Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-23T17:57:12Z No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:28:26Z (GMT) No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Made available in DSpace on 2018-08-27T22:28:26Z (GMT). No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) Previous issue date: 2018-08-23 / O presente trabalho apresenta investigações sobre a ocorrência de texturas polifônicas na Sonata op. 35 n. 2 de Fryderyk Chopin, bem como estratégias de estudo que possam auxiliar na interpretação expressiva de tais texturas. Assim, esta dissertação estrutura-se em duas partes: a primeira apresenta diversas acepções sobre polifonia e, em seguida, aborda a forma em que a textura polifônica se encontra especificamente na obra de Chopin, à luz daquele contexto histórico e das diversas influências exercidas sobre o compositor. A segunda parte é composta pelos denominados “trechos polifônicos”, que são excertos escolhidos da Sonata op. 35, analisados e acompanhados de sugestões de estudos que visam o aprimoramento da execução polifônica. A pesquisa foi feita a partir da experiência de preparação para a performance da sonata e contempla a análise formal e interpretativa da obra, bem como a contextualização histórica da vida e obra de Chopin. Também são abordadas na pesquisa investigações musicológicas as quais vêm sendo feitas no sentido de elucidar aspectos polifônicos presentes ao longo de toda a produção chopiniana, bem como desvendar os principais fatos motivadores desta prática, quais sejam: a influência da música de Bach e o apreço de Chopin pela música vocal, especialmente o Bel Canto italiano, ao qual se atribui a presença dos diferentes caráteres ou vozes que compõem sua polifonia. / The present dissertation aims at investigating the occurrence of polyphonic textures in Fryderyk Chopin’s piano Sonata No. 2 Op. 35, as well as presenting study strategies that may aid in the expressive interpretation of such textures. Therefore, the present work is divided in two parts. The first one presents a myriad of interpretations on polyphony itself and then tackles the way polyphonic texture presents itself in Chopin’s works in light of the then-existing historical backdrop and the multitude of influences exerted upon the composer. The second part comprises the so-called “polyphonic stretches”, which are passages selected from Sonata Op. 35. These excerpts are analyzed and followed by study suggestions which aim at refining polyphonic execution. This research is rooted in the experience resulting from the author’s preparation for the execution of the sonata and encompasses the formal and interpretative analysis of this particular piece, as well as the historic contextualization of Chopin’s life and oeuvre. Musicological investigations are pursued throughout the research and they endeavor to clarify polyphonic aspects which are present in Chopin’s works, as well as unveil the main motivating factors behind such practice, namely Bach’s influence and Chopin’s own predilection for vocal music, most notably the Italian Bel Canto, to which different characters or voices that comprise his polyphony are attributed.

Notre recherche s’est donnée pour objectif de comprendre, dans le champ de l’architecture contemporaine, les raisons d’une attraction sensible pour ce que Jean Epstein aurait pu nommer le Diable du cinéma. Afin qu’une réponse puisse être formulée, nous avons d’abord cherché à repérer les frayages anthropologiques, philosophiques, artistiques, scientifiques et techniques à partir desquels les relations entre les deux disciplines sont devenues si prégnantes. Nous avons également renversé la perspective en essayant de montrer en quoi le milieu technique, l’époque du numérique dans lesquels l’architecture contemporaine se situe, activent ou réactivent des sensibilités historiques particulières aux notions de temps, d’événement, de variabilité et de mouvement. Le cinéma, comme état de fait technologique, ne cesse de s’inventer et de s’étendre. Il dérègle les perspectives, affecte les régimes scopiques, les manières de voir dont dépendent aussi les façons de construire, imposant une esthétique de la modification au-delà de sa propre sphère d’expression. Nous avons donc interrogé, du côté des pratiques architecturale et cinématographique, l’intérêt d’œuvrer dans une zone d’indéfinition, un intervalle disciplinaire, et, du côté de l’esthétique, une possibilité d’en amorcer par le nom d’Archicinéma, la configuration. Afin d’exemplifier les conditions techniques, les opérations critiques et les arrangements topologiques propres à ce type de démarche, nous avons choisi d’étudier, au sein d’un large corpus d’exemples, les spéculations architecturales et les expérimentations informatiques, cinématiques et robotiques de François Roche. Enfin, nous nous sommes impliqués au plus près de la pratique fictionnelle de cet architecte afin d’en mieux déchiffrer les enjeux et les effets, que ce soit sur les plans poétique ou politique / Our research aimed to understand, in the field of contemporary architecture, the reasons for a significant attraction for what Jean Epstein could have appointed the Devil cinema. So that a response can be made, we first sought to identify the anthropological, philosophical, artistic, scientific and technical facilitations, from which the relations between the two disciplines have become so pervasively present. We also reversed the perspective trying to show how the technical environment (midst ?), the digital era (epoch ?) in which contemporary architecture is, activate or reactivate particular historical sensitivity to the concepts of time, event, variability and movement. The cinema, as a technological state of fact, continues to invent itself and expand. It disrupts the outlook, affects scopic regimes, the ways of seeing which are also ways to build, requiring an aesthetic of modification beyond its own sphere of expression. So we asked, on the side of film and architectural practices, the interest to work in an area of un-definition, a disciplinary interval and on the side of aesthetics, we looked for an opportunity to start with the name of Archicinema, its configuration. To exemplify the technical conditions, the critical operations and topological arrangements for this type of approach, we chose to study more specifically in a large set of examples, the architectural speculations and kinematic, robotic, computer-driven experiments of François Roche. Finally, we got involved closer to his fictional practice in order to better decipher its issues and effects, both on the poetic or political side of his work

