Made available in DSpace on 2016-08-10T11:07:12Z (GMT). No. of bitstreams: 1 DELIANE LEITE TEIXEIRA.pdf: 1094031 bytes, checksum: 2d765256b6951eae3685b9fe1c459eaf (MD5) Previous issue date: 2015-03-19 / This paper aims to bring the translation of Bliss tale written by Katherine Mansfield, the theory of translation transcriativa Haroldo de Campos. Therefore, we seek the translation of Ana Cristina Cesar brands that refer to this translation model, which has its main assumptions in the work with the metalanguage. We propose initially a study that captures the function and task of the translator as well as draw a kind of translation archeology (VENUTI, 2000) in order to understand how the evolution of the translation method "sense of direction" contributed so much to creation of a Theory of Translation, as positively contaminated the work of German Romantic poets, in addition to translation studies Benjamin, Paz and Campos. The research is also about the translated version of Bliss tale, performed by Erico Verissimo, which shows up as an important cultural apparatus, given its time of production. As well as to make the necessary counterpoint to translation by Cesar. Thus the thesis presented here, appreciates the work done by translators studied in order to understand how the seizure of the poetic object, from an ideological point of view, acts on translation projects Cesar and Verissimo. It is possible, at this meeting versions, highlight speech marks, gender and Interpretation granting the translation by Cesar, the construction that meets the principles transcriativos fields and reveal the genius of the poet, critic and translator stylistic brevity at the expense of language poetic. / O presente trabalho tem como objetivo aproximar a tradução do conto Bliss da escritora Katherine Mansfield, da teoria da tradução transcriativa de Haroldo de Campos. Para tanto, buscamos na tradução realizada por Ana Cristina Cesar, as marcas que dão conta do modelo transcriativo e seus pressupostos principais o trabalho com a metalinguagem. Propomos incialmente um estudo que resgata a função e tarefa do tradutor, bem como traçamos uma espécie de arqueologia da tradução (VENUTI, 2000), a fim de compreendermos de que forma a evolução do método de tradutório ―sentido por sentido‖ contribuiu tanto para a criação de uma Teoria da Tradução, bem como contaminou positivamente o trabalho dos poetas Românticos Alemães, além dos estudos de tradução de Benjamin, Paz e Campos. A pesquisa vale-se, também, da versão traduzida do conto Bliss, realizada pelo escritor Érico Veríssimo, que se mostra como importante aparato cultural, dada sua época de produção, destarte, para fazer o contraponto necessário à tradução realizada por Cesar. A dissertação aqui apresentada, valoriza o trabalho realizado pelos tradutores estudados, a fim de compreender de que forma a apreensão do objeto poético, sob o ponto de vista ideológico, age nos projetos tradutórios tanto de Cesar, como de Veríssimo. É possível, nesse encontro de versões, evidenciar marcas de discurso, gênero e interpretação que concedem a tradução realizada por Cesar, a construção que atende aos princípios transcriativos de Campos e revelam a genialidade da poetisa, crítica e tradutora na concisão estilística em detrimento da linguagem poética.

Made available in DSpace on 2014-12-17T15:07:17Z (GMT). No. of bitstreams: 1 MariaLBA_TESE_PARCIAL.pdf: 418993 bytes, checksum: e84583f16f7d64768a820a45702f7821 (MD5) Previous issue date: 2013-04-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / La pr?sente th?se est une approche critique de la production litt?raire de l ?crivain carioca Ana Cristina Cesar. Aussi bien dans la po?sie que dans son oeuvre critique, Ana Cristina Cesar a mis en ?vidence la question de l ?criture comme le principal dil?me de son projet comme ?crivain. En face d autant de registres, soit en forme de po?mes, texte critique ou lettres, la question de l ?criture est, dans l ensemble de son oeuvre, formul?e ? partir d une interp?n?tration entre la litt?rature et la vie. Consid?rant le probl?me de l ?criture comme partie d un projet de l ?tre ?crivain pour Ana Cristina Cesar, nous affirmons que l int?r?t de notre recherche se dirige vers l analyse des mani?res selon lesquelles ce probl?me parcourt son ?criture et d?vient une question m?talinguistique dans sa cr?ation. Nous partons de la r?flexion sur l ?criture dans son oeuvre pour relever la question principale de notre proposition de travail avec son texte: Qu est-ce que c est, apr?s tout, ?crire pour Ana Cristina Cesar et comment cela se formule-t-il dans la production des r?les qu elle exerce en tant que po?te, critique et professeur? Parmi les principaux objectifs qui guident cette recherche sont: promouvoir un dialogue avec les textes de l auteur, o? se pr?sente le probl?me de l ?crire, ? travers une r?flexion sur le parcours de son activit? intellectuelle, pour elle impr?gn? de questions sur l ?criture f?minine et la production marginale; et enqu?ter les mani?res dont cette r?flexion s articule dans les fonctions qu elle d?veloppe comme po?te, critique et professeur et les r?lations qu elle ?tabli avec la litt?rature de son ?poque. En outre, nous discuterons l importance de son oeuvre dans la litt?rature marginale, ce qui possibilite aussi une ?valuation de cette production dans la litt?rature br?silienne / A presente tese consiste numa abordagem cr?tica acerca da produ??o liter?ria da escritora carioca Ana Cristina Cesar. Tanto na poesia quanto na obra cr?tica, Ana Cristina Cesar evidenciou a quest?o do escrever como o principal dilema do seu projeto como escritora. Diante de tantos registros, seja em forma de poema, texto cr?tico ou carta, a quest?o do escrever ?, no conjunto de sua obra, formulada a partir de uma interpenetra??o entre a literatura e a vida. Considerado o problema do escrever como parte de um projeto do ser escritora para Ana Cristina Cesar, afirmamos que o nosso interesse de pesquisa se pauta em analisar os modos como esse problema percorre sua escrita e torna-se uma quest?o metalingu?stica dentro da sua cria??o. Partimos da reflex?o sobre o escrever em sua obra para levantar a quest?o principal da nossa proposta de trabalho com o seu texto: o que ?, afinal, escrever para Ana Cristina Cesar e como isso se formula na produ??o dos pap?is que exerce como poeta, cr?tica e professora? Entre os principais objetivos que norteiam esta pesquisa est?o: promover um di?logo com os textos da autora, no qual se apresente o problema do escrever, atrav?s de uma reflex?o sobre o percurso da sua atividade intelectual, para ela permeada por indaga??es quanto ? escrita feminina e ? produ??o marginal; e investigar os modos como essa reflex?o se articula nas fun??es que ela desenvolve como poeta, cr?tica e professora e as rela??es que estabelece com a literatura da sua gera??o. Al?m disso, discutiremos a import?ncia da sua obra dentro da literatura marginal, o que possibilita tamb?m uma avalia??o dessa produ??o no ?mbito da literatura brasileira

