Conselho Nacional de Desenvolvimento Científico e Tecnológico / O colono português Gabriel Soares de Sousa apresentou à corte de Felipe II da Espanha, por volta de 1587, um dos mais importantes registros sobre o Brasil quinhentista, o Tratado descritivo do Brasil em 1587, e o bem menos conhecido Capítulos de Gabriel Soares de Sousa contra os padres da Companhia de Jesus no Brasil. Esta tese apresenta uma análise da história destes manuscritos quinhentistas, examinado como chegaram até os seus formatos atuais e as suas leituras através dos tempos. / The portuguese settler Gabriel Soares de Sousa presented to the court of Philip II of Spain, around 1587, one of the most important records of the sixteenth century Brazil, the Treaty of Brazil in 1587, and the less well known chapters of Gabriel Soares de Sousa against the Company's priests of Jesus in Brazil. This thesis presents an analysis of the history of these sixteenth century manuscripts, examined how they got their current formats and their readings over time.

Memoria para optar al título de Geólogo / El Yacimiento de hierro San Gabriel se encuentra ubicado en la Cordillera de la Costa del Norte de Chile, en el límite entre las regiones de Antofagasta y Atacama. Está en el extremo septentrional de la Franja Ferrífera de Chile y 15 km al este de la traza principal del Sistema de Falla de Atacama. Los recursos del Yacimiento San Gabriel se han estimado en 80 Mt con una ley de corte de 15% de Fe Total. El objetivo principal de este trabajo fue confeccionar un modelo geológico del depósito, además de caracterizar mineralógicamente las distintas unidades propuestas en el modelo y establecer asociaciones de minerales metamórficos/metasomáticos. Esto se realizó a través del mapeo de sondajes y descripción de secciones pulidas y transparentes. Además, se incluye una breve caracterización geoquímica de las unidades geológicas definidas, mediante el análisis ICP-MS e ICP-AES. El Yacimiento San Gabriel consiste principalmente en un cuerpo irregular de brecha de matriz de magnetita, el cual está hospedado en una secuencia volcánica en rocas pertenecientes a la Fm. Aeropuerto, de edad Cretácico Inferior. Estas rocas son intruídas por un extenso batolito de edad Albiana (~110-100 Ma). En torno al cuerpo de brecha se desarrollan halos metasomáticos, donde se han identificado las siguientes asociaciones de minerales: feldespato-diópsido, escapolita-diópsido, actinolita-epidota, epidota-sericita, clorita-sericita y ceolita-calcita. La mena de este yacimiento la constituye exclusivamente la magnetita, mineral que se presenta como: lentes (en forma maciza), matriz-cemento de brecha, relleno de vetillas y diseminación en la roca huésped. La geoquímica de las rocas de caja alteradas muestra que existe un considerable aporte metasomático de Ca-Mg-Y-Ga-Cr-HREE y en menor medida de P y Th. Además, junto a la mineralización de magnetita existe una contribución de Ni-V-Co-Sn-Ge. Se concluye que es posible clasificar el Yacimiento San Gabriel como un depósito magnetita-apatito del tipo Kiruna, en base a las similitudes en características morfológicas, mineralógicas, texturales y geoquímicas respecto a otros depósitos del mismo tipo.

Dissertation--Kiel--Universität, 2005. / Bibliogr. p. 491-509.

Th. doct.--Musicologie--Paris--CNSMDP, 1999. / Liste des oeuvres de G.-G. Nivers p. 565-578. Bibliogr. p. 579-621. Index.

Dissertation--Oldenburg, 2002. / Bibliogr. p. 327-349.

Inaug.-Diss.--Bonn. / Lebenslauf. "Literaturverzeichnis": p. [103]-104.

No description available.

This master's thesis in literary creation is composed of two parts. The first one, a literary critic approaches the confrontation between memory and oblivion, in the novelistic work One hundred years of solitude from Colombian Gabriel Garcia Marquez through various themes. Primarily, we explain how this duality is seen through hereditary memories, loneliness, activity and inertia. In the next chapters, we show how this duality is also connected with death, collective and individual memories which contributes to make history and identity, with transformation of the past by careful scrutiny of the writing and sleep themes, and finally, to the memory awakened by associations coming from a sensual perception of the past, along with the significance given to objects and through the omnipresence of repetition. / The second part of this master's thesis untitled Nuits blanches is composed of 6 short stories each casting a women battling her anguish and demons, and who throughout a moment, day or night, loses or thinks she's losing her reason.

This dissertation studies depictions of the Middle East in the works of the Pre-Raphaelite Brotherhood. My discussion focuses on two prominent members of the Brotherhood—Dante Gabriel Rossetti and William Holman Hunt—and utilizes an interdisciplinary approach that examines the poetry, prose, unpublished correspondence and journals, sketches, watercolours, and oil paintings that they produced prior to 1856. I argue that Rossetti and Hunt make use of the Middle East as a repository for and reflection of the ambiguities and ambivalences of their own positions as avant-garde artists and authors. Chapters Two and Three focus on the work of Dante Gabriel Rossetti. Chapter Two examines Rossetti’s juvenilia in order to trace the ways in which the young author-artist uses the Middle East as a platform from which to work out the interplay between narrative and image, the conceptualization of the role of the author and artist, and the use of realistically depicted elements in religious painting. Chapter Three continues this discussion of Rossetti through an investigation of the 1850 edition of his poem “The Burden of Nineveh,” which centres on an encounter with an ancient Assyrian statue, and I argue that Rossetti links this artifact to the P. R. B. and uses it to critique the artistic ideals of mid-nineteenth-century England. The next two chapters shift to an investigation of William Holman Hunt’s first visit to the Middle East in 1854-6, a journey that became a focal point of the author-artist’s career. Chapter Four makes extensive use of Hunt’s unpublished diaries and letters from his sojourn in the Holy Land to destabilize the widespread conception of the artist as a staunch imperialist and the foremost English religious painter of the nineteenth century. Building on this foundation, Chapter Five looks back to the three months that Hunt spent in Egypt in 1854 and investigates the ways in which the complex experiences that the author-artist describes in his unpublished letters from this period filter into the watercolours, sketches, and oil paintings that he executed in Egypt. / Thesis (Ph.D, English) -- Queen's University, 2009-06-16 15:46:17.016

Since its publication in 1981, Cronica de una muerte anunciada, has been in general interpreted in terms of tragedy. The death of Santiago Nasar, which is due to the rigid observance of a code of honour concerning women's virginity before marriage, appears to be absurd. Nonetheless, in my opinion, the death of Santiago Nasar acquires meaning the moment the victim is symbolically reborn in the love that eventually will join the disgraced couple. / My interpretation, which relies on both historiography and narrative, is supported by an evaluation of the narrator's role in this fictional world. Significantly enough, the narrator is none other than Gabriel Garcia Marquez who, through a self-splitting fictionalisation, appears as one more among the many characters. Thus, Garcia Marquez as the narrator and a character, relates the events and organizes them into a chronicle. In this sense, he assumes the role of "chronicler-narrator." Yet, he also assumes the role of "oracle-narrator," in the sense that he imbues Santiago Nasar's crime with a mythical dimension which reveals the message of love suggested in the novel. / Another hermeneutic resource applied to my analysis is the analogy I draw between the novel and the Gospel, and my view of Santiago Nasar as a sort of Christ. In my opinion, the character's death is not meaningless because it appeals to give life to the love of a couple and to open the possibility of love for the other characters.