Maurice Ravel (1875-1937) skrev pianosviten Gaspard de la nuit 1908 som är baserat på tre dikter av Aloysius Bertrands diktsamling Gaspard de la nuit (1842). I denna uppsats undersöks hur Ondines genomgående melodi är uppdelad och hur ackompanjemanget varierar sig samt satsens struktur i sin helhet. Efter att ha spelat verket i några år, analyserat urtext-noterna med musikteoretiska metoder, läst litteratur samt diskuterat vidare om ämnet har melodin visat sig vara uppdelad i fem delar ackompanjerad med mestadels ett ackompanjemangmönster (vilket har främst fyra variationer som turas om genom satsen) samt inslag av primärt fyra andra i mindre utsträckning och satsen vara en ABA form eller snarare lik en sonatform. Denna analys ger en djupare förståelse kring Ondines musikaliska struktur både i ett macro och mikroskopiskt perspektiv. Däremot får man inte glömma att ta detta med en nypa salt då de teoretiska samt analytiska aspekterna har en tendens att stå i vägen för ett organiskt musikaliskt musicerande. Därför bör man behålla sin tidigare förståelse och kombinera den med en mognare för att uppnå en övertygande interpretation som leder åhörare till den värld som kompositören blåst till liv.

Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2017-09-11T11:55:12Z No. of bitstreams: 1 2014 - Nelson Rangel Coutinho Neto.pdf: 1017081 bytes, checksum: 48847c819281a97d7502570c6852b27b (MD5) / Made available in DSpace on 2017-09-11T11:55:12Z (GMT). No. of bitstreams: 1 2014 - Nelson Rangel Coutinho Neto.pdf: 1017081 bytes, checksum: 48847c819281a97d7502570c6852b27b (MD5) Previous issue date: 2014-08-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The Descriptive Geometry had its origin during the Napoleonic Age through the mathematician Gaspard Monge. It arrived in Brazil in the early nineteenth century by imposition of D. Jo?o VI. It excelled mainly as part of the curriculum of higher education courses such as Engineering, Architecture and Arts discipline. In high school, teaching Descriptive Geometry is almost extinct, being restricted to only a few more traditional institutions. However, Descriptive Geometry is closely related to the Space Geometry, Analytical Geometry and Differential and Integral Calculus, so that its application in middle school will be of fundamental contribution to the learning of other geometric concepts / A Geometria Descritiva teve sua origem durante a Era Napole?nica atrav?s do matem?tico Gaspard Monge. Chegou ao Brasil no in?cio do s?culo XIX por imposi??o de D. Jo?o VI. Destacou-se basicamente como disciplina integrante de curr?culos de cursos superiores, tais como Engenharia, Arquitetura e Artes. No ensino m?dio, o ensino da Geometria Descritiva est? praticamente extinto, ficando restrito apenas a algumas institui??es mais tradicionais. Entretanto, a Geometria Descritiva se relaciona intimamente com a Geometria Espacial, a Geometria Anal?tica e os C?lculos Diferencial e Integral, de maneira que sua aplica??o no ensino m?dio poder? contribuir para o aprendizado de outros conceitos geom?tricos

Esta tese trata da contextualização da geometria descritiva como sistema de representação na arquitetura. Desenvolve-se a partir da desconstrução da Géométrie descriptive de Gaspard Monge, publicada em 1799, acompanhando a exposição de seu autor desde o conteúdo da capa até a sua última página, de onde são destacadas partes a serem estudadas entre os textos, desenhos e a própria apresentação da obra. Desconstruir a teoria mongeana apresenta-se relevante neste estudo por investigar sobre as lições dadas por Monge em 1799, que coexistem até o momento com outras representações, entretanto sem um questionamento e entendimento epistemológico. Considerando que existem distorções na exposição original das lições mongeanas em obras subseqüentes à Géométrie descriptive e que conceitos de representação determinam limites de compreensão do espaço que implicam na própria arquitetura, este estudo dá abertura de resignificação à teoria original de Monge no ensino de arquitetura. / This thesis is about the descriptive geometry contextualization as an Architecture representation system. It was developed after Gaspard Monge’s Géométrie descriptive deconstruction, published in 1799, accompanying its author exposition since its cover content until its last page, form where parts are detached to be studied among the texts, draws and the own handiwork presentation. To deconstruct Monge’s theory is relevantly presented in this study for investigate Monge’s lessons taught in 1799 that coexists until this moment with different representations, without any question and epistemology understanding. Considering that there are distortions in the original Monge lessons exposition in Géométrie descriptive following handiwork and that its representation concepts determinate limits to the space comprehension that imply the Architecture itself, this study gives opening to Monge’s original theory resignification in the Architecture teaching.

Esta tese trata da contextualização da geometria descritiva como sistema