The main objective of this work, was to elaborate on the topic of Isabella I. of Castile. The main focus was an emphasis on historical facts, of which I derived from Czech and foreign literatures and historical compendiums. The first part describes the political and economic situation in the Ibe c y I b ' coronation. Further, I look at her biography with a focus on details that could testify about her character and personality. This section provides the basis and support for the second part of this thesis. Besides the historical books, I explore also studies in the field of psychology. In the second part I deal with the motives which led I b g g z d I' interested in her tendency to her fanatical behavior. The theme of the Spanish inquisition in this work occupies a marginal position. The whole work is written with the need to view Isabel from the most different ways. This is supported by typologies of her personality and her tendency to achieve her goals from her position. In conclusion, I summarize the thesis defense, which I had already set out in the introduction of this thesis. I wanted to defend this theory: "Isabela as the only one in the history of her family, was able to effectively complete the Reconquista. What helped her was - religious fanaticism, coupled with unusually strong internal...

Esta dissertação pretende interpretar o romance Voyage au bout de la nuit, de Louis- Ferdinand Céline, partindo de suas tensões mais elementares, cuja irradiação conduz, entre idas e vindas, a uma ampliação gradual dos termos da discussão. Tomando como ponto de partida a situação narrativa do romance, ou seja, a relação indissolúvel entre narrador e linguagem presente na obra, procura-se tensionar os procedimentos literários desencavados por meio da análise com a tradição do gênero. Em seu aspecto mais amplo, este trabalho visa explorar o caráter bifronte do romance. Tal como a imagem de Janus, Voyage au bout de la nuit se volta, ao mesmo tempo, para o futuro e para o passado: aparece como o último representante de uma linhagem subterrânea de obras cuja origem remonta a Rabelais e como o inaugurador de uma forma romanesca bastante original, profundamente ancorada na realidade de seu tempo. / The aim of this dissertation is to interpret the novel Voyage au bout de la nuit, by Louis-Ferdinand Céline, starting from its most elementary tensions, whose irradiation leads, in its backward and forward movements, to a gradual enlargement of the terms of discussion. Taking the novels narrative situation as a starting point, that is to say, the indissoluble relation between narrator and language present in the text, well try to compare the literary procedures, uncovered by means of the analyses, with the tradition of the genre. Such as the image of Janus, Voyage au bout de la nuit turns, at the same time, to the future and the past: It appears as the last representative of an underground lineage of works, whose origins date from Rabelais, and as the founder of a very original novel form, deeply anchored in the reality of its time.

L’écriture joycienne se distingue par la conscience aiguë dont elle témoigne de l’histoire des mots. Cette tendance est le produit de l’émergence de la grammaire comparée et de la sémantique historique au XIXe siècle, disciplines qui avaient bouleversé le concept d’étymologie et légitimé, en apparence, la prise en compte du passé de la langue dans son emploi. Pourtant, quand Joyce écrit, cette approche est irrémédiablement dépassée, et ses nombreuses contradictions critiquées. Aussi les œuvres de l’écrivain, loin de constituer un reflet fidèle et stable du discours sur l’étymologie du siècle où il naquit, en mettent-elles à nu les paradoxes et les partis pris. La stratégie d’écriture de Dubliners, si elle repose sur une exploitation fréquente des données mises au jour par les comparatistes et les sémanticiens, prend ainsi le contrepied de toute démarche transcendantale et tire profit de la nature subjective et aléatoire de l’activation des potentialités étymologiques des mots par le lecteur. La volonté affichée par Stephen dans A Portrait of the Artist as a Young Man de trouver une justesse supérieure dans la motivation directe puis indirecte des noms fait place, dans le roman suivant, à un rejet amer de « l’imposture des sons ». Mais Ulysses éclaire également les failles des théories linguistiques de son époque : sa mise en lumière du rôle joué par l’étymologie populaire dans le fonctionnement de la langue implique une critique du positivisme saussurien et s’inscrit dans une dénonciation plus large de toute conception pseudo-rationnelle et supra-individuelle de l’histoire. / One of the hallmarks of Joyce’s prose is the acute consciousness it reflects of the history of words. This tendency is the product of the emergence of comparative linguistics and historical semantics in the 19th century, both of which had revolutionized the concept of etymology and seemed to make the history of words relevant to their use. Yet that approach soon became irremediably outdated and its numerous contradictions had been subjected to severe criticism by the time Joyce wrote his books. Accordingly, his works, far from giving a faithful and stable image of the etymological discourse prevalent in the century of his birth, reflect its biases and contradictions. Although the writing strategy of Dubliners relies on a constant exploitation of the data unveiled by linguists, it opposes any transcendental philosophy and makes much of the subjective and random nature of the activation of words’ etymological potentialities by the reader. Stephen’s attempts at finding a superior meaning in the direct and then indirect motivation of names in A Portrait of the Artist as a Young Man evolves, in the next novel, into a bitter rejection of the “imposture of sounds”. Ulysses, however, also brings into relief the inconsistencies of the linguistic theories of its own time: in highlighting the role played by folk etymology in the use of language, it constitutes an implicit criticism of Saussure’s positivist claims and calls into question any pseudo-rational and supra-individual conception of history.

