Paganini's 24th caprice still remains to this day one of the most celebrated themes in classical music history. Many composers have used this theme to create variations and each composer attempted to produce stylistically unique variations on this piece. Hamelin's Variations on a Theme of Paganini stands out because his piece incorporates musical borrowing and many different composers' styles. His variations integrate music from different centuries, using pastiche and musical borrowing from figures such as Beethoven, Liszt, Brahms, Chopin, and Rachmaninoff. More provocatively, Hamelin's variations reach outside of Classical music, even adopting elements from salsa and friska. The spectrum of composers and styles included in this set are so radical and shocking that it creates a parody of not only Paganini's theme, but also the tradition of theme and variation pieces it has inspired. Due to its multiple variations juxtaposing extremely different styles, Hamelin's Variations on a Theme of Paganini presents the listener with a musical puzzle that is designed to invoke surprise. The juxtapositions of extremely different styles in these variations create disjointed variations with polystylism. The polystylism in this work diversifies his variations, while unifying these seemingly unbalanced movements through broad musical references. As such, both performers and listeners stand to benefit from a detailed, critical examination of the piece. I consider not just the musical sources themselves, but also the ways in which they interact, paying close attention to Hamelin's use of parody and humor.

Ce mémoire de recherche porte sur la méthode de travail de six historiens du haut moyen âge : Frédégaire, Jonas de Bobbio, Nithard, Richer de Reims, Raoul Glaber et André de Fleury. Elle démontre que l'élaboration d'oeuvres historiographiques et hagiographiques dépendait de l'utilisation de sources à la fois orales et écrites tout au long de la période. Du VIIe au XIe siècle en Gaule franque, la perception et l'utilisation des sources connaissent toutefois des changements : signe d'une évolution des mentalités, les historiens utilisent de plus en plus la rumeur publique, au point d'éclipser d'autres types de sources orales plus courantes au début de la période. Cependant, les saintes Écritures sont omniprésentes à toutes les époques et les témoins directs reconnus nommément sont toujours de sexe masculin et membres de la hiérarchie ecclésiastique. L'évocation constante de la Parole et de son interprète exclusif, le prêtre, démontre que l'histoire demeure un moyen d'éducation du groupe intra-monastique; l'écrit historiographique n'a pas encore atteint le stade la prédication populaire. / Québec Université Laval, Bibliothèque 2014

For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film.  Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality.

Thesis (MPhil)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: The present thesis deals with the impact of the ancient Greek farce on modem literature with specific reference to the play Kinkels innie Kabel (1971) by the contemporary Afrikaans author André P. Brink. This play is loosely based on Shakespeare's The Comedy of Errors, which in tum derives from Plautus' Menaechmi. Brink's play thus resonates with an entire European tradition. The relationship between the modem and the ancient farce is studied with reference to the concept of comedy. Comic effects, the difference between comedy and tragedy in respect of the handling of vital issues and the comic vision of the playwright are all taken into account. The analysis of the development of Athenian Old Comedy to the Roman Comedy refers to the contribution of Plautus and Terence to the continuation and revitalisation of Greek New Comedy. A comparison of these two playwrights reveals the characteristics of the farce and the difference between farce and comedy. The modem relevance of the farce is studied on the basis of Brink's text. For this purpose Plautus' original plot, the Shakespearian version and Brink's rendition are discussed and compared. On the basis of the similarities and differences in