L'opera costituisce un fondamentale (ed in parte inedito) aggiornamento critico sulla figura di Angelo Zanelli, scultore bresciano tra i più interessanti nel panorama artistico tra Simbolismo e Novecento. La ricerca si e' orientata, in particolare, sul reperimento di fonti archivistiche inedite, oltre che sull'analisi delle opere, in gran parte conservate presso i Civici Musei bresciani e la Gipsoteca del Vittoriano a Roma. A Zanelli si devono pure importanti interventi pubblici americani, in Argentina, Uruguay, Cuba. / The work represents a significant critical revision about the artist Angelo Zanelli, born in Brescia (Italy), one of the most important figures in the artistic group between Symbolism and Novecento. In particular the search tends towards the finding the archives unpublished, about the study of his works too, these retained in Brescia, at Public Museum and in the collection of the plaster casts of Rome. Also Zanelli made important public monuments in USA, Argentina, Uruguay and Cuba.

This thesis attempts to define Hopkins' use of the word "inscape" in terms of a cultural tradition in which he shares. Inscape is basically a concern for ordering experience in both its temporal and eternal manifestations. Each individual is part of a vast, harmonious whole wherein the parts are related to one another and confront one another with their unique individuality. The order thus envisaged is upheld by God, who sustains relationships and reveals Himself in the communication between man and his world. The order that Hopkins encounters is the same order working through the artistic movement encompassed by the terms Renaissance, Mannerism, and Baroque. The Renaissance artist thought that man could become a part, of that order, using it to reach God, by means of the intellectual contemplation of beauty. The Mannerist challenged his oredecessors' logic, suggesting that man's problems were such as to impede the Neo-Platonic progression: if God is to be reached through the beautiful, the individual who cannot penetrate an ugly reality to ultimate perfection, who cannot rest content with a hypothetical ideal world, will fail to find peace or assurance. The Baroque artist admits the Mannerist's list of grievances, but responds with force and plenitude, believing that the emotional impact of a work of art can carry the will in a positive direction. The Baroque artist feels that God is very present in the material world and may be apprehended there. The basic order includes that material world as a necessary and lasting part of God consistant and continuous revelation of Himself. Michelangelo uses the term concetto much as Hopkins uses the word inscape, though more directly in terms of his art. Part of the ordered whole may be grasped and communicated in the harmonious ordering of the sculpted marble block. Michelangelo achieves his goal by working with Renaissance structures and the Manneristic breakdown of those structures. He resolves the Mannerist's conflicts not by turning to Baroque, but by returning to an expression of the Gothic yearnings of an earlier age. Hopkins is ultimately a Baroque poet, but the Renaissance ordering that must precede the Baroque sensibility is clearly evident in a large portion of his work, as is the disruption of order inherent in Mannerism. What Michelangelo sees as a threat, however, Hopkins sees as a trial of his faith in both God and this world. Michelangelo's retreat, however, serves to clarify Hopkins determination not to retreat. Michelangelo eventually loses the ability to project a concetto, and therefore endeavours to do something less concrete with his medium. Hopkins continually loses his instressing power, but constantly seeks to relate to the wholeness that he knows surrounds him. By postulating a relationship with his environment that demands an ability to meet that environment with an emotional as well as an intellectual stability, he has left himself in a position where often it is only volitional effort that will carry him through any estrangement from his environment. For the sake of his own inscape, as person, priest, and poet, he commits himself to making that effort. / Arts, Faculty of / English, Department of / Graduate