Ce travail analyse les états de la famille et leurs rapports à l’individu dans deux romans de François Mauriac, Le Nœud de vipères et Thérèse Desqueyroux ainsi que dans la Trilogie de Naguib Mahfouz : Impasse des deux palais, Le Palais des plaisirs et Le Jardin du passé.À travers ces deux univers romanesques, qui abordent la thématique de la famille dans des circonstances bien particulières, liées à la géographie, à l’histoire et à la sociologie de l’époque, ce travail souhaite répondre aux questions suivantes : Quel est l’état de la famille dans ces romans ? Quel est la place accordée à l’individu ? Les familles décrites dans ces romans favorisent-t-elles l’émergence de l’individu comme sujet autonome, capable d’effectuer des choix personnels quitte à ce qu’elles soient en contre-courant des valeurs familiales et celles de la société ? Ou bien, l’individu devrait-il se battre et lutter contre la famille afin qu’il puisse émerger comme sujet propre et autonome ?Ainsi la première partie analysera l’état de la famille dans la trilogie de Mahfouz ; quant à la seconde elle abordera les deux romans de Mauriac. La troisième partie élaborera la comparaison entre les deux univers romanesques en croisant et en confrontant les facteurs qui interfèrent dans les deux univers familiaux : la religion, l’argent et le patrimoine et la politique (chez Mahfouz surtout). / This work analyzes the states of the family and their reports to the individual in two François Mauriac’s novels, Vioer’s tangle and Thérèse Desqueyroux as well as in the Trilogy of Naguib Mahfouz: Palace walk, Palace of desire and Sugar street.Through these two romantic universes, which approach the theme of the family on very particular circumstances, connected to the geography, in history and in the sociology of period, this work wishes to answer the following questions: what is the state of the family in these novels? What is the place granted to the individual? Families described in these novels favor the emergence of the individual as autonomous subject, capable of making personal choices even if it means that they are in countercurrent of the values.So the first part will analyze the state of the family in the trilogy of Mahfouz; as for second it will approach both novels of Mauriac. The third part will develop the comparison between both romantic universes by crossing and by confronting the factors which interfere in both family universes: the religion, the money and the heritage and the politics (at Mahfouz especially).

François Cheng est devenu une figure symbolique incontournable aussi bien pour la France que pour la Chine. C’est un écrivain dont la culture et la conscience sont doubles, car sa vie est étroitement liée à la Chine et à l’Occident. Sa grande intériorité énigmatique s’explique par son âme chinoise et son amour de l’Occident. Toute sa vie, il a poursuivi la réconciliation et le dialogue entre les deux cultures. Son écriture est aussi fortement marquée par une expérience personnelle de l’exil liée à un profond sentiment d’authenticité. D’un côté il nous fait redécouvrir une Chine traditionnelle et artistique, de l’autre il nous dépeint un vieux pays hanté par les destinées tragiques d’innocents, nous offrant ainsi l’image d’une Chine très riche et diversifiée. La constante comparaison entre les deux cultures nous révèle ses racines chinoises et son esprit français, marqué par un humanisme épris de liberté. C’est dans cette symbiose que se révèle la pensée de François Cheng, nourrie de multiples spiritualités et habitée par les concepts dualistes de la beauté et du mal. Cette recherche nous permet de mieux connaître cet écrivain : un quêteur de beauté, un homme en marche, un écrivain indéfinissable – le plus chinois des écrivains français ou bien le plus français des écrivains chinois –. / François Cheng is a major and symbolic figure in France and in China as well. He is a dual-culture writer who draws upon two streams of consciousness. His destiny is closely associated with China and the West. His enigmatic introspection can be explained by his Chinese soul and his love for the West. Throughout his life, he constantly pursued reconciliation in the dialogue between Eastern and Western cultures. His writing is strongly coloured by his unique experience of exile and a deep sense of authenticity. On the one hand, he enables us to rediscover a traditional and artistic China, while on the other hand, he describes an old country where innocent people suffered tragically. Thus the image of China that François Cheng draws, proves to be very rich and diverse. The continuous and coherent comparison between both cultures – French and Chinese ‒ reveals the French side of his reflection, his humanist trend and sense of freedom. It is within this symbiosis that we discover François Cheng’s thinking, nurtured by multi-spirituality and inhabited by the dualistic concepts of beauty and evil. This research intends to improve the knowledge we have of Francois Cheng : in search of beauty and dedicated to a constant reflection, he appears a double and indefinable writer : the most Chinese of French writers, and the most French of Chinese writers.

