Esta pesquisa teve por objetivo analisar a prática do rúgbi em São Paulo em seu período inicial (1891-1933) e fornecer elementos para se questionar as barreiras à sua difusão durante o período da Primeira República, em contraste com o futebol. O trabalho consistiu na identificação e análise de fontes jornalísticas e de documentos de arquivo privado que lançaram luz sobre a prática da modalidade no período. Buscou-se compreender a introdução do rúgbi na cidade num período caracterizado pelo desenvolvimento das práticas esportivas ditas modernas numa sociedade em constante transformação, na qual o esporte desempenhava papel importante na modernização da vida urbana. A história do rúgbi mundial, de suas origens às intensas disputas do fim do século XIX às primeiras três décadas do século XX, foi também objeto de análise, com suas disputas internas profissionalismo versus amadorismo, massificação e espetacularização sendo compreendidas, em diálogo com as mesmas disputas ocorridas dentro do futebol paulista. / This research aimed to analyse the practice of Rugby Football in São Paulo in its initial, emerging period (1891-1933) and provide elements to question the barriers to the games expansion during the period of Brazils First Republic, in contrast to football. The research identifies and analyses journalistic sources and private archives that shed light on the practice of the sport during the period. These sources were sought to understand the introduction of Rugby Football in the city, in a period characterised by the development of modern sports practices; in a society in constant transformation, in which sport played an important role in the modernisation of urban life. The history of global rugby, from its origins to the intense disputes of the late nineteenth century and early twentieth century, was also analysed through its internal struggles - professionalism versus amateurism, massification and spectacularisation - being understood, in dialogue, with similar disputes occurring within local football in São Paulo.

Orientador: Sílvia Maria Azevedo / Banca: Karin Volobuef / Banca: José Carlos Zamboni / Resumo: Esta Dissertação aborda a obra O Filho do Pescador (1843), de Antônio Gonçalves Teixeira e Sousa, e se faz acompanhar de um levantamento bibliográfico da produção literária do autor, dispersa em alguns periódicos do Rio de Janeiro, no período de 1840 a 1860. O trabalho objetiva resgatar a referida obra tendo em vista o seu papel no processo de formação do romance brasileiro, no início do século XIX. A proposta justifica-se pelo fato de que não só esta obra de Teixeira e Sousa, tida como iniciadora da ficção narrativa brasileira, não vem recebendo muito cuidado por parte da crítica (apesar das reedições da mesma), como também, até hoje, não se procedeu ao levantamento tanto da produção do autor, dispersa em periódicos do século XIX, quanto da crítica que aquela recebeu. O trabalho de recuperação da crítica sobre Teixeira e Sousa até o século XX mostra como as opiniões emitidas, desde o XIX, são praticamente as mesmas, o que evidencia a pouca atenção que o autor vem despertando entre os pesquisadores brasileiros. / Abstract: This paper deals with the novel O Filho do Pescador (1843), by Antônio Gonçalves Teixeira e Sousa, as well as with a bibliographical survey on his literary production that was dispersed from 1840 to 1860 in some publications in Rio de Janeiro.The objective is the rescue of his work because of its important role in the creation of the Brazilian novel, in the beginnings of the 19th century. The proposition is largely justified because with the work of Teixeira e Sousa the Brazilian narrative fiction begins and literary criticism never gave the due attention to it (despite its so many reprints) and, what's more, no attempt has been made to collect all his writings forgotten in so many magazines and papers of the 19th century, as well as the literary criticism of the time. Collecting all the literary reviews of Teixeira e Sousa's work up to the 20th century demonstrates that the opinions issued since the 19th century are very similar, what makes evident the lack of attention given to the author by brazilian researchers. / Mestre