plot, caricaturisation, misidentifications, politics, fantasy, coincidence, irony, farcical violence, mechanical structure, temporal structure and linguistic register, the influence of the ancient farce on its modem counterpart is demonstrated. In addition to farce, Brink employs the classical devices of satire and parody to drive home his (political) message. Finally it is shown that the farcical in Plautus, Shakespeare and Brink serves a significant and serious thematic purpose. / AFRIKAANSE OPSOMMING: Hierdie verhandeling handel oor die impak van 'n antieke Griekse komedievorm, die klug, op moderne werke en denke. A.P. Brink se verhoogstuk Kinkels innie Kabel (1971) is 'n vrye verwerking van William Shakespeare se The Comedy of Errors. Laasgenoemde werk is weer op sy beurt gebaseer op Plautus se Menaechmi. In sy verwerking van Plautus en Shakespeare laat A.P. Brink die hele Europese tradisie deurklink. Die verhouding tussen die moderne klug en die antieke klug word bestudeer deur te fokus op die term komedie: die verhouding daarvan met lag en hoe die komedie van die tragedie verskil ten opsigte van die hantering van lewensproblematiek en komiese visie van die komedieskrywer, maak deel uit van hierdie bespreking. Die komedie se herkoms en ontwikkeling vanaf die Ou Komedie tot die Romeinse Komedie, val ook onder die soeklig. In aansluiting hiermee word Plautus en Terentius bespreek as twee komedieskrywers wat 'n rol gespeel het in die oorlewering en verlewendiging van die Griekse Nuwe Komedie. Hierdie twee skrywers word ook met mekaar vergelyk sodat die eienskappe van die klug geïllustreer word, en hoe dit in wese verskil van komedie. Die relevansie van die klug in moderne denke word bestudeer aan die hand van Brink se teks. In hierdie verband word daar 'n uiteensetting gegee van die oorspronklike Plautiniese verhaal, die Shakespeariaanse weergawe en die Brinkiaanse teks. Aan die hand van die ooreenkomste en verskille in intrige, karikaturisering, identiteitsvergissings, politiek, die fantasie-element, toeval, ironie, klugtige geweld, die meganiese struktuur, die tydstruktuur en taalregister word die invloed van die antieke klug op die moderne klug geïllustreer. Benewens die klug word Brink se werk ook verder beïnvloed deur twee klassieke middele, met name satire en parodie. Hiermee bring Brink sy (politieke) boodskap tuis. Ten slotte word die dieperliggende temas in Plautus, Shakespeare en Brink se werk bespreek deur aan te toon dat die werk nie net om die klugtige gaan nie, maar ook die meer ernstige.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T13:00:33Z No. of bitstreams: 1 Edilene Aparecida Barros da Silva Aveledo.pdf: 988895 bytes, checksum: 5c263e66103fa0ee77b5f761d7231fed (MD5) / Made available in DSpace on 2018-11-05T13:00:33Z (GMT). No. of bitstreams: 1 Edilene Aparecida Barros da Silva Aveledo.pdf: 988895 bytes, checksum: 5c263e66103fa0ee77b5f761d7231fed (MD5) Previous issue date: 2018-09-17 / The objective of this study was to investigate how the Weekly Pedagogical Meetings (WPM) take place inside a daycare center located in a city adjacent to the city of São Paulo, since teachers complain that these meetings do not meet their training needs. The ethnographic research analyzed in which aspects the WPM meets the training needs of teachers and in which it does not contemplate them, in order to re-signify: the end-goal of WPM as a formative space; the attendance to the training needs of teachers; children's learning; the moments of study, exchange, evaluation and collective decision that guarantee the collaborative teaching-learning process, in a nursery that is part of a municipal education network, with the educational guidelines of its policy. As a hypothesis, it was considered that the Pedagogical Coordinator (PC) has planned WPM with the aim of this space - the continuous formation of the teachers -, but its methodology is restricted to its own reading of the needs of the teachers, without to listen to these professionals, disregarding their history, their culture and the identity of the school. Initially, the picture of the education of the city and its peculiarities