Esta dissertação busca verificar como se dá o diálogo entre a esfera científica e a esfera literária infantil em corpus constituído por oito obras literárias infantis, do cientista e escritor Angelo Machado, as quais se particularizam por veicular conhecimento científico. A fundamentação teórica está embasada na teoria do Círculo de Bakhtin e também nos pressupostos teóricos de autores que se debruçaram sobre a literatura infantil, a imagem visual e a divulgação científica. Os resultados destacam que o diálogo entre a esfera científica e a esfera literária se dá, nas dimensões verbais, visuais e verbovisuais dos enunciados analisados, em dois movimentos dialógicos, a saber, a supremacia do científico sobre o literário e a supremacia do literário sobre o científico. A supremacia do científico sobre o literário foi verificada por meio de três categorias de análise: 1) esquemas ilustrativos; 2) precisão de traços; 3) diálogo como procedimento de divulgação da ciência. Já a supremacia do literário sobre o científico pôde ser constatada por meio de outras duas categorias: 1) cronotopo; 2) criação de personagens. Essas categorias possibilitaram verificar também que a ciência presente nos textos de Machado ora é explícita e circunscrita a momentos precisos das obras, ora é implícita e integrada aos aspectos literários. / This dissertation searches to verify how the scientific sphere dialogues with infant literature in a corpus constituted of eight books by the scientist and writer Angelo Machado in which he adapts scientific knowledge to children. The theoretical basis comes from the ideas of the Bakhtin Circle and authors who studied the infant literature, the visual image and the scientific divulgation. The results show that the dialogue between the scientific and the literary spheres occurs in verbal, visual and verbovisual dimensions and in two dialogical movements: the supremacy of science over literature and the supremacy of literature over science. The former was verified in three main features: 1) illustrative schemes; 2) precision of traces; 3) dialogue as a procedure of science divulgation. The latter was observed in other two categories: chronotope and presence of characters. These categories also allowed us to verify that in Machados texts science is sometimes explicit and restricted to precise moments in his works, sometimes implicit and integrated to the literary aspects.

Esta dissertação busca verificar como se dá o diálogo entre a esfera científica e a esfera literária infantil em corpus constituído por oito obras literárias infantis, do cientista e escritor Angelo Machado, as quais se particularizam por veicular conhecimento científico. A fundamentação teórica está embasada na teoria do Círculo de Bakhtin e também nos pressupostos teóricos de autores que se debruçaram sobre a literatura infantil, a imagem visual e a divulgação científica. Os resultados destacam que o diálogo entre a esfera científica e a esfera literária se dá, nas dimensões verbais, visuais e verbovisuais dos enunciados analisados, em dois movimentos dialógicos, a saber, a supremacia do científico sobre o literário e a supremacia do literário sobre o científico. A supremacia do científico sobre o literário foi verificada por meio de três categorias de análise: 1) esquemas ilustrativos; 2) precisão de traços; 3) diálogo como procedimento de divulgação da ciência. Já a supremacia do literário sobre o científico pôde ser constatada por meio de outras duas categorias: 1) cronotopo; 2) criação de personagens. Essas categorias possibilitaram verificar também que a ciência presente nos textos de Machado ora é explícita e circunscrita a momentos precisos das obras, ora é implícita e integrada aos aspectos literários. / This dissertation searches to verify how the scientific sphere dialogues with infant literature in a corpus constituted of eight books by the scientist and writer Angelo Machado in which he adapts scientific knowledge to children. The theoretical basis comes from the ideas of the Bakhtin Circle and authors who studied the infant literature, the visual image and the scientific divulgation. The results show that the dialogue between the scientific and the literary spheres occurs in verbal, visual and verbovisual dimensions and in two dialogical movements: the supremacy of science over literature and the supremacy of literature over science. The former was verified in three main features: 1) illustrative schemes; 2) precision of traces; 3) dialogue as a procedure of science divulgation. The latter was observed in other two categories: chronotope and presence of characters. These categories also allowed us to verify that in Machados texts science is sometimes explicit and restricted to precise moments in his works, sometimes implicit and integrated to the literary aspects.