Este trabalho procura levantar os passos da obra poética de Lúcio Cardoso (1912-1968), desde seu provável primeiro poema (Poema do ferro e do sangue, 1934) até a publicação de seu segundo livro (Novas poesias, 1944), enfocando alguns inéditos e fazendo observações sobre seu livro póstumo (Poemas inéditos, 1982), com vistas a apreender a evolução temática de sua poética. Também apresenta traços do diálogo de sua poesia com o romantismo da segunda geração, o simbolismo, o expressionismo, o surrealismo e o modernismo. O trabalho pretende demonstrar, ainda, o entrelaçamento da temática de sua poética com a vida do homem Lúcio Cardoso, a partir das anotações em seu Diário completo (1970). Este trabalho apresenta temas, constantes e tendências que revelam como aspectos da sua obra em verso também se manifestam em sua prosa. Ao final do trabalho, é apresentada uma ampla bibliografia de e sobre Lúcio Cardoso, revista e aumentada. / This essay shows the main important aspects of the poetical work of Lúcio Cardoso (1912-1968), from his assumed first poem (Poema do ferro e do sangue, 1934) till his second published book, (Novas poesias, 1944). It also discusses some unpublished texts and offers some comments about his posthumous book (Poemas inéditos, 1982). The main purpose is to understand the theme evolution in his poetry. It also shows traces of the dialogue between Cardoso’s poetry and Brazilian second generation Romanticism, Symbolism, Expressionism, Surrealism and Modernism. This essay also has the objective of discussing the connection between Cardoso’s themes and his biography, mostly considering the comments present in his Diário completo (1970). This essay shows themes, constants and trends that points out how some aspects of Cardoso’s poetry are also present in his prose. Finally, it also contains a reviewed and enlarged bibliography by and about the author.

Este trabalho de interpretação de \"O Recado do Morro\" trata da forma mesclada do conto com outras modalidades de narrativa, provindas da tradição oral, em consonância com o processo histórico-social que rege a realidade também misturada do sertão rosiano, múltiplo e labiríntico, fonte e origem do mito e da poesia. O estudo descreve e tenta apreender assim a mistura peculiar que define a singularidade do conto, intrinsecamente relacionada ao mundo misturado que tanto encanta quanto desconcerta. Na reconstrução da mistura como um todo orgânico, em que o conto parece renascer do interior da poesia do mais fundo do sertão brasileiro, se busca tornar inteligível um verdadeiro processo de esclarecimento, que culmina com o reconhecimento de sua própria identidade relacionado à terra natal à qual o herói retorna, de modo triunfal. / This interpretative work on \"O Recado do Morro\" discusses the mixture of this short story with other narratives modes, based on oral tradition, consistent with the socio-historical process orienting the also-mixed reality of Guimarães Rosa\'s backlands, plural and labyrinthine, where myth and poetry come from. This study reports and seeks to comprehend the peculiar mixture that defines the narrative\'s uniqueness which is intrinsically related to the hybrid style that amazes and disconcerts the reader. In reconstructing this mixture as an organic whole, where the short story seems to be reborn from the poetry of the deepest backlands of Brazil, this reading seeks to make intelligible a veritable process of the illumination, whose climax is the recognition of himself: a identity of the hero.