is presented, The history of Early Childhood Education and its trajectory in the municipality is also reported. Next, the importance of continuing education and the role of PC to ensure teacher-centered teacher training in the perspective of collaborative networking in the teacher training process is presented. The methodology used in the research involved teachers and PC. The data were collected through a questionnaire, interview, documentary analysis, and records of in situ observations, carried out by the researcher. The theoretical basis of the research is based on the studies of Placco (2003; 2006; 2010; 2012; 2013; 2017), Almeida (2003; 2012; 2016), André (2005; 2010; 2016), Souza (2001; 2012), Tardif (2014), Dubar (2005), Ciampa (1986), among others, about school-centered training and teacher identity. The analysis of the data shows that the greater training need of teachers is related to the practice developed in the classroom, although it reveals the predominance of contradictions, regarding the perception of teachers feel - or not - contemplated in their needs. The contradictory answers also took place regarding the listening and the possibilities of participation of the teachers during the meetings. The analysis also pointed out that the three-hour meetings during the night are tiring and that, at times, there is a loss of focus of the discussions, evidencing the need to elaborate guidelines that are more articulated to the real needs of the teachers. Strong interference was also identified with the demands of the Secretary of Education in the definition of the guidelines, which compromises the time of meetings and meeting the demands of teachers. The need for investment in interpersonal and collective relations was also perceived as a way to reduce the incidence of subjects discussed by teachers in informal spaces, called in the research as "pedagogical corridors". Finally, the need for continued strengthening of the role of the PC is underscored / O presente trabalho teve como objetivo investigar como ocorrem as Reuniões Pedagógicas Semanais (RPS) no interior de uma creche localizada em um município vizinho à cidade de São Paulo, uma vez que os professores reclamam que as referidas reuniões não suprem suas necessidades de formação. A pesquisa, de tipo etnográfico, analisou em quais aspectos a RPS atende às necessidades formativas dos professores e em quais não as contempla, com a finalidade de ressignificar: o objetivo-fim da RPS como espaço formativo; o atendimento às necessidades formativas dos professores; a aprendizagem das crianças; os momentos de estudo, troca, avaliação e decisão coletiva que garantam o processo de ensino-aprendizagem colaborativo, numa creche que faz parte de uma rede municipal de ensino, com as diretrizes educacionais de sua política. Como hipótese, considerou-se que o Coordenador Pedagógico (CP) tem planejado a RPS com o objetivo-fim desse espaço – a formação continuada dos professores –, porém sua metodologia restringe-se à leitura que ele próprio faz das necessidades dos professores, sem apurar a escuta desses profissionais, desconsiderando sua história, sua cultura e a identidade da escola. Inicialmente, apresenta-se o retrato da Educação da cidade e suas particularidades. Relata-se ainda, a história da Educação Infantil e sua trajetória no município. Em seguida, apresenta-se a importância da formação continuada e o papel do CP para garantir a formação dos professores centrada na escola, na perspectiva do trabalho em rede colaborativa, no processo formativo dos professores. A metodologia utilizada na pesquisa envolveu professores e CP. Os dados foram coletados por meio de questionário, entrevista, análise documental e registros de observações in loco, efetuadas pela pesquisadora. A fundamentação teórica da pesquisa está pautada nos estudos de Placco (2003; 2006; 2010; 2012; 2013; 2017), Almeida (2003; 2012; 2016), André (2005; 2010; 2016), Souza (2001; 2012), Tardif (2014), Dubar (2005), Ciampa (1986), dentre outros, sobre formação centrada na escola e a identidade do professor. A análise dos dados evidencia que a maior necessidade formativa dos