Esta dissertação de mestrado procura reconstruir e interpretar uma fase da carreira do artista italiano Angelo Agostini (1843-1910) na revista ilustrada A Vida Fluminense (1868-1875), focalizando sobretudo As aventuras de Nhô-Quim. Reconhecido com um dos mais importantes artistas gráficos do século XIX, Agostini teve uma longa carreira que se inicia em São Paulo em 1864 e continua no Rio de Janeiro onde, a partir de 1867, participa também de veículos como O Arlequim, O Mosquito, e lança títulos como Don Quixote e a Revista Illustrada, o mais importante periódico da imprensa humorística da época. A Vida Fluminense é a primeira revista em que Agostini aparece como sócioproprietário e marca uma fase de transição em sua carreira, onde demonstra maturidade artística e esboça preocupações políticas que se concretizariam em sua produção futura. Também é nessa folha ilustrada que Angelo Agostini dá início à narrativa visual seqüencial As aventuras de Nhô-Quim, série em 14 episódios, publicada a partir de janeiro de 1869 e continuada por Candido Aragonez de Faria em 1872, quando então é interrompida, sem uma conclusão. O propósito desse trabalho é evidenciar como a efêmera série criada por Agostini apresenta pitorescos flagrantes de relações sociais entre os habitantes da corte e as oligarquias rurais na segunda metade do século XIX. / The present work intends to reconstruct and interpret part of the career of the Italian artist Angelo Agostini and his work for the magazine A Vida Fluminense (1868-1875). Recognized as one of the greatest illustrators of the nineteen century, Agostini had a long career that started in 1864 in Sao Paulo and continues in Rio de Janeiro where after 1867, he participated also in O Arlequim, O Mosquito and after that launched magazines like Don Quixote and Revista Illustrada, the most important title of humor magazines than. A Vida Fluminense was the first magazine issued by Agostini and was a sign of the transition in his artistic career, when he reveals the maturity of his work and produces some of political charges that will be his trade mark in the future. Also in A Vida Fluminense Agostini issued As Aventuras de Nhô-Quim, a sequential art series started in January 1869 and that was continued by Candido Aragonez de Faria in 1872, when it was interrupted. The purpose of this work is to evidence how the series created by Agostini show us picturesque instants of sociability between urban citizens of Rio de Janeiro and the so called aristocratic farmers in the mid nineteen century.

Esta dissertação de mestrado procura reconstruir e interpretar uma fase da carreira do artista italiano Angelo Agostini (1843-1910) na revista ilustrada A Vida Fluminense (1868-1875), focalizando sobretudo As aventuras de Nhô-Quim. Reconhecido com um dos mais importantes artistas gráficos do século XIX, Agostini teve uma longa carreira que se inicia em São Paulo em 1864 e continua no Rio de Janeiro onde, a partir de 1867, participa também de veículos como O Arlequim, O Mosquito, e lança títulos como Don Quixote e a Revista Illustrada, o mais importante periódico da imprensa humorística da época. A Vida Fluminense é a primeira revista em que Agostini aparece como sócioproprietário e marca uma fase de transição em sua carreira, onde demonstra maturidade artística e esboça preocupações políticas que se concretizariam em sua produção futura. Também é nessa folha ilustrada que Angelo Agostini dá início à narrativa visual seqüencial As aventuras de Nhô-Quim, série em 14 episódios, publicada a partir de janeiro de 1869 e continuada por Candido Aragonez de Faria em 1872, quando então é interrompida, sem uma conclusão. O propósito desse trabalho é evidenciar como a efêmera série criada por Agostini apresenta pitorescos flagrantes de relações sociais entre os habitantes da corte e as oligarquias rurais na segunda metade do século XIX. / The present work intends to reconstruct and interpret part of the career of the Italian artist Angelo Agostini and his work for the magazine A Vida Fluminense (1868-1875). Recognized as one of the greatest illustrators of the nineteen century, Agostini had a long career that started in 1864 in Sao Paulo and continues in Rio de Janeiro where after 1867, he participated also in O Arlequim, O Mosquito and after that launched magazines like Don Quixote and Revista Illustrada, the most important title of humor magazines than. A Vida Fluminense was the first magazine issued by Agostini and was a sign of the transition in his artistic career, when he reveals the maturity of his work and produces some of political charges that will be his trade mark in the future. Also in A Vida Fluminense Agostini issued As Aventuras de Nhô-Quim, a sequential art series started in January 1869 and that was continued by Candido Aragonez de Faria in 1872, when it was interrupted. The purpose of this work is to evidence how the series created by Agostini show us picturesque instants of sociability between urban citizens of Rio de Janeiro and the so called aristocratic farmers in the mid nineteen century.