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The manuscripts and published editions of the sacred choral works by Belgian composer Joseph Jongen sacred choral music were collected and listed, detailing the discernable pertinent characteristics of each work. Jongen is predominantly known for his organ works, but his choral works constituent a worthy contribution to the vocal music repertoire, especially his Mass, Op. 130. Jongen's music reflects the Impressionistic style while stemming from the school of César Franck. Choral directors and other musicians interested in Jongen's sacred choral works can use this work when exploring new repertoire. A short overview of Jongen's life is included based upon the information given in John Scott Whiteley's comprehensive book, Joseph Jongen and His Organ Music. The conductor's analysis provides a complete description of the Mass, Op. 130 with rehearsal and performance considerations. Phrase analysis graphs enhance the written analysis, and a discography of Jongen's sacred choral music completes this work.

The purpose of this portion of the thesis project was to make a study of the Sonata in A major for violin and piano by Cesar Franck, presented as one of the major works on the second of the two recitals performed in partial fulfillment of the thesis requirement for the degree, Specialist in Education. Of the music performed on the two recitals, the writer felt that the most challenging, from the standpoint of interpretation and of the violin technique involved, was the Franck sonata. Therefore, she has made a formal analysis of the composition as well as an investigation into the technical and musical problems arising in actual performance. It is the writer's belief that the results of the investigation will not only affect her own future performances of the sonata, but ray also be of benefit to other violinists in their study of this sonata.With Cesar Franck the cyclic treatment of thematic material was established as an important principle of composition. The writer presents a thematic analysis of the sonata in which she points out the various ways in which the composer makes use of the cyclic principle. Particular attention is given to the process of motivic development in the transformation of thematic material. The investigation shows that in the Sonata for violin and piano by Franck a single basic idea seems to dominate the entire composition, i.e., the rising and falling inflection of a germ-motive which characterizes the principal themes of the four movements. The movements are further interrelated by the appearance of common thematic material, in either identical or altered form.The formal structure of each movement was determined, and a complete thematic analysis is given. A synopsis of this analysis appears at the end of Chapter V, Analysis of the Sonata in A Major.There is an unusual departure from the "standard" sonata movement scheme in that the first movement, Allegretto ben moderato, serves as an extended "prologue" to the principal movement which appears second. Thus movement II, Allegro, is in fully developed sonata form. It contains two main themes of contrasting character, each theme having three distinct parts. The third movement, which is free and improvisatory in mood and structure, is aptly titled, Recitativo-Fantasia. The finale, Allegretto poco mosso, appears as a unique kind of rondo in which the theme of the refrain is treated as a canon at the octave.In the study of the sonata, harmonic analysis was aimed chiefly toward determining the. structural framework of the composition as a means of understanding the musical progression although a chordal analysis was presented where it seemed significant. The harmonic material is highly chromatic, as is characteristic of the Romantic period, with much use being made of the dominant ninth chord, diminished seventh chord and augmented sixth chord.Problems of violin technique, including those of bowings and fingerings, were investigated and suggestions as to their solution are offered. It is seen that a mastery of the basic detache stroke, smooth legato bowing and accuracy in the high positions are required above all. There is a noticeable absence of the use of special effects, which are unnecessary for the projection of the work. A few double and triple stops occur in the second movement while the only four-note chord is in the third movement. Trills occur at the end of the second movement and also in the Recitativo. For uniform tone color several passages require the player to play in an extended range on the same string.Great demands in the way of energy and physical stamina are required of the violinist in order to provide the variety and quantity of sustained tone necessary for proper balance with the piano.Suggestions relating to dynamics, subtleties of phrasing and accent, as well as reference to tempo and mood are made to aid in the projection of the music.This study supports the belief that in the performance of duosonata music there are no requirements separate from those for other concerted music. An effective interpretation, based on a thorough understanding of the music and a scholarly approach to the composer's musical intentions are basic requirements in both forms of music making. In addition, it is up to each player to extend his understanding of the complete score in order to perceive his role as both soloist and accompanist as the music demands.

