractions of the great capital, resulting in the dismissal of the President of Republic from office by a movement driven by interior bourgeoisie and enlisting the social base of predominantly sectors of the middle classes, discontent with the effects generated by state policy. Far from this process constitute the political hegemony of these classes that made up the movement against the federal Government, this political crisis would highlight the limits of opposition to neo-liberalism in the country. This succeeded in doing so only occasional and selective resistance to some points of the neoliberal program or, at best, to fight against the effects of this policy. The political crisis of 2005 is characterized as a crisis of the ruling party, arising from a process of crisis of political representation of the PT, which now sustain in the government the interests of the great interior bourgeoisie and accommodate them in the core of the hegemonic power bloc, without, however, putting into question the political power of large international financial bourgeoisie. It is therefore a context of reforms in neoliberal capitalism in the country, creating favorable conditions for the realization of changes in state policy. In this case, both the federal government and the great interior bourgeoisie would be victorious from that crisis / Doutorado / Ciencia Politica / Doutor em Ciência Política

Orientador : Michael M. Hall / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-14T05:10:36Z (GMT). No. of bitstreams: 1 Walmsley_SilvanaMariadeMoura_M.pdf: 4678457 bytes, checksum: 69570cca40308f2f6d548a8c4aa00972 (MD5) Previous issue date: 1992 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

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This thesis deals with fifteen seasons of Dejvice Theatre within the years 1992-2007 with special focus on two ensembles for which the Dejvice Theatre became the home scene. The first ensemble was formed by ALD DAMU students under the direction of Jan Borna. After its leave the ensemble has been replaced by yet another ALD DAMU students' ensemble this time under the direction of both pedagogue and director Miroslav Krobot. The goal of the thesis is to point out the transformations of production poetics within the fifteen years in which the two mentioned ensembles have acted in Dejvice Theatre.

No description available.

Preface: An awareness of certain contradictory perceptions and assumptions regarding religious beliefs today and their relevance to art prompted a question which led to the research undertaken in this minithesis. The question was: how significant is the absence or presence of religious beliefs to the modern creative process? The writings of some theologians, sociologists, psychologists, and anthropologists seem to indicate that religious beliefs are fundamental to the functioning of society and the individuals who are part of it. Furthermore, even a cursory study of the history of art will demonstrate the strong bond between pre-nineteenth century image making and organised religion. Today, however, this relationship appears uncertain or even non-cxistant. This is a result of processes which began to gain strength in the nineteenth century: these include the industrial revolution, scientism and materialism. Peter Fuller, stated that among the most central questions affecting art is, "the severance of the arts from religious tradition and their existence within an increasingly secular culture." (Fuller, 1990, p. 189). This statement appears to bring the issues together very neatly. Firstly there is the assertion that religion has nourished and been a vital force behind art through the ages, and that, modern art has lost this source of vitality. Secondly, there is the contention tbat society, since the nineteenth century, has become increasingly secular, and that this has had (and is having) a radical effect on modern art. That art has been divorced from religion and that religion is disappearing, or will do so, is the logical conclusion, according to theorists who insist on institutional religion as the only true form. Some artists, for whom the absence or presence or loss of religious beliefs are important issues, may in this situation experience a creative crisis. In order to address these issues it was necessary to investigate whether religious beliefs are important to artistic endeavour and, if so, what the consequences of the absence of beliefs might be. For this reason, research into the nature of religion and the modem religious situation was initiated. The purpose of the extensive discussion on the nature of religion was to establish definitions of, or a view of, religion which could provide a sound basis for this investigation of the issues that have been outlined. In order to demonstrate whether religious beliefs are important to the creative process, Francis Bacon was chosen for discussion because he appeared to be a modern artist who had no religious beliefs and was thus an ideal example by which the consequences of this could be gauged.

This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.

Orientador: Wilson Suzigan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia / Made available in DSpace on 2018-07-17T10:54:59Z (GMT). No. of bitstreams: 1 PassaneziFilho_Reynaldo_M.pdf: 5365837 bytes, checksum: 26cc90d75a17fd94ec158b131af8102a (MD5) Previous issue date: 1992 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Economia

Master of Science

Master of Science