Call number: LD2668 .T4 1963 A97 / Master of Science

The piano pieces by Argentine composers are a significant contribution to piano literature. They represent the voice of a nation that has enjoyed a strong musical tradition, with a noted European influence and a unique fusion of Argentine folk dances and songs. In that regard, these works possess distinctive qualities and an incomparable style. Unfortunately, a large proportion of these compositions remain unknown.This annotated catalog focuses on the piano literature by Argentine composers from the late nineteenth and the twentieth centuries, that are available in U.S. libraries. Its purpose is to aid pianists, educators, and music historians discover a wealth of repertoire that has long been neglected. The piano works by Argentine composers, including Julian Aguirre (1868-1924), Felipe Boero (1884-1958), Juan Jose Castro (1895-1968), Alberto Ginastera (1916-1983), and Carlos Guastavino (1912-2000) are listed alphabetically by composer. Each entry includes publishing information, level of difficulty, U.S. libraries that hold the scores, and a descriptive paragraph. Transcriptions, arrangements, works for piano and tape, and prepared piano have not been included. / School of Music

Orientador: José Alves de Freitas Neto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T07:56:55Z (GMT). No. of bitstreams: 1 Rodrigues_AndresaMartins_M.pdf: 1451541 bytes, checksum: 2a90b9fb76f66fe96fb4fdba859b7f02 (MD5) Previous issue date: 2014 / Resumo: Os anos entre o golpe de Estado de 1976 e o final da ditadura, em dezembro de 1983, se apresentam para a sociedade argentina como um período traumático com muitas questões a serem tratadas, ainda sem muitas respostas definitivas. Ao historiador há uma pluralidade de problemáticas que continuam insuficientemente inexploradas, principalmente pela dificuldade da documentação. Portanto, tendo como fonte a revista de cultura Punto de Vista, o objetivo desta dissertação foi mapear as discussões suscitadas com o advento da democracia e entender como os atores sociais, mais especificamente, os intelectuais, participaram e se posicionaram diante destes debates. Este periódico argentino cuja primeira publicação foi no ano de 1978, como uma forma de resistência ao regime, se reconfigurou no decorrer dos anos, dialogando com os problemas culturais, políticos e sociais da Argentina redemocratizada / Abstract: The years between the 1976 coup d'état and the end of the dictatorship, on December 1983, present themselves to the argentine society as a traumatic period with many questions to be tackled, still with not many definite answers. To the historian, there is a plurality of issues that remain insufficiently unexplored, mainly due to the difficulty of documentation. Therefore, taking as source the cultural magazine Punto de Vista, the objective of this dissertation has been to map the discussions raised with the advent of democracy and understand how the social actors, more specifically the intellectuals, participated and positioned themselves facing these debates. This argentine periodical that had its first publication in the year of 1978, as a way of resistance against the regime, has reconfigured itself over the years, dialoguing with the cultural, political and social problems of a redemocratized Argentina / Mestrado / Politica, Memoria e Cidade / Mestra em História