There has been a long history of studying library users and their information seeking behaviors and activities. Researchers developed models to better understand these information seeking behaviors and activities of users. Most of these models were developed before the onset of the Internet. This research project studied faculty members' use of and their information seeking behaviors and activities on the Internet at Angelo State University, a Master's I institution. Using both a quantitative and qualitative methodology, differences were found between tenured and tenure-track faculty members on the perceived value of the Internet to meet their research and classroom information needs. Similar differences were also found among faculty members in the broad discipline areas of the humanities, social sciences, and sciences. Tenure-track faculty members reported a higher average Internet use per week than tenured faculty members. Based on in-depth, semi-structured interviews with seven tenured and seven tenure-track faculty members, an Internet Information Seeking Activities Model was developed to describe the information seeking activities on the Internet by faculty members at Angelo State University. The model consisted of four basic stages of activities: "Gathering," "Validating," "Linking" with a sub-stage of "Re-validating," and "Monitoring." There were two parallel stages included in the model. These parallel stages were "Communicating" and "Mentoring." The Internet Information Seeking Activities Model was compared to the behavioral model of information seeking by faculty members developed by Ellis. The Internet Model placed a greater emphasis on validating information retrieved from the Internet. Otherwise there were no other substantive changes to Ellis' model.

In fifty years, Houston Harte guided an organization that grew from one afternoon daily to a chain of nineteen newspapers in six states, and one television station. Much of the civic activity in San Angelo, his hometown, revolved around Harte from 1930 until 1970. He knew many politicians, such as Lyndon Johnson, and was willing to ask their help. Harte's major contributions were retaining Goodfellow Air Force Base's active status, helping San Angelo College attain four-year status, and influencing General Telephone Company of the Southwest to locate its headquarters in San Angelo. His numerous other projects were of lesser magnitude. This study probes Harte's sources of power, examining why he was successful in getting the projects he wanted for his community.