- Educators in the Service of the Throne. Private Teachers of the Austrian- Hungarian Imperial Heirs Several potential successors were growing up during the lengthy reign of Emperor Franz Joseph I. But two of them, the Emperor's own son Crown Prince Rudolph and his nephew Franz Ferdinand, could never ascend to the throne due to their premature deaths. His grandnephew, Archduke Charles Franz Joseph, claimed the throne in the tense times of the First World War. For a would-be successor, not only military education was essential, but also language skills and such subjects as history, law and economy that the future ruler of a vast and ethnically diverse state was expected to have a good command of. This paper focuses on the lives of teachers who attended both the Emperor's and the Archduke's courts.

Esta dissertação pretende interpretar o romance Voyage au bout de la nuit, de Louis- Ferdinand Céline, partindo de suas tensões mais elementares, cuja irradiação conduz, entre idas e vindas, a uma ampliação gradual dos termos da discussão. Tomando como ponto de partida a situação narrativa do romance, ou seja, a relação indissolúvel entre narrador e linguagem presente na obra, procura-se tensionar os procedimentos literários desencavados por meio da análise com a tradição do gênero. Em seu aspecto mais amplo, este trabalho visa explorar o caráter bifronte do romance. Tal como a imagem de Janus, Voyage au bout de la nuit se volta, ao mesmo tempo, para o futuro e para o passado: aparece como o último representante de uma linhagem subterrânea de obras cuja origem remonta a Rabelais e como o inaugurador de uma forma romanesca bastante original, profundamente ancorada na realidade de seu tempo. / The aim of this dissertation is to interpret the novel Voyage au bout de la nuit, by Louis-Ferdinand Céline, starting from its most elementary tensions, whose irradiation leads, in its backward and forward movements, to a gradual enlargement of the terms of discussion. Taking the novels narrative situation as a starting point, that is to say, the indissoluble relation between narrator and language present in the text, well try to compare the literary procedures, uncovered by means of the analyses, with the tradition of the genre. Such as the image of Janus, Voyage au bout de la nuit turns, at the same time, to the future and the past: It appears as the last representative of an underground lineage of works, whose origins date from Rabelais, and as the founder of a very original novel form, deeply anchored in the reality of its time.

A Genève, Ferdinand de Saussure a professé, en élaborant progressivement son exposé, trois cours de linguistique générale répartis entre 1907 et 1911. Après en avoir examiné les notions fondamentales en suivant, entre autres cotextes, des notes de lecture du maître, l’auteur revient sur les sources et l’élaboration du premier cours. Louis Caille et Albert Riedlinger sont parmi les élèves qui ont bénéficié de ce cours.L’auteur complète la transcription de la sténographie Caille, et effectue la transcription d’un manuscrit intermédiaire mis au jour par Daniele Gambarara en aout 2011, et peut ainsi comparer avec les cahiers Riedlinger déjà connus. La triple transcription - détaillée selon les indices des articles de la remarquable édition de Rudolf Engler – permet de préciser les conditions d’élaboration du texte du Cours I.Outre l’examen des manuscrits, du manuscrit Caille et de ses annotations marginales, des recherches supplémentaires sont faites, tant sur les conditions historiques - généalogiques et administratives concernant les élèves immatriculés (au cours), inscrits (à l’examen) ou examinés (à l’épreuve) -, qu’aux archives de l’université concernant cette période pour les vérifications indispensables. L’ensemble de ces informations permet de privilégier la conjecture selon laquelle Louis Caille tenait le rôle de secrétaire de séance pour ce cours neuf dont l’introduction modifiait par ailleurs plusieurs programmes de cette université.Il en résulte que, de facto, la seule source à proprement parler du Cours I est cette sténographie Caille, contrairement à ce que suggérait jusqu’ici la connaissance des textes considérés nécessairement dans l’ordre historique de leurs acquisitions ; les éléments de la synthèse des trois cours – le Cours de Linguistique Général (CLG), publié par Ch. Bally et A. Séchehaye – sont distingués les uns des autres, et son élaboration est analysable en détail. / In Geneva, Ferdinand de Saussure professed, by developing gradually his presentation, three lectures of general linguistics between 1907 and 1911. Having examined the fundamental notions by following, among others texts, reading notes of the teacher, the author focused on sources and elaboration of the first lecture. Louis Caille and Albert Riedlinger are among the students who benefited from this lecture.The author completes the transcription of the stenography by Caille, and makes the transcription of a new manuscript releaved by Daniele Gambarara in august 2011, and therefore can compare with the Riedlinger’s already known notetakings. The triple transcription - detailed according to the ranking of the articles of the remarkable Engler’s edition - allows to specify the conditions of elaboration of the text of Cours I.Besides the examination of manuscripts, of the Caille manuscript, and of its marginal notes, additional researches are made, as well on the historical conditions - genealogical and administrative concerning the registered and examined candidates -, that on the archives of the university concerning this period for the essential checks. All these informations allow to favor the hypothesis that Louis Caille acted as a transcriber for this new lecture whose introduction also modified several programs of this university.As a result, de facto, the only source strictly speaking of Cours I is this Caille stenography, contrary to what suggested until now the knowledge of texts considered inevitably in the historic order of their acquisitions; the elements of the synthesis of the three lectures – the Cours de Linguistique Générale (CLG), published by Ch. Bally and A. Séchehaye - are distinguished from each other, and its elaboration is analyzable accurately.