professores está relacionada à prática desenvolvida em sala de aula, embora revele a predominância de contradições, no que tange à percepção de os professores sentirem-se – ou não – contemplados em suas necessidades. As respostas contraditórias também ocorreram no que se refere à escuta e às possibilidades de participação dos professores durante as reuniões. A análise também apontou que as reuniões de três horas no período noturno são cansativas e que, em alguns momentos, ocorre a perda de foco das discussões, evidenciando a necessidade da elaboração de pautas mais articuladas às reais necessidades dos professores. Também se identificou forte interferência das demandas da Secretaria de Educação na definição das pautas, o que compromete o tempo das reuniões e o atendimento às demandas dos professores. Percebeu-se, ainda, a necessidade de investimento nas relações interpessoais e coletivas, como forma de diminuir a incidência de assuntos discutidos pelos professores em espaços informais, denominados, na pesquisa, como “corredores pedagógicos”. Por fim, ressalta-se a necessidade de fortalecimento contínuo do papel do CP

La théorie des genres se trouve à l’origine même de la conceptualisation par les études littéraires de leur objet. Les théoriciens des genres ont d’abord analysé les caractéristiques internes des genres comme entités réelles. Cette approche a provoqué une crise portant précisément sur la réalité — ou l’irréalité — de ces catégories, que les chercheurs ont voulu résoudre au XXe siècle grâce à une posture pragmatiste s’intéressant aux conséquences pratiques des catégorisations génériques davantage qu’aux genres littéraires en tant que tels. En s’attardant ainsi sur les conséquences pratiques de la généricité, la perspective pragmatiste, qui domine de nos jours la génologie, a mis de côté la composante imaginaire des genres. Cette dernière s’avère néanmoins centrale pour comprendre le rapport complexe des individus et des collectivités à la littérature. Aussi cette thèse argue-t-elle que les genres littéraires, loin d’être de simples catégories abstraites, sont des représentations. Après avoir revisité la notion de genre à partir de celle de représentation, la présente recherche s’engage dans une exploration de l’imaginaire des genres littéraires. Des exemples tirés de la théorie des genres, des origines à nos jours, permettent d’observer que même les génologies construisent des représentations des genres qu’elles entendent pourtant aborder de manière objective. Ensuite, la thèse se penche sur la littérature franco-canadienne contemporaine, qui constitue un formidable laboratoire pour explorer cette nouvelle théorisation du problème des genres littéraires, montrant que les catégories génériques reflètent dans ce corpus des enjeux sociaux, politiques ou existentiels. Les analyses présentées invitent en fin de compte les chercheurs à élargir leur compréhension de la généricité et à porter attention à sa dimension imaginaire, qui n’a, jusqu’ici, jamais été introduite dans une théorisation générale de la question des genres littéraires.

My goal is to study the nature of the Marvelous in René Depestre's Hadriana dans tous mes rêves. I want to demonstrate that René Depestre, in his novel, combines a number of surrealist or neo-surrealist premises that have influenced him as a Haitian writer. This goes beyond differences that can be discerned between the "Surrealist marvelous" endorsed by André Breton and the surrealists, and Alejo Capentier's "marvelous real"later proposed by Jacques Stephen Alexis as "marvelous realism" Depestre adapts Haitian natives' perceptions deep-rooted in their historical and social, cultural and religious past and ever-existing political and economical struggle. Taking into account both the surrealist perspective and the Haitian context, I shall address the complexity of the concept of the Marvelous and discuss Depestre's use of "zombification"as a form of metamorphosis, which preserves the mystical nature of Vodou as a religion that syncretizes the Roman Catholic ritual of exorcism of the Christian West and the animist and magical practices inherited from Africa. Scholars have explored the Marvelous and marvelous realism in Depestre's works as a whole, but not in Hadriana dans tous mes rêves specifically. The exclusive nature of this study will show that Depestre draws from Haiti's complex cultural ethos as well as from surrealism'es key principles, to create a hybrid Marvelous typical of Haiti and Depestre'es aesthetic as a writer. / text