Esta pesquisa procura analisar o isolamento compulsório dos portadores de hanseníase no Asilo-colônia Santo Ângelo localizado em Mogi das Cruzes, São Paulo, tendo como ponto de partida os anos 1890, época em que as primeiras medidas de controle da hanseníase e de outras doenças foram adotadas pelo poder público paulista. A criação de várias instituições e do primeiro código sanitário marcaram o início da construção de uma forte estrutura para o desenvolvimento de políticas públicas de saúde neste local. Os anos 1960 marcam o fim do período de isolamento dos hansenianos e a possibilidade dos portadores manterem uma vida fora das grades do Santo Ângelo e dos demais asilos do estado. O controle das doenças na capital paulista tornou-se uma grande preocupação do poder público na medida em que a industrialização possibilitava o enriquecimento e a modernização da cidade, atraindo um grande número de imigrantes. O aumento populacional trazia consigo o alastramento de diversas doenças endêmicas e epidêmicas, tornando urgente a intervenção do Estado no combate aos agravos à saúde da população, posto que as medidas particulares adotadas em períodos anteriores não estavam surtindo efeitos. Os conhecimentos produzidos acerca das doenças no Brasil e no mundo permitiam à medicina enfatizar o papel que o ser humano desempenhava na transmissão das doenças, favorecendo com isso o controle sobre os doentes. Desta forma, além da preocupação com o ambiente físico, posto que medidas sanitárias eram adotadas com o intuito de melhorar as condições de vida na cidade, a medicina lançava seu olhar também ao corpo social, vigiando, controlando e excluindo os doentes da população sã. Ao se dirigir ao ser humano, como fonte propagadora de doenças, a medicina sanitarista, que se desenvolvia em São Paulo, adotou técnicas de exclusão, de controle e de vigilância como formas de profilaxia das moléstias. Neste sentido, dentre as várias doenças de notificação compulsória, a hanseníase (antiga lepra) foi privilegiada neste trabalho por tratar-se de uma doença cuja prevenção exigiu o isolamento compulsório de seus portadores em asilos-colônias construídos em locais distantes da capital. A hanseníase se alastrou de maneira impressionante a partir do final do século XIX em São Paulo, causando grande medo entre a população posto que a cura não era conhecida e também porque trazia consigo representações herdadas de um passado distante, mas que ainda impressionavam as pessoas. O isolamento dos portadores de hanseníase no Asilo-colônia Santo Ângelo era visto pelas autoridades, pelos médicos e pela sociedade como única forma de profilaxia da doença. Neste sentido, o Santo Ângelo foi construído tendo em vista uma longa permanência dos doentes, sendo provido de diversas instalações e de uma infra-estrutura elogiada até mesmo fora do estado e do Brasil. Contudo, com o passar dos anos o asilo se tornou um lugar insuportável para se viver. Os doentes, afastados de suas famílias, eram constantemente vigiados, sofriam maus tratos, eram transformados em cobaias para experimentos de novos medicamentos e, fora dos muros do asilo, a doença se mantinha incontrolada. Após décadas de sofrimentos, finalmente em 1967 as portas do Asilo-colônia Santo Ângelo foram abertas para que os doentes pudessem sair. No entanto, muitas pessoas continuaram e continuam até hoje morando no lugar por não possuírem perspectivas de vida fora do asilo. Algumas delas tiveram seus corpos afetados pela doença e se tornaram incapacitados de alguma forma, seja perda da visão, da audição ou de mãos e pés, porém, todas devem levar consigo as marcas do abandono e da exclusão sofridos no período de isolamento compulsório. / This research tries analyse the compulsory isolation of hanseníase carriers at the asylum-colony located in Mogi das Cruzes, SP, starting in the 80s, when the first hanseníase and other illnesses control arrangements were adapted by the paulista government. The creation of many institutions and the first sanitary code sealed the beginning of the construction of a structure to the development of public policies of health in that place. The 60s indicate the end of hansenianos period of isolation and the possibility of carries to keep a life out of bars of Santo Ângelo and other asylums in the state. The illnesses control, in the paulista capital, became a great worry of the government as the industrialization mode the enrichment and modernization of the city possible, attracting a big number of immigrants. The increasing population brought with itself the expansion of many endemic and epidemic illnesses, making urgent state government intervention in the combat to the damages to health, though the particular arrangements adapted in previous periods were not working. The know ledges made about illnesses in Brazil and in the world allowed the medicine to emphasize the role the human blings played in the illnesses transmission, helping with this the control on sick people. This ways, besides the worry with the physical environment, though the sanitary arrangements were adapted with aim of improving the life conditions in the city, the medicine threw its look also to the social body, observing, controlling and excluding the sick people from the health population. By addressing to the human being, as a spreading temple of illnesses, the sanitary medicine, which grew in São Paulo, adapted exclusion, control and precaution techniques as ways of diseases preventive medicine. In this sense, among the many illnesses of compulsory notice, the hanseníase (former lepra) was privileged in this work by concerning a disease of which prevention demanded the compulsory isolation of its carriers in asylumcolonies built in places far from the capital. The hanseníase spread in an impressing way from the end of the 19th century in São Paulo, causing a great fear among the population since its cure was unknown and also because it brought with itself representations inherited from a distant past, but that still used to impress people. The isolation of hanseníase carriers at the Asylum-colony Santo Ângelo was seen by the authorities, by the doctors and by the society as the only way of preventing the disease. In this sense, Santo Ângelo was built having in view a long stay of the sick people, being provided with several facilities and an infrastructure praised even out of the state and Brazil. However, with the passing years the asylum became an unbearable place to live in. The sick people, apart from this families, were constantly watched, suffered maltreatments, were transformed into guinea pigs for testing new drugs and, out of the walls of the asylum, the illness kept out of uncontrolled. After decades of suffering, finally in 1967 the doors of the Asylum-Colony Santo Ângelo were open for the sick people to go out. Nevertheless, many people kept and keep up to today living in the place because they do not have perspectives of live out of the asylum. Some of them had their bodies affected by the illness and became in some way unable, eye sight, hearing or hands and feet loss, however all of then must take with them the forlornness blemish and the exclusion suffered in the period of compulsory isolation.

<p>This is a case study on the functioning of political parties and the aim was to explain “how” and “why” the Swedish social democratic party changed their policies in the Middle East politics. I wanted to explain this process of change by using Angelo Panebianco’s framework for the analysis of political parties. Angelo Panebianco´s hypothesis is that all parties must be viewed as organizations to understand their functions. With time they become more institutionalized and depending on their historic development they will end up as more or less institutionalized. If this change showed that the social democratic party acted as a bureaucratic and institutionalized organization, Panebianco’s organizational theory would explain the change of their Middle East politics. In my case study I have used a qualitative analysis of the content to interpret my material of measuring parties’ institutionalization level as “high” or “low” within the two different areas; organizational dilemmas and the dominant coalition. My conclusion is that the social democratic party has indications both of a “high” institutionalized organization and as a “low” institutionalized organization, still they have a relatively dominant coalition. My study demonstrates that Angelo Panebianco´s organizational theory can not fully explain “how” and “why” the Social democratic party changed their Middle East politics.</p>