Orientador: Edmundo Pacheco Hora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T17:22:13Z (GMT). No. of bitstreams: 1 Pavan_BeatrizCarneiro_D.pdf: 10044075 bytes, checksum: 5d5a48f2f07aaa9db8e8cfcb24373bfc (MD5) Previous issue date: 2015 / Resumo: Este trabalho mostra como características vindas do discurso oratório francês do século XVIII encontram equivalência na obra para cravo de François Couperin, contida nos Quatre Livres de Pièces de Clavecin. Consolidando a ideia de que a busca por conformidade entre língua falada e música esteve presente durante o período musical barroco, entende-se que características comuns a estas duas formas de expressão encontram similitudes. Desta maneira, para embasar esta tese foram estudadas fontes do século XVIII que versam sobre língua francesa e suas características oratórias com a intenção de mostrar aspectos relevantes do discurso oratório francês dos anos Setecentos que pudessem ser comparados à escrita musical de Couperin. Como base teórica foi utilizada a obra The Harmonic Orator (2001) de Patrícia Ranum, que trata do fraseado e retórica em Árias Barrocas francesas. A partir de pesquisa histórica da Europa ocidental, centrada na França e da atuação da família Couperin na Igreja Saint-Gervais e no Palácio de Versailles, verificaram-se aspectos relevantes formadores do estilo de composição e interpretação cravísticos. Assim, se reafirma a necessidade, vinda da prática de interpretação da música em instrumentos originais ou cópias, de se estudar as maneiras interpretativas para atender às características específicas de cada época e nação. Confirmando a estreita relação entre língua falada e expressão musical, tornou-se apropriado pesquisar as variações linguísticas que resultaram em várias formas de composição e interpretação. Confirma-se portanto, que a música para cravo de Couperin exige do instrumentista conhecimento linguístico para adequada execução do discurso musical e qualquer atitude por parte de um intérprete que pretenda transmitir o pensamento ou emoção, com certa fidelidade, requer conhecimento das fontes do período, no intúito de se tornar claro o pensamento do compositor / Abstract: This paper shows how characteristics from the XVII century French oratory speech find their equivalence in François Couperin¿s work, contained in Quatre Livres de Pièces de Clavecin. Consolidating the idea that the search for conformity between the spoken language and music has been present during the baroque music period, it is understood that common characteristics to these two forms of expression find similarities in each other. This way, to make the base of this thesis, XVIII century sources about French language and its oratorical features were studied to show relevant aspects of the French oratorical speech of this century that could be compared to Couperin musical writing. As a theoretical base it was used "The Harmonic Orator" (2001) by Patricia Ranum, a work about the phrasing and rhetoric in French Baroque Arias. From historical researches of Western Europe centered in France and performance of Couperin family in the Saint-Gervais¿ Church and the Palace of Versailles, there were verified relevant aspects that formed harpsichordist composition and interpretation style. Thus, need reaffirmed, from the interpretation practice of music on original instruments or copies, to study the interpretative ways to meet the specific features of every age and nation. Confirming the close relation between spoken and musical expression, it became appropriate to research the linguistic variations that resulted in many forms of composition and interpretation. It is confirmed so, that Couperin¿s harpsichord music requires from the performer linguistic knowledge for proper execution of the musical discourse and any action by an interpreter wishing to transmit thought or emotion, with some fidelity, requires knowledge of the sources of the period, in order to clarify the thinking of the composer / Doutorado / Praticas Interpretativas / Doutora em Música

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Tout comme dans les autres pays, la situation économique québécoise est des plus délicates en ce début de siècle. À la suite de la mondialisation qui s'est déployée à partir des années 1970, nous assistons à la précarisation des emplois et à la diminution du filet social. Plusieurs voies ont été explorées pour trouver des solutions à ces problèmes. D'un côté, certains croient à une relance économique sans effectuer aucun changement au modèle socio-économique. Pour ces derniers, le système économique en place répond bien à la situation et, dans la perspective libérale traditionnelle, on s'en remet à la volonté des individus bien plus qu'aux effets de système. De l'autre côté, ceux qui ont perdu la foi proposent diverses solutions telles que le partage du travail, la subvention du travail faiblement rémunéré, la formation continue ou la réinsertion sociale. Une autre mesure est de plus en plus discutée par les chercheurs sans pour autant retenir toute l'attention qu'elle mérite : l'allocation universelle. Cette mesure de remplacement est celle qui est étudiée dans ce mémoire. Évidemment, l'instauration d'une allocation universelle doit être assujettie à plusieurs éclaircissements. Car un certain nombre de paradoxes et de malentendus ont été notés au fil des discussions sur ce débat. Il faut encore montrer que l'instauration d'une allocation universelle est le meilleur moyen pour contourner la pauvreté des pays occidentaux et particulièrement au Québec. La société québécoise possède plusieurs atouts favorisant l'instauration d'un tel revenu. Ce mémoire de maîtrise tente d'en faire la démonstration.

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

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