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Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-17Bitstream added on 2014-06-13T20:34:21Z : No. of bitstreams: 1 bez_as_me_assis_parcial.pdf: 94157 bytes, checksum: 78b2dba174946161477a2dd18a98091b (MD5) Bitstreams deleted on 2015-06-03T11:42:32Z: bez_as_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:01Z : No. of bitstreams: 1 000697946_20150731.pdf: 86583 bytes, checksum: 37fabbd6c63c3a7050943183a8f8c9e8 (MD5) Bitstreams deleted on 2015-08-03T12:21:08Z: 000697946_20150731.pdf,. Added 1 bitstream(s) on 2015-08-03T12:22:21Z : No. of bitstreams: 1 000697946.pdf: 1741874 bytes, checksum: 6a1ce999f15053f67180419d6d5d4701 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação tem por objetivo central realizar uma analise imanente do documentário La hora de los hornos (1968), do grupo argentino Cine Liberación. Com uma proposta de cinema-militante, o filme produz determinada imagem dos povos latino-americanos, conferindo à luta política e aos movimentos sociais um caráter aglutinador dos projetos nacionalistas no continente. Aproximando-se principalmente das tendências de base do sindicalismo peronista e de ideais comuns aos movimentos ligados às esquerdas nacionalistas dos países do denominado Terceiro Mundo, La hora de los hornos realiza uma síntese de ideologias através das mensagens fílmicas. Com base nos debates da história e da teoria do cinema – particularmente do documentário – analisamos a forma como a “voz do texto” organiza algumas seqüências-chave do filme para produzir determinadas representações através das imagens e dos sons. Também analisamos documentos extra-fílmicos, como textos e entrevistas dos realizadores de Cine Liberación, nos quais pudemos encontrar suas propostas mais sistematizadas para um cinema-militante em diálogo com o conjunto de filmes e realizadores denominado Nuevo Cine Latinoamericano / The main goal of this dissertation is to do an immanent analysis of the documentary La hora de los hornos (1968), from the argentine group Cine Liberación. With a filmmilitant proposal, the movie produces a specific image from the Latin-American people, granting to the political struggle and social movements an agglutinating character of the nationalist projects in the continent. Getting close, especially, to the basis tendencies of the peronista unionism and common ideals to the movements associated with the nationalist lefts from the so-called Third World country, La hora de los hornos synthesizes ideologies through filmic messages. Based on debates from the history and film theory – particularly the documentary – the way which the “voice of the text” organizes some key-sequences in the film to produce certain representations through image and sound was analyzed. Extra-filmic documents such as written texts and interviews with the Cine Liberación directors, in which we could find their proposals for a militant cinema better systematized in connection with an ensemble of films and directors called New Latin American Cinema were also analyzed

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This essay will explore the notion of mestizaje in the Republic of Argentina. Specifically, it will use the Argentine Patagonia as a point of departure for this analysis, an area in which conquest resulted in a community of mixed-race and mixed culture individuals. The juxtaposition of the struggle between white settlers and Mapuche-Tehuelche Indians of the region demonstrates a continuity in discrimination in the nation's history. For this very reason, the area represents a general pattern present throughout the country, and, hence, I use it as a prototype to draw conclusions about race relations in the nation as a whole. I will show that this is a discussion not openly explored in the historiography of the republic. The popular discourses that promoted the creation of a white population is at the core of this issue. Furthermore, the continuation of such discourses into the twenty-first century contribute to the notion of separatism within mainstream, academic, and government circles. Argentina, however, both today and over the past four hundred years, has been diverse and mixed. Because of the complexity of its population, mestizaje is a viable area of study for Argentina. The history of whites and Indians in Patagonia exemplify this analysis.

This investigation into certain elements of critical Latin American Literature was prompted by the apparent post-1980s neglect by academics of Anglo-Saxon origin to engage with the state and social class, in the contextual framework of the political economy, as central elements of social analysis. This analytical perspective of the state was marginalised by post-modernism and post-structuralism during the 1980s and 1990s with the state re-defined by contemporary globalisation theorists according to a notion of the nation-state. This constitutes one element of an overaching configuration of power relationa and networks comprising a variety of transnational players who assume political and economic roles to pursue their interests. This designation of players detracts from the centrality of class as an analytical tool, preferring to dwell on notions of power and conflict without pursuing tha analysis to its fundamental origin in a system of control and ownership of resources by dominant transnational corporations. An abandoning of the state as a central conceptual tool has coincided with changes , in the way the role performed by the university is conceptualised, foregrounding symptoms of an ideological intrusion by neoliberal discourse concerning the role of the University, rather than locating the cause. Hence the greater struggle for ideological hegemony that occurs within society, waged by the mass media, as mouthpiece of implementation by agents of transnational financial capital, and progating a neoliberal discourse, seems overlooked.