In the 1830s the opera-comique genre evolves from the simple "comedies melee d'ariettes" to a true operatic form with musico-dramatic significance. One primary area of development is found in the placement and dramatic function of solo forms which begin to play a markedly different role than they had in operas comiques of earlier periods. Despite the evidence suggesting significant musico-dramatic development, few scholars have attempted to identify the practices governing the placement and function of musical soli in the operas comiques of the 1830s. For this reason we have undertaken a detailed study of these elements in three libretti: Fra Diavolo (1830), Zampa (1831) and Le Pre aux Clercs (1832). In a preliminary examination, these libretti were found to exhibit traits representative of many works of the period. Our research has led us to conclude that solo forms are employed in one or more of the following four dramatic situations: (1) to convey background information to the plot or to characters, or to reveal pre-curtain events; (2) to paint a character's true personality; (3) to expose a character's emotional state of mind or train of thought at a given moment; and (4) to distribute the number of soli through the opera in a manner that reflects a character's importance in the drama. Although such uses of solo forms are not unique to the 1830s, the extent to which they were employed represents a significant departure from earlier practice. This thesis is divided into five chapters. The first chapter--by way of introduction--contrasts the roles of musical numbers in 1830s operas comiques with those of their predecessors. It also discusses the literary and musical conventions of the works of this period. The second chapter first presents a synopsis of Scribe's and Auber's opera comique Frat Diavolo, and a view of the well made play elements as displayed in the libretto, before focusing on a discussion of the placement of musical soli in the drama. Similarly, chapters three and four discuss Melesvilie's and Herold's Zampa, ou la Fiancee de marbre and Planard's and Herold's Le Pre aux Clercs respectively. The final chapter outlines the practices observed in the placement and dramatic function of soli in the three selected operas and relates the significance of these practices to the genre's development. / Arts, Faculty of / Music, School of / Graduate

