Made available in DSpace on 2015-04-22T22:18:27Z (GMT). No. of bitstreams: 1 Jordan Perdigao.pdf: 1526978 bytes, checksum: 10ccebd0bcd50fb9f9d7e359f1a901f4 (MD5) Previous issue date: 2013-07-19 / Este trabajo sobre las misiones Carmleitas en la Amazonia Portuguesa, entre los siglos XVII y XVIII tiene la intención de ser una contribución a las investigaciones aún no comunes sobre dicho tema. A pesar de que han jugado un papel importante en la colonización portuguesa de lo que hoy es la Amazonia brasileña, especialmente en el contexto de lo que hoy es geograficamente el mayor de los estados de Brasil, - el Amazonas -, los Carmelitas son todavía, sin embargo, casi desconocidos para los estudiosos de la historia del Amazonas y de la Amazonia en su conjunto. En esta tesis los carmelitas son acompañados desde su llegada a la Amazonia en el primer capítulo, y desde su llegada en la Amazonia occidental en esta región, entre 1695 hasta 1755, fecha de cierre de las misiones por encargo de la Corona portuguesa, que se discute al final del último capitulo. Tema importante abordado en este trabajo, entre otros, es la participación de los Carmelitas en situaciones decisivas de los rios Negro y Solimões través de su obra misionera: los inicios del Lugar da Barra, actual Manaus, participación controversial en la guerra contra los Manau y otras naciones índias, y en el episodio Samuel Fritz con todas las consecuencias de la expansión de las fronteras portuguesas en Amazonia. Se destaca en esta obra, sobre todo en los dos últimos capítulos, el papel del P. Victoriano Pimentel y documentación importante que legó a la historiografia de su orden en la Amazonia. Al final se le da un toque de luz a los aspectos positivos de la presencia de los Carmelitas en la Amazonia, a pesar de las acusaciones de traición que se atribuyen a su misión religiosa y la perversión en la acumulación de la tierra, las drogas do sertão y esclavos para su orden. / Este trabalho sobre as Missões Carmelitas na Amazônia Portuguesa entre os séculos XVII e XVIII pretende ser de alguma contribuição para as investigações ainda pouco frequentes sobre o referido tema. Apesar de haverem tido papel importante na colonização portuguesa do que hoje é a Amazônia Brasileira, especialmente na configuração daquele que hoje é geograficamente o maior Estado brasileiro - o Amazonas -, os Carmelitas ainda são,entretanto, quase desconhecidos pelos estudiosos da história amazonense e amazônida como um todo. Na presente dissertação os Carmelitas são acompanhados desde sua chegada à Amazônia no primeiro capítulo e desde sua chegada à Amazônia Ocidental no segundo capítulo até o final de suas seis décadas de atuação nesta região, entre 1695 até 1755, quando as missões foram extintas por ordem da Coroa portuguesa, o que é abordado ao final do último capítulo. Importante temática abordada neste trabalho, dentre outras, é a da participação dos Carmelitas em situações decisivas do rio Negro e do Solimões por meio de sua atuação missionária: os inícios do Lugar da Barra, atual Manaus; a participação controversa na guerra aos Manau e outras nações indígenas; e o episódio Samuel Fritz com todas as consequências para a ampliação das fronteiras portuguesas na Amazônia. Destaca-se neste trabalho, especialmente nos dois últimos capítulos, o protagonismo do Fr. Victoriano Pimentel e a importante documentação que legou à historiografia de sua ordem na Amazônia. Ao final se dá um destaque a aspectos positivos da presença dos Camelitas na Amazônia, não obstante as acusações que lhes imputaram de traição à sua missão religiosa e perversão no acúmulo de terras, drogas do sertão e escravos para sua ordem.

Aus dem Vorwort: "Mit dem Vorschlag, Fritz Hartmann mit einer Ausstellung zu gedenken, kamen schon im Vorjahr Repräsentanten des Kulturlebens in Niederhof/Dolní Dvůr, wo der Maler seine schaffensreichsten Jahre verbrachte und wo die Erinnerungen an ihn noch lebendig sind. Das Riesengebirgsmuseum in Hohenelbe/Vrchlabí, das die größte Sammlung von Hartmanns Bildern in der Tschechischen Republik besitzt, hat sich gern der Sache angenommen und als Partner der Veranstaltung das Riesengebirgsmuseum in Marktoberdorf einbezogen, mit dem es seit 1991 ein Vertrag über Kultur- und Forschungszusammenarbeit verbindet. Das Ergebnis der gemeinsamen Bemühungen ist neben der Ausstellung, die in Hohenelbe, Niederhof, Marktoberdorf und weiteren Orten Deutschlands zu sehen sein wird, dieser ausführliche Katalog. ..."

