SOUSA, Nágela da Silva de. As contribuições de Antonio Gramsci para a educação e formação humana da frente única. 2013. 59f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-06-03T13:21:12Z No. of bitstreams: 1 2013_dis_nssousa.pdf: 736066 bytes, checksum: 59197a7590733b0182bbb8a226acaa75 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-06-03T17:14:00Z (GMT) No. of bitstreams: 1 2013_dis_nssousa.pdf: 736066 bytes, checksum: 59197a7590733b0182bbb8a226acaa75 (MD5) / Made available in DSpace on 2015-06-03T17:14:00Z (GMT). No. of bitstreams: 1 2013_dis_nssousa.pdf: 736066 bytes, checksum: 59197a7590733b0182bbb8a226acaa75 (MD5) Previous issue date: 2013 / The dissertation aims to investigate the categories present in the work of the Italian revolutionary Antonio Gramsci, pinpointing his proposal of a united front and its educational construction in the perspective of the revolution; revisiting the contributions of theorists and scholars in line with the thought of Gramsci, as it relates to worker-peasant Alliance in view of proletarian revolution, Del Roio (2005) e Nosella (1992), for example. Based upon historical dialectic materialism, the paper followed a set of theoretical-bibliographic procedures of a classist character, adopting as its major reference, the production of Antonio Gramsci, a true militant theorist of proletarian cause, specifically his pre-prison work; and political writings, in general. In this way, we seek to historically retrieve the genesis and evolution of Antonio Gramsci’s thought, consolidated in his short life trajectory, highlighting elements linked to his family origin, as his theoretical-practical militancy, marked by a deep immersion in the political and social class struggles in Italy, in particular, his involvement with the problematics of the factories councils and the school of labor. Generally speaking, in the analysis of the context of the Southern Issue in Italy, expressed in political-geographical division, we feature the revolutionary conceptions of Gramsci, in function of subalternity. Attempting to understand the labour movement, we situate the French experience in the 19th century from the reference point of the 18 Brumaire of Louis Bonaparte, of Karl Marx, reporting the peasants struggles. Further on, from the Marxian ontology frame of reference, and understanding education as a complex founded by work, we focus upon the united front and its complexities, tracing the role of education and/or human formation for the constitution of a worker-peasant Alliance in the context of the Italian situation of the early 20th century, showing the character at the same time particular and universal of Gramscian contributions. / O presente trabalho dissertativo tem por objetivo investigar as categorias presentes na obra do revolucionário italiano, Antonio Gramsci, acerca da frente única e sua formação educacional na perspectiva da revolução; revisitando, ainda, as contribuições de teóricos e estudiosos do pensamento de Gramsci sobre a aliança operário-camponesa diante da revolução proletária como, por exemplo, Del Roio (2005) e Nosella (1992). Tendo por base teórica o materialismo histórico dialético, realizou-se um trabalho a partir de procedimentos teórico-bibliográficos de caráter classista, adotando como revisão principal, a produção de Antonio Gramsci, especificamente nas obras pré-carcerária e nos escritos políticos, que se constitui, rigorosamente, um teórico-militante da causa operária. Deste modo, buscamos fazer um resgate histórico da gênese e processualidade do pensamento de Antônio Gramsci, consolidadas em sua curta trajetória de vida, recuperando elementos vinculados à sua origem familiar, como a sua militância teórico-prática, marcada pela profunda imersão na luta política e social na Itália, em especial, seu envolvimento com a problemática dos conselhos de fábricas e da escola do trabalho. Em linhas gerais, na análise do contexto da Questão Meridional, expressada na divisão político-geográfica, destacamos as concepções revolucionárias de Gramsci, na função dos grupos subalternos. Na compreensão do movimento operário, situamos a experiência francesa no século XIX a partir de O 18 Brumário de Luís Bonaparte de Karl Marx, relatando a luta dos camponeses. Posteriormente, partindo da ontologia marxiana e entendendo a educação como um complexo fundado pelo trabalho, dissertamos sobre a frente única e suas complexidades, traçando o papel da educação e/ou formação humana para a constituição de uma aliança operário-camponesa diante da conjuntura italiana do início do século XX, mostrando o caráter ao mesmo tempo histórico/particular e universal das contribuições gramscianas

Due to the limited repertoire for the guitar from the Baroque period, classical guitarists who wish to perform music from this era have to work primarily with transcriptions. Guitarists draw from various sources from this period such as vocal and instrumental music for the five-course guitar, lute and the harpsichord. Of these sources, the repertoire for the harpsichord is perhaps the most frequently arranged for various guitar formations because its textures are greatly similar to those of the guitar repertoire. As a result, harpsichord music tends to transfer well to the guitar. Baroque harpsichord composers such as Domenico Scarlatti, Johann Sebastian Bach, François Couperin, and Jean-Philippe Rameau-to name a few-have a permanent home in the classical guitar canon and represent the musical tastes and styles of Italy, Germany, and France. These composers exemplify the various stylistic differences between the above-mentioned countries; yet, the harpsichord music of Spain is largely underrepresented in guitar collections. One of the most noteworthy Spanish harpsichordists was Padre Antonio Soler (1729-1783), who composed 120 sonatas for the instrument. When considering the ease with which some of his works transfer to the guitar, and specifically guitar duo, much can be gained by expanding the repertoire and exploring the Spanish Baroque style. The purpose of this study is three-fold: first, to present transcriptions of Antonio Soler's Sonata No. 85 and Fandango for guitar duo; second, to provide analysis of Sonata No. 85 with an emphasis on the intervallic features of the motives; third, to give an overview of the transcription process of Fandango for guitar duo while including a study of Spanish Baroque guitar and the appropriate stylistic effects drawn from its repertoire that can be incorporated in the arrangement.