Orientador: Rosa Attié Figueira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T17:20:50Z (GMT). No. of bitstreams: 1 Vieira_CamilaRossetti_M.pdf: 1468460 bytes, checksum: 45a22e6cf33a3bf0d419abd061b367a2 (MD5) Previous issue date: 2015 / Resumo: São inúmeros os casos de palavras não dicionarizadas que surgem na fala dos sujeitos, sejam eles adultos ou crianças. A inovação lexical constitui, nesse sentido, um dos fenômenos mais registrados nas línguas, um poderoso fator de mudança linguística e um importante dado de eleição para a discussão da aquisição de linguagem. Dentro das abordagens teóricas da morfologia, a análise desse tipo de dados oferece dois caminhos distintos: (1) a formulação de regras, dentre se destacam as RFPs (Regras de Formação de Palavras), propostas pela Gramática Gerativa no início da década de 1960 (ARONOFF, 1976); e (2) a analogia. Segundo a primeira perspectiva as palavras seriam formadas por uma operação fonológica sobre uma base especificada dando origem a produtos predizíveis em termos sintáticos e semânticos. Já para a segunda, através da qual as palavras são formadas por comparação a um modelo, sobrariam dados mais singulares, em que não houvesse a necessidade de formular regras. O objetivo desta dissertação é o de verificar o potencial explicativo dessas duas visões antagônicas sobre as inovações lexicais na fala da criança. A primeira se baseia em regras e discorre, portanto, sobre questões como os padrões de regularidade e os limites do possível gramatical dentro da formação de novas palavras no português brasileiro. A segunda é a posição teórica interacionista (DE LEMOS, 2003; FIGUEIRA, 2010), que se filia de modo fundamental ao "ideário saussuriano sobre a formação de palavras" o qual, ao ser baseado no mecanismo analógico, é capaz de oferecer múltiplos caminhos para a explicação da fala infantil. Como material empírico, coletamos dados provenientes da observação longitudinal do sujeito RA cujo corpus está disponível no Projeto de Aquisição de Linguagem Oral (CEDAE/IEL/UNICAMP) e, complementarmente, contaremos com um conjunto de dados de autores que já se dedicaram ao tema. Com isso, pudemos averiguar, em um primeiro plano, a impossibilidade de analisar dados da fala da criança de uma perspectiva teórica que só considere formações que estejam de acordo com uma gramática bem comportada, já que as RFPs, que tem por característica principal dizer de um funcionamento formal da língua, nem sempre sustentam o que ocorre na aquisição da morfologia pela criança, uma vez que é claro um movimento do previsível para o imprevisível. Pudemos também ver que a vantagem de assumir a analogia saussuriana para explicar as inovações lexicais não está somente em dar conta de dados que não se deixam explicar por regras muito bem especificadas, mas também está em reconhecer que a criança está submetida ao funcionamento dos mecanismos fundamentais da língua, relações sintagmáticas e associativas / Abstract: There are countless cases of words, which are not in the dictionary that appear in people's speech, whether they are adults or children. The lexical innovation is in this sense one of the most recorded phenomena in the languages, a powerful element for linguistic change and an important point of choice for the language acquisition discussion. Among the morphology theoretical approaches, the analysis of this data leads us to two distinct paths: (1) the formulation of rules, among them stand out the WRFs (Word Formation Rules), which was proposed by the Generative Grammar in the early 1960s (ARONOFF, 1976); and (2) the analogy. According to the first perspective, the words would be formed by a phonological operation on a specific base originating predictable products in syntactic and semantic terms. As for the latter, words would be made by comparison to a model in which more natural data would be left and there would not need to formulate rules. The aim of this dissertation is to verify the potential impact of these two opposing views on the lexical innovations in the child's speech. The first is based on rules and discusses issues such as patterns of regularity and the limits of the grammar constraints within the formation of new words in Brazilian Portuguese. The second is the interactionist theoretical position (DE LEMOS, 2003; FIGUEIRA, 2010), which is affiliated in a fundamental way to "Saussure ideas on the formation of words" which is based on the analogue mechanism that is able to offer multiple pathways to explain the child speech. As empirical source, we collected data from longitudinal observation of the subject RA whose corpus is available in Oral Language Acquisition Project (CEDAE / IEL / UNICAMP) and in addition, we will have a set of authors who have dedicated themselves to the subject. Therewith, we could determine in a foreground the failure to analyze the child's speech data from a theoretical perspective that only considers the formations that are in accordance with formal grammar since the WRFs whose main characteristic is to talk about the formal operation of the language, which does not always maintain what occurs in the child¿s morphology language acquisition, once the movement from predictable to unpredictable is clear. It was also possible to notice the advantage taken by assuming the Saussure analogy to explain that lexical innovation is not only to account data that it is not explained by well-specified rules but also to recognize that the child is subjected to language fundamental mechanisms, syntagmatic and associative relations / Mestrado / Linguistica / Mestra em Linguística

Between the outbreak of World War I and the mid-1930s, the best-selling and most widely read book on the topic of modern art in Germany was written by the art historian Fritz Burger (1877–1916). Burger is now all but forgotten in the art historiography of the period and absent in the English literature. This thesis provides the first English interpretation of Burger's major works and seeks to locate his art historical method in relation to then-contemporary intellectual streams. Trained in the late 19th century, Burger largely rejected the cultural-historical studies and theories of stylistic development and embraced an artistic-critical model forwarded by neo-Kantians like Adolf Hildebrand and Konrad Fiedler. Beginning with Burger's texts Cézanne und Hodler (1913) and Einführung in die Moderne Kunst (1917), I examine the conceptual underpinnings of these works with particular attention to Burger's notions of color, artistic cognition and philosophical speculation. I consider Burger's written output as the compliment to his hands-on pedagogical technique at the University of Munich, his involvement with the Munich avant-garde and friendship with the artist Wassily Kandinsky. Burger's work is a rare and early attempt to write about contemporary art as an historical document but without recourse to artistic biography or cultural milieu as interpretive tools. / text

The following research records the functionality of collections of wealthy individuals in an effort to clarify the current system of collection categorization. Although many functions were indeed possible, this research will be restricted to the discussion of collections in which objects reveal the collector’s devotional, social, and intellectual curiosity. These classifications reflect the most prevalent themes initiated by my research on collections of royal and affluent collectors during the Early Modern Period, and as such are the three most rational means of discussing collections as functional, working, tools.