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

This study presents a topical and chronological analysis of the published works of Fritz Perls with particular attention to specified theoretical continua. The theoretical continua specified are: 1. Determinism vs. Free Will, 2. Unconscious vs. Conscious, 3. Monism vs. Dualism, A. Physical vs. Mental, 5. Nativism vs. Environmental ism, 6. Elementalism vs. Holism, 7. Reactive vs. Proactive, 8. Subjective vs. Objective, 9. Responsibility vs. Helplessness, 10. Thinking vs. Feeling, and 11. Heterostasis vs. Homeostasis. Each continuum is analyzed in reference to Perls' published thought and his stated beliefs are described and reported. Large sections of the dissertation are devoted to the intellectual, philosophical, and emotional influences that led Perls to write the theory of Gestalt therapy. The dissertation concludes with the report of Perls' position on each defined continuum, with discussion of empirical studies, Gestalt therapy and other major theories of counseling that hold parallel theoretical positions, concluding with a discussion of the limitations of the theory of Gestalt therapy and of this dissertation.

During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire. The thesis explores connections between performance markings in Reiner’s personal copies of Bartók scores and the recordings he made of them, the ways in which Reiner’s live performances and recordings of Bartók’s music affected the American reception of Bartók’s works, and how Reiner’s collaboration with Bartók related to the revision of Bartók’s orchestral works in their published forms through case studies of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and The Miraculous Mandarin. The first case study considers Bartók’s performances of his Piano Concerto no. 1 with Reiner during his first U.S. concert tour of 1927-1928. Following an overview of Bartók’s activities in America during that time, three first-edition scores of Piano Concerto no. 1 are analyzed in order to show the significance of handwritten additions, corrections, and conducting markings made by Fritz Reiner, a Universal Edition staff member, and Serge Koussevitzky in preparation for performances with Bartók in 1928. It not only provides a window into early performances of the work with the composer at the piano in the absence of a recording, but also offers insight into Bartók’s preferences for performance of the work, some of which are reflected in the first or second editions of the work, and some of which are only preserved in Reiner’s scores. The second case study examines a new source for Bartók’s Concerto for Orchestra held at Northwestern University that bears extensive corrections by Bartók, as well as Reiner’s conducting markings. It discusses the circumstances surrounding Reiner’s acquisition of the score and its role in Reiner’s performances and recordings of Concerto for Orchestra with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra. The third and final case study details Reiner’s preparation and performance of two concert versions (“Scenes” and “Suite”) of Bartók’s pantomime The Miraculous Mandarin using Reiner’s annotations to four versions of the score held at Northwestern, Bartók’s correspondence with his publisher, and program notes from Reiner’s 1927 world premiere of the “Scenes” to provide a better understanding of Reiner’s preparation and performances of both the “Scenes” and “Suite.” It further analyzes press coverage of his performances of the “Suite” to demonstrate that the press reaction to objectionable elements of the plot mellowed over time, and that critics consistently praised Reiner’s expert preparation and interpretation of the work. The thesis considers the publication and performance history of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and the concert versions of The Miraculous Mandarin in terms of Reiner’s collaboration with Bartók, his role in the promotion of Bartók’s music in the U.S., and his reputation as an authoritative interpreter of it.

Univ., Diss.--Basel, 2002. / Literaturverz. S. [171] - 180.

Cilia are evolutionarily conserved microtubule-based organelles projecting from nearly all vertebrate cells, and ciliary defects result in a variety of human disorders known as ciliopathies. Recent studies have shown that several planar cell polarity (PCP) proteins are essential for cilia functions. Here, we focused on Fritz, known as a novel PCP effector protein in Drosophila, in multi-ciliated cells in the epidermis of Xenopus laevis embryos. To investigate the role of Fritz, using confocal and scanning electron microscopy, we discovered that Fritz localizes along the ciliary axonemes and that knockdown of Fritz causes severe reductions in both axoneme length and number. Then, using pull-downs and mass-spectrometry, we identified Chaperonin Containing T-complex polypeptide 1 (CCT) and septin as interacting partners of Fritz. CCT is the key chaperonin interacting with septins, and both have been implicated in ciliogenesis. Using tagged CCT subunit constructs, we found that the tagged CCTα and CCTε co-localize with Fritz along the ciliary axonemes of multi-ciliated cells. Knockdown of Fritz resulted in the accumulation of CCT at the apical cytoplasm of multi-ciliated cells; however, it was confirmed that Fritz does not affect the CCT holoenzyme assembly. Septins, another interacting partner of Fritz, are novel cytoskeletal elements. Using septin antibodies, we found that endogenous septins also localize along the ciliary axonemes and accumulate in the apical cytoplasm of multi-ciliated cells in Fritz morphants. Similar ciliary defects were observed in septin morphants. Our results reveal that Fritz is essential for ciliogenesis, and that CCT and septin interact with Fritz to control ciliogenesis in Xenopus multi-ciliated cells. Additionally, tubulin acetylation is markedly reduced by Fritz knockdown, suggesting that Fritz affects tubulin acetylation.

Thesis (M. Sc.)--Carleton University, 2005. / Includes bibliographical references (p. 111-114). Also available in electronic format on the Internet.

Berlin, Freie Universiẗat, Diss, 2003.

Zugl.: Innsbruck, Universiẗat, Diss., 1983.