A presente dissertação se ocupa da trajetória da elaboração do Ensaio sobre Música Brasileira, de Mário de Andrade, publicado em 1928, considerado desde seu projeto preliminar, de 1926, denominado Bucólica sobre a Música Brasileira. Apesar de o Ensaio ter sido gestado entre os anos de 1926 e 1928, muitas das proposições contidas no texto começam a se manifestar a partir de 1921. O percurso da composição do Ensaio sobre Música Brasileira foi abordado a partir da correspondência entre Mário de Andrade e nove de seus interlocutores: Manuel Bandeira, Renato Almeida, Luciano Gallet, Carlos Drummond de Andrade, Pedro Nava, Luís da Câmara Cascudo, Ascenso Ferreira, Prudente de Moraes Neto e Rosário Fusco. A pesquisa se limitou à correspondência entre os anos de 1926 e 1928. Seis textos escritos por Mário de Andrade e publicados entre 1921 e 1928 foram também analisados. Neles é possível observar a maneira como o musicólogo aborda vários dos assuntos que se tornaram posteriormente objeto de apreciação do Ensaio. Entre as peças musicais escolhidas pelo musicólogo como exemplos, encontram-se obras que não fazem parte das apresentações musicais dos nossos dias. Isto ocorre principalmente com o repertório da música popular, o que explica o desconhecimento de várias composições por parte dos atuais leitores do Ensaio. Por esta razão discutimos os exemplos musicais e acrescentamos informações para auxiliar a compreensão do contexto no qual estão inseridos. O trabalho também contempla a relação de Mário de Andrade com os compositores citados por ele no Ensaio. Analisamos as melodias da segunda parte da obra a partir da vinculação com seus estados e regiões de origem. Este procedimento permitiu averiguar quais foram os gêneros musicais mais referidos, bem como as localidades das quais vieram mais documentos melódicos. A pesquisa também busca acrescentar dados sobre as pessoas que colaboram com Andrade enviando-lhe documentos musicais e que estão relacionados na nota final do texto de 1928. Ao longo de quase 80 anos foram feitas quatro edições do Ensaio sobre Música Brasileira, edições que não foram, todavia, revisadas pelo autor. Não sabemos se as alterações identificadas, em confronto com a edição de 1928, devem-se ao fato de terem sido realizadas por editoras diferentes. Estas modificações - que vão desde o formato da impressão até a exclusão ou grifos incorretos de palavras e frases - também são abordadas na dissertação pois acreditamos contribuir para uma leitura mais clara do texto. / This thesis discusses the elaboration of Mário de Andrade´s Ensaio sobre música brasileira (Essay on Brazilian Music, 1928), beginning with the preliminary project that led to it, Bucólica sobre a Música Brasileira (1926). Although the essay was written between 1926 and 1928, several of its propositions had started emerging since 1921. This thesis approaches the trajectory of the conception of Essay on Brazilian Music from the correspondence between Mário de Andrade and nine interlocutors: Manuel Bandeira, Renato Almeida, Luciano Gallet, Carlos Drummond de Andrade, Pedro Nava, Luís da Câmara Cascudo, Ascenso Ferreira, Prudente de Moraes Neto, and Rosário Fusco. This research was limited to the correspondence between 1926 and 1928. I have also analyzed six texts written by Mário de Andrade published between 1921 and 1928. In these texts one can note how the musicologist approached several subjects that he later treated in the Essay. Some musical pieces that Andrade uses as examples in his text are not regularly performed today. This is particularly true of the folk repertoire he examines, and that is why contemporary readers of the Essay are not familiar with several compositions mentioned therein. Therefore, I discuss the examples mentioned in the Essay and add information in order to help understanding their context. This thesis also discusses Mário de Andrade\'s relationship with the composers he mentions in the Essay. The melodies mentioned in the second half of the Essay are analyzed in relation to their states and regions of origin. This has allowed me to verify which musical genres were most mentioned, as well as the locales from which most melodic documents came from. The research also aims to produce data about the people who collaborated with Andrade by sending him the musical documents that are enumerated in the final note of the 1928 version of the text. Four editions of the Essay on Brazilian Music have been published throughout nearly eighty years, but they were not revised by the author. It is not known whether the changes I identified in these editions when comparing them with the original edition are due to the fact that they were published by different publishing companies. This thesis also examines these changes - which go from printing format to the exclusion or corrections of words and sentences - because I believe they allow for a clearer reading of the Essay.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

Languages that borrow Arabic words often incorporate redundant, non-lexical material (Myers Scotton 2002, Rouchdy 2002). Examples can be drawn from words of Arabic origin in the Portuguese language (Kaye 2004, Corriente 1992). The aim of this study is to explore different aspects language variation due to language contact and transfer. This study takes into consideration loanword adaptations and examines three generations of Lebanese-Brazilians living and São Paulo. While many factors account for phonological variation in the production of Brazilian Portuguese, one of the goals of this study is to show how prior language experiences can influence variation in the perception and production of another. In exploring three generations in the Lebanese-Brazilian community of São Paulo, Brazil, first-generation immigrants are believed to have more variability in their spoken Portuguese, with this variability extending to loanwords of Arabic origin. Subsequent generations are believed have less access to the Arabic language, and have less variability in their spoken Portuguese, however are expected to experience some influence of Arabic when perceiving and producing words of Arabic origin. / text