Giovanni d'Alemagna and Antonio Vivarini worked together as painters and partners from (at least) 1441 until Giovanni's death in 1450. The nine extant projects by their shop which can be securely attributed to these years provide our most certain indication of the preoccupations of Venetian painters during this important yet mysterious decade in the history of Venetian art. Despite the recognised significance of this oeuvre, it has not been the focus of extensive study since the catalogue raisonne of Rodolfo Pallucchini in the 1960s. This thesis re-examines the evidence surrounding the two painters and their oeuvre and contributes new information from Venetian archives. Moreover, by focusing on the patrons of the partners rather than on the paintings alone it has been possible to gain fresh insights into the working practices of the Vivarini shop and into the attitudes of Venetian society towards their work. In particular the study re-evaluates established ideas regarding the close relationship between their art and that of the Florentine tradition in light of new evidence and the contribution of modern scholarship. The thesis reveals that the partners worked most often for Venetian patrician clients and were employed within a close-knit social circle. A number of their patrons were in close contact with their Florentine counterparts and even engaged Florentine artists to public projects in the Veneto. At the same time Venetians were becoming more familiar with cultural developments in northern Europe. Several patrons of the Vivarini shop demonstrate a parallel appreciation of transalpine art by their other artistic commissions. The popularity of the Vivarini partners during the 1440s might be attributed to their successful marriage of these two styles. The transalpine origins of Giovanni d'Alemagna might also have contributed to the appeal of the Vivarini shop. Although Giovanni has remained a shadowy and often side-lined figure in the history of Venetian art, it is now possible to discuss his biography with some confidence. An assessment of Giovanni's own oeuvre, records of which exist from as early as 1431, forms a necessary preamble to this consideration of the art of the Vivarini partners over the course of the 1440s.

The aim of this report is to demonstrate the ways in which inadequate transportation systems and policies create constrains and inequalities in San Antonio. It discusses the important role that equity plays in transportation planning. In addition, it explores various policies and planning reforms that might help achieve equity objectives. The concern for transportation equity is rooted in the desire for just distribution of resources and growing awareness of environmental justice concerns. This report will explore some of the ways that San Antonio's transportation systems and policies can be improved to enhance the quality of life and create opportunities for all residents, specifically for the disadvantaged. / text

Studies of variation form generally overlook the works of Antonio Vivaldi due to the lack of sufficient bibliographic resources and assumptions downplaying the significance of Vivaldi's variation sets. This study, however, argues that Vivaldi's sets represent innovative contributions to the hm It begins by cataloguing the twenty instrumental variation sets published in the &st critical edition of Vivaidits works (Milan: Ricordi, 1947-72). It then examines the sequence of vatiations and manner of conclusion in each set, issues crucial to the reception of variation form ever since late eighteenth-century writers such as Koch and Vogler expanded discussions of variation technique to address variation sets as a musical farm. Vivakli's examples are compared to those by Corelli, Rarneau, and Handel, highlighting Vivaldi's greater emphasis on coherent progressions and f'lrm conclusions. Additionally, reeent chronological studies are combined to propose that Vivaldi was among the first composers to use variation form h solo concertos.

Memoria para optar al título de Arquitecto

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Although New Orleans culture has been a popular subject for historians due to its ethnic diversity and multiculturalism, certain groups have been ignored in the city's vast historiography. Such is the case of Hispanics, who have been present for most of the city's history. This study recovers a portion of that lost Hispanic history through analysis of Spanish-language newspapers published in New Orleans throughout the nineteenth century. One of these newspapers, El Moro de Paz, was published with the goal of encouraging the advancement of trade relationships between Louisiana and Latin America. A study of El Moro de Paz and its Spanish-born publisher could contribute to an understanding of the role that New Orleans played in the emergence of the New South after the Civil

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Lingüística / La presente investigación se plantea analizar las principales ideologías acerca del mapuchismo léxico en el Diccionario de Chilenismos y voces y otras locuciones viciosas (1901-1918) de Manuel Antonio Román. A partir de un análisis de tipo cualitativo del discurso empleado por Román en las entradas léxicas con origen araucano. Constatándose una actitud negativa hacia la mayor parte de las entradas léxicas con origen araucano, mientras que las entradas léxicas consideradas aceptables se presentan de manera mucho más reducida, se presentan los principales argumentos para rechazar y aceptar estas voces con origen araucano. Se evidencia de esta manera que el autor defiende una ideología de lengua estándar, con una actitud positiva hacia la norma peninsular principalmente.

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