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Leitura de Sistema do Imperfeito & Outros Poemas, livro de Guilhermino Cesar publicado em 1977. O perfil múltiplo do autor – professor, tradutor, historiador, jornalista, economista, escritor e pesquisador em diversas áreas do conhecimento – resulta numa poesia plurirrefencial, tocada por temas de sua época. Constatamos em Sistema do Imperfeito & Outros Poemas o privilégio de determinadas temáticas relacionadas com a tecnologia, a velocidade, a fragmentação, a sociedade massificada, o impacto (especialmente no que diz respeito ao Brasil) do caos urbano. Essa problemática fica mais evidente a partir da segunda metade do século XX: no Brasil, por um processo de intensa modernização urbana; em âmbito mundial, por uma espantosa difusão da influência dos meios de comunicação de massa. Esta leitura, articulada a partir de autores que pensaram as transformações sociais e culturais do século XX, volta-se para o Sistema do Imperfeito & Outros Poemas examinando a estrutura do livro e o conjunto de referências culturais e históricas mobilizadas pelo autor, pondo em relevo os recursos formais e a linguagem construída por Guilhermino Cesar.

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Made available in DSpace on 2014-06-11T19:26:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-08-16Bitstream added on 2014-06-13T19:13:44Z : No. of bitstreams: 1 cintra_r_me_assis_parcial.pdf: 118768 bytes, checksum: ede18f95d2a0aff17478bbb2284083f6 (MD5) Bitstreams deleted on 2015-06-03T11:42:42Z: cintra_r_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:09Z : No. of bitstreams: 1 000725658_20150816.pdf: 108875 bytes, checksum: 0cea9652c0014a8829baa02efead93f2 (MD5) Bitstreams deleted on 2015-08-17T11:07:12Z: 000725658_20150816.pdf,. Added 1 bitstream(s) on 2015-08-17T11:07:57Z : No. of bitstreams: 1 000725658.pdf: 326715 bytes, checksum: 9f707128240f0a7c523bd61d5990d715 (MD5) / A presente pesquisa tem como objeto as figuras dos governantes Júlio César e Augusto na De Uita Caesarum, e buscar-se-á uma análise da representatividade heroica dos personagens e dos seus ideais explorados nesta narrativa biográfica elaborada nos governos de Trajano e Adriano (98 a 138 d.C.), primeiros imperadores da Dinastia Antonina. Para isso é necessário compreendermos alguns aspectos em torno da figura do herói e da constituição do mito. O arcabouço ideológico fundava-se na estrutura de propaganda que buscava construir a imagem do princeps infalível, semideus, futuro divus e provedor da justiça. Os romanos tinham ainda como suporte da construção dessa imagem, no plano da realidade concreta, o Senado, os generais e as forças militares e, principalmente, um aparato cerimonial complexo e utilitário, capaz de manter as categorias de valores morais nos patamares desejados pelo poder constituído. Ao estudar a trajetória de construção dos personagens César e Augusto na De Uita Caesarum de Suetônio, torna-se imprescindível à análise do papel da religião pública romana, assim como suas manifestações rituais e míticas. Assim, ao se verificar a figura do general e do princeps nesta fonte, busca-se entender a remissão às práticas políticas e religiosas do século I a.C., período final da República romana. / This research has as object the figures of rulers Julius Caesar and Augustus in the De Uita Caesarum, and will seek an analysis of the representativeness of the heroic characters and their ideals explored in this biographical narrative developed in the governments of Trajan and Hadrian (98 to 138 AD), First emperors of the Antonina Dynasty. For this it is necessary to understand some aspects around the figure of the hero and the formation of myth. The ideological framework was based on the structure of propaganda that sought to build the image of infallible princeps, demigod, future divus and provider of justice. The Romans also had as a support of the construction of this image, in terms of concrete reality, the Senate, the generals and the military forces, and especially a complex and utilitarian cerimonial apparatus, able to keep the categories of moral values in the levels desired by the constituted power. When studying the trajectory of the construction of the characters of Caesar and Augustus, in the De Uita Caesarum of Suetonius, it becomes essential to consider the role of the public Roman religion, as well as its ritual and mythical manifestations. Thus, verifying the figure of General and princeps in this source, we seek to understand the remission to the political and religious practices of the first century BC, the final period of the Roman Republic.