The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make

No Brasil do século XIX, o Instituto Histórico e Geográfico Brasileiro (IHGB), fundado na Corte do Rio de Janeiro, em 1838, foi o local escolhido pelo governo central para dar vida ao projeto de forjamento de uma história pátria capaz de oferecer ao país um discurso histórico próprio e que o mostrasse como uma unidade política indivisa e carregada de princípios unificadores nacionais. Sob o manto protetor da Monarquia Constitucional, considerada o principal fator de união dos membros da jovem nação brasileira, coube, principalmente, ao IHGB pensar essa nação intelectualmente, por meio da promoção da História e da Geografia. Dessa maneira, a fim de cumprir sua meta de composição de uma história para o Brasil, o IHGB se propôs a coletar, em todas as províncias que formavam o vasto território nacional, informações que pudessem servir para a composição da História e da Geografia brasileiras, centralizando no Rio de Janeiro, sede da Monarquia, o material recolhido por todo o país. Esse trabalho passou a contar com um novo braço quando, na Província do Rio Grande do Sul, foi fundado o Instituto Histórico e Geográfico da Província de São Pedro (IHGPSP), associação letrada com propósitos semelhantes aos do IHGB. Assim, tendo que lidar com a criação de uma associação congênere à sua (e justamente em uma das províncias mais belicosas do Império), o IHGB precisou responder ao pedido de filiação do IHGPSP. Mais ainda: necessitou lidar com o estabelecimento de uma instituição que tinha como finalidade narrar a história do Rio Grande, tarefa até então mantida sob seu controle. O presente trabalho tem por objetivo compreender como se deu o processo de constituição de uma escrita da história sobre o Rio Grande do Sul ao longo do século XIX tendo como estratégia principal a análise do material sobre o Rio Grande coletado, principalmente, em dois periódicos oitocentistas: a Revista do Instituto Histórico e Geográfico Brasileiro e a Revista do Instituto Histórico e Geográfico da Província de São Pedro, tomadas como as principais publicações que, durante o período imperial, se ocuparam da narrativa da história rio-grandense. A pesquisa pretende, igualmente, investigar o IHGPSP e o IHGB como lugares sociais de prática historiográfica e, ainda, se debruçar sobre o papel dos principais letrados que estiveram envolvidos no processo de elaboração de uma escrita da história rio-grandense dentro dessas instituições. / In Brazil, during the 19th Century, the Brazilian Historic and Geographic Institute (Instituto Histórico e Geográfico Brasileiro – IHGB), founded in the Court of Rio de Janeiro, in 1838, was the site chosen by the central government to give life to the project of shaping a national history capable of offering the country a particular historical discourse, which would portray Brazil as an undividable political unity with unified national principles. Under the protection of the Constitutional Monarchy, which was considered the main element that could unite the members of the young Brazilian nation, IHGB received the task to think this nation intellectually, by elevating History and Geography. To that end, aiming to accomplish the goal of composing a history to Brazil, IHGB proposed itself to collect information that could be used in the composition of the Brazilian History and Geography, in all provinces that were part the wide national territory, concentrating the material collected all over the county in Rio de Janeiro, the seat of the Monarchy. This enterprise received further assistance when, in the Province of Rio Grande do Sul, the Historic and Geographic Institute of the Province of São Pedro (Instituto Histórico e Geográfico da Província de São Pedro – IHGPSP) was founded; this erudite association had similar goals to the IHGB. Thus, having to deal with an association much alike its own (and precisely set in one of the most quarrelsome provinces of the Empire), IHGB had to respond to the request of admission of IHGPSP. And, in addition to that, it had to deal with the establishment of an institution that aimed to narrate the history of Rio Grande, an activity under its sole control until that point. This thesis aims at comprehending the process of constitution of the writing of a history of Rio Grande do Sul throughout the 19th Century, having as its main strategy the analysis of the material on Rio Grande collected especially in two periodicals from this century: the Magazine of the Brazilian Historic and Geographic Institute (Revista do Instituto Histórico e Geográfico Brasileiro) and the Magazine of the Historic and Geographic Institute of the Province of São Pedro (Revista do Instituto Histórico e Geográfico da Província de São Pedro). Those magazines are considered the main publications that, during the Imperial period, take up the narrative of the history of Rio Grande do Sul. This research intends, likewise, to investigate IHGPSP and IHGB as social sites of historiographic practice and, furthermore, to scrutinize the role of the leading savants involved in the process of development of the writing of a history of Rio Grande do Sul within these institutions.