Text in Afrikaans with abstracts in Afrikaans, English and isiZulu / Hierdie studie van Afrikaanse tekste oor die Kongo (DRK) strek vanaf 1912 - toe DF Malan die eerste wit Afrikaner geword het wat ‘n reisbeskrywing oor sy besoek aan die Kongo gepubliseer het (Naar Congoland, 1913) - tot 2012 . Die navorsingsverslag ondersoek beeldvorming rondom die Kongo/(Midde-)Afrika in die korpus tekste wat opgespoor is, binne die breë teoretiese raamwerk van koloniale/postkoloniale studies, met toespitsing op “Africanism” en “Whiteness studies”. Daar is bevind dat beeldvorming in verband met die Kongo rondom twee hooftrope geskied: die Kongo as Conradiaanse “heart of darkness”, waar barbaarsheid in al sy geledinge hoogty vier; en die Kongo as “Eldorado” – die land wat as 15de-eeuse Afrika-koninkryk beskik het oor ‘n ontwikkelde beskawing en ongekende rykdom - lank voordat dit “ontdek” is deur Portugese seevaarders. Hierdie hooftrope en hul uitlopers funksioneer as ‘n kontinuum eerder as volstrekte teenoorgesteldes in die meeste Afrikaanse tekste oor die Kongo. Tekste van die koloniale era (tot die 1960’s in die Kongo) sluit aan by Eurosentriese diskoerse waarin die imperiale/koloniale tydgees weerspieël word, en tipies manifesteer in binêre opposisies (byvoorbeeld primitiwiteit versus beskawing) en trope soos “imperial eyes” (wit toeëiening van die koloniale ruimte). Malan se ideaal van ‘n Dietse invloedsfeer gebaseer op die taalverwantskap tussen Hollands/Afrikaans in Suid-Afrika, en Vlaams in die destydse Belgiese Kongo, herinner aan die ekspansionistiese ywer waarmee die Kaap-tot-Kaïro-droom van Britse imperialiste nagejaag is, maar blyk nouer verwant te wees aan die Afrikanernasionalistiese klem op die “taal as volk”. In postkoloniale tekste word die siening van die wit Afrikaner as ‘n nasaat van die geïdealiseerde Voortrekkers/Dorslandtrekkers toenemend gerelativeer deur tekste waarin die wit Afrikaner herverbeel word as “wit sangoma” of “Witboy in Afrika”; en wit vrese en vergrype word op skerp satiriese wyse aan die kaak gestel as die wrange erflating van die aartskolonialis, “Pappa in Afrika”. Die koloniale projek word in Equatoria as mislukking uitgebeeld, terwyl Horrelpoot ʼn distopiese verbastering van Afrikanerskap en Afrikaans in (Suid-)Afrika poneer. Witheid mag uiteindelik in Afrika uitgewis en vervang word met egte skakerings van aardsheid, of herdefinieer word in ʼn niehegemoniese verband (The Poisonwood Bible). Slegs die tyd sal leer. / This study of Afrikaans literary texts on the Congo (DRC) covers 100 years: 1912 – 2012. In 1912 DF Malan became the first white Afrikaner to travel to the Congo and publish a travelogue based on his travels (Naar Congoland, 1913). This thesis investigates the representation of the Congo/Central) Africa in the corpus of texts discovered, within the broad theoretical framework of colonial/postcolonial studies, and the paradigms of “Africanism” and “Whiteness Studies”. The Congo has been represented in terms of two main tropes: the Congo as the Conradian “heart of darkness”, the seat of utter savagery; and the Congo as “Eldorado” – the African kingdom that presided over a well-developed civilisation and untold wealth long before it was “discovered” by Portuguese explorers in the fifteenth century. These main tropes and their sub-tropes function in most Afrikaans texts on the Congo as a continuum and not in absolute contrast. Literary texts of the colonial era (up to the 1960’s) are characterised by Eurocentric discourses in which the imperial/colonial Zeitgeist typically manifests in binary oppositions (primitivism versus civilisation), and tropes like “imperial eyes” (white appropriation of colonial space). Malan’s dream of a Dutch sphere of influence - based on the