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

No description available.

Esta pesquisa visa analisar a teoria dos golpes de Estado de Gabriel Naudé, um dos principais tratadistas da razão de Estado do século XVII. Através da leitura de Considérations politiques sur les coups dÉtat (1639), obra magna do autor, busca-se encontrar não apenas a base conceitual desse texto, mas inclusive identificar os percursos teóricos que deságuam nos escritos de Naudé. Por meio desta investigação é possível notar a noção de prudência como grande sustentáculo da referida teoria dos golpes de Estado, essencialmente influenciada pelas obras de Justo Lípsio e Pierre Charron. A partir daí, busca-se desconstruir a prudência naudeana para nela apontar o peso das idéias dos escritores mencionados, o que também permite demonstrar a existência de outras referências à razão de Estado da época, que não Nicolau Maquiavel. / This research aims to analyze Gabriel Naudés theory of the coups détat , one of the main authors of reason of State on the 17th Century. Interpreting Naudés magnum opus, Considérations politiques sur les coups dÉtat (1639), I intend to explore not only his conceptual basis but the theoretical tendencies leading to his writings. Through this investigation it is possible to deem prudence as the major supporting notion of the theory of the coups détat, which was essentially influenced by the works of Justus Lipsius and Pierre Charron. Thence, I intend to deconstruct Naudés notion of prudence in order to point out the weigh of Lipsius and Charrons ideas on his work, showing the existence of other references in the formulation of the reason of State on this epoch, besides Niccolo Machiavelli.

Esta pesquisa é um estudo acerca das intersecções entre teatro e moda, através do aspecto ritualístico do traje de cena, a partir do trabalho do diretor e figurinista Gabriel Villela em Romeu e Julieta (1992, junto ao Grupo Galpão de Teatro); e do trabalho do estilista Ronaldo Fraga, no desfile Nara Leão (2007). A definição de termos como traje de cena, indumentária e moda somada à investigação bibliográfica dos dois criadores, sob a ótica da teoria teatral e a análise dos dois eventos - o espetáculo teatral e a fashion performance - a partir de registros fotográficos, audiovisuais e entrevistas, possibilitam um registro e reflexão dos processos criativos de Villela e Fraga, tendo em vista a tradição e o costume popular presentes em seus trabalhos por meio de técnicas artesanais, utilizadas na produção de trajes na cena contemporânea. / This research is the study of intersections between theater and fashion through the ritualistic aspects of theatrical costumes. The basis for the study are the creative processes of theater director and costume designer Gabriel Villela in Romeu e Julieta (1992, together with Grupo Galpão de Teatro) and the work of fashion designer Ronaldo Fraga in the performance Nara Leão (2007). The definition of terms such as costume, costume design and fashion combined with the bibliographical research about the two creators under the light of drama theory, and the analysis of two events: the theatrical spectacle and fashion performance, from: photographs, audiovisual and interview enable a record and reflection of the creative processes of Villela and Fraga, in terms of the tradition and popular custom in their work through traditional techniques used in the production of contemporary costumes in the national scene.

The purpose of this study was two-fold. The biographical study was undertaken to provide an English-language source which would incorporate materials not easily available to the English speaking reader and scholar and include interpolated information concerning historical and cultural events which affected Faure's life. The historical style analysis was undertaken to document ways in which the musical style of the nine chamber works seemed to evidence influences of cultural, educational, and historical forces which acted upon Faure's life and work. The biographical study pointed to certain specific forces which seemed to affect the style of the nine works: the attitude of nineteenth-century musicians towards the sonata as an influence on Faure's decision to use the sonata plan for the nine works and sonata-form for the preponderance of single movements; and the education Faure received at the Niedermeyer School--incorporating a study of Renaissance music and a unique method of plainchant accompaniment, and leading to Faure's long employment as a church musician--which affected his compositional choices, as seen in his melodic and harmonic syntax, which feeely mingles tonal and modal systems. Three style characteristics arising from this amalgam of systems were documented: major mode conclusions of final movements, which suggested Faure's hierarchical use of the major mode as his fundamental and conclusive mode; harmonic assertion of tonality--represented by cadential affirmation of tonality at first period closes and at the point of recapitulation entrances--which showed Faure's use of classical harmonic practice; melodic assertion of tonality, which suggested that Faure's melodic structures may independently affirm a tonality, as melodic formulas or patterns define a plainchant mode. Three rhythmic style characteristics not evidencing influences from a specific source have been included to complete the study.

Thesis (Ph.D.)--Georgetown University, 2007. / Includes bibliographical references.

Inaug.-Diss.--Tübingen. / Lebenslauf. "Bibliographie": p. 47-49.