affinity of Dutch/Flemish in the Congo with Dutch/Afrikaans in South Africa – and extending from Cape Town to the erstwhile Belgian Congo, is reminiscent of the expansionist fervour characterising the imperialist Cape-to-Cairo idea, but is based on the close link between language and nationhood in Afrikaner nationalism. In postcolonial texts the view of the white Afrikaner as ‘n descendant of the idealised Voortrekkers/Angolan trekkers is increasingly deconstructed by re-imagining the Afrikaner as a “white sangoma” or “whiteboy in Africa”, while white fright and guilt are revealed - in a sharply satirical fashion – as the bitter legacy of the white arch-colonialist “Pappa in Afrika”. The colonial project is portrayed as a disaster in Equatoria, while Horrelpoot poses a dystopic vision of the degeneration of Afrikanerdom and Afrikaans in (South) Africa. Whiteness may eventually be erased and replaced by authentic, earthy African colours, or be redefined within a non-hegemonic context (The Poisonwood Bible). Time alone will tell. / Lolu cwaningo olumayelana nemibhalo yesiBhunu ezincwadini zaseCongo (eDRC) lubheka isikhathi esingangeminyaka eyi-100: 1912 – 2012. Ngo-1912, uDF Malan waba yiBhunu lokuqala elimhlophe elaya eCongo laqopha umbiko omayelana nohambo lwakhe (Naar Congoland, 1913). Lo mbiko wocwaningo ucubungula indlela okwethulwa ngayo iCongo kanye nezinye izindawo eziMaphakathi Ne-Afrika eqoqweni lwemibhalo etholakale ohlakeni lwemibhalo eyimihlahlandlela emayelana nezifundo zangezikhathi zombuso wamakoloni/ nezikhathi zangemva kombuso wamakoloni, kanye nokuhleleka kwezifundo ngaBomdabu nangaBamhlophe. Izwe laseCongo lethulwa ngokufanekiswa ngezindlela ezimbili: ICongo njengesizinda sobumnyama (“heart of darkness”), nanjengesihlalo sobulwane bokungaphucuzeki (seat of utter savagery) njengoba kufanekisa umbhali uJoseph Conrad, kanti futhi ibuye ifanekiswe njengeCongo eyi-“Eldorado” – ubukhosi base-Afrika obabubusa endaweni ephucuzeke ngokuphelele nenothe ngendlela emangalisayo, ngaphambi kokuba itholwe ngabasingimazwe baMaputukezi ngekhuluminyaka leshumi-nanhlanu. Lokhu kufanekisa kanye nemifanekiso ehambisana nako evela emibhalweni eminingi engesiBhunu maqondana neCongo isetshenziswa ukuveza okubili okubonakala sengathi kuyefana yize kungafani kunoba ikuveze obala njengezinto ezingafani nhlobo. Imibhalo esezincwadini yangesikhathi sombuso wamakoloni (kuze kufinyelele esikhathini sangeminyaka ye-1960) iphawula kakhulu ngezindaba ezincike emasikweni nasemilandweni yamazwe aseYurophu nokuyilapho umoya wobukhosi obubusa ngaphezu kwamanye amakhosi/ nombuso wamakoloni uziveza njengokulindelekile ngezindlela ezimbili eziphikisanayo (ukubambelela endleleni yokwenza yasendulo kuqhathaniswa nempucuko), kanye nemifanekiso enjenge-“imperial eyes” (ukuzithathela kwabamhlophe umhlaba ezweni ababusa kulona okungelabanye abantu). Iphupho likaMalan lokuba kube nendawo eyenza ngokwemfundiso yamaDashi – okwakuncike ekuhlanganyeleni kwamaDashi/namaFlemishi eCongo kanye namaDashi/namaBhunu eNgingizimu Afrika – nokwakuzohamba kusuke eKapa kuze kufinyelele eCongo eyayaziwa ngokuthi yiBelgian Congo, kudala, ikhumbuzana uthando olukhulu lokwandisa indawo noma umnotho olwaluvela kumqondombono walabo abasekela umbuso wobukhosi bamazwe amaningi weCape-to-Cairo, kodwa-ke lokhu kwakuncike ekusondelaneni kolimi kanye nothando lobuzwe ebuzweni bamaBhunu. Emibhalweni yangemva kwesikhathi sombuso wamakoloni, ukuthathwa komuntu oyiBhunu elimhlophe njengoyisizukulwane saBafuduki (amaVoortrekker)/ saBafuduki base-Angola kuyaqhubeka nokuhlakazwa ngokudweba kabusha isithombe seBhunu emqondweni, liyi“sangoma esimhlophe” noma lingu“mfana omhlophe e-Afrika”, kodwa kube kugqama ukwesaba nokushawa ngunembeza – ngendlela ebhuqa kakhulu – njengegalelolifa elinganambitheki lomeseki wombuso wamakoloni oqavile u-“Papa in Afrika”. Umsebenzinhloso wezindaba eziphathelene nombuso wamakoloni uvezwa ngengowonakala wangaphumelela nhlobo ku-Equatoria, kanti uHorrelpoot yena uveza umbono wokuphela kobuBhunu kanye neSibhunu eNingizimu Afrika. Ubumhlophe bungagcina buphelile bese esikhundleni sako kungene imibala yoqobo ezothile esamvelo yomhlaba edabuka e-Afrika, kumbe buchazwe kabusha ngaphansi kwengqikithi engahambisani nokuphatha (The Poisonwood Bible). Sekobonakala phambili. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

Orientador: Valeriano Mendes Ferreira Costa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-10T00:55:47Z (GMT). No. of bitstreams: 1 Justo_CarolinaRaquelDuartedeMello_D.pdf: 2322207 bytes, checksum: 4e73227f42d4116e675cd2ea516aa44a (MD5) Previous issue date: 2007 / Resumo: Esta tese procura mostrar que, a despeito de sua crescente expansão no Brasil, os programas de transferência de renda - aqui genericamente denominados programas de renda mínima - não apresentam um único modelo consolidado no país. A análise comparativa realizada a partir dos estudos de caso dos programas municipais de Campinas, Jundiaí, Santo André e Santos mostrou que os programas são diferentes não apenas em termos de seus desenhos institucionais, mas de maneira mais significativa em termos das idéias, concepções e valores segundo os quais eles vieram se constituindo. Com base nisso, foi possível identificar diferentes noções de cidadania subjacentes aos programas, a partir de uma dupla abordagem: liberal e fortemente assentada no trabalho - em Jundiaí e Santos -, ou democrático-participativa, potencialmente prescindindo do trabalho como seu substrato - em Campinas e Santo André. Percebeu-se, assim - dos discursos dos gestores públicos aos das beneficiárias -, que as implicações dos programas de renda mínima vão muito além da dotação financeira: elas não só incidem sobre distintas concepções de cidadania, mas também sobre formas diferenciadas de enxergar e pensar a sociedade, bem como de agir sobre ela. Isso significa que estes programas - com base nos distintos projetos políticos sobre os quais se apóiam e dos quais fazem parte, quer como Renda Mínima, quer como Renda Básica - indicam diferentes caminhos: seja, por um lado, para a manutenção (ou apenas alívio) da pobreza e para a conservação da sociedade, seja, por outro lado, para a superação da pobreza e transformação da sociedade / Abstract: This work intends to show that Minimum Income programs, despite their expansion in Brazil since 90's, do not have a consolidated only-model.. Through the comparative analysis about the programs from Campinas, Jundiaí, Santo André and Santos, ali them cities in the state of São Paulo, it was possible to verify that these programs are different not just because of their institutional design, but rather because of the ideas, values and conceptions which support each policy. So, it was possible to identify different conceptions of citizenship underlying each program: those ones from Jundiaí and Santos are supported for a liberal conception of citizenship, in which work occupies a central place; those ones from Campinas and Santo André are supported for a democratic-participative conception of citizenship, whichcan dispense with work as its substrata. Through both spokes, from beneficiaries to policy makers of each program, not just the same conception of citizenship was identified and ratified, but also same opinions about the society and about how to act on it. Thus, beyond the money transfer, these Minimum Income programs have diverse socio-political implications. On the basis of different political projects, in which they appear whether as Minimum Income or Basic Income, these programs indicate different ways: in strict meaning, toward poverty keeping (on the one hand) or overcome (on the other hand); in broad meaning, toward society maintenance (on the one side) or transformation (on the other side) / Doutorado / Doutor em Ciências Sociais

My diploma thesis concerns itself with the depiction of the still life, in particular the type known as "vanitas", symbolizing the transience of human life. I focus on several artists working in Italy, France and Netherlands during the 17th century - Salvator Rosa, Simon Renard de Saint Andre, Jan Davidsz de Heem, and Nicolaes van Verendael - and explore their influence on the Czech artists Johann Adalbert Angermeyer, Jan Kaspar Hirschely, and Vaclav Vavrinec Reiner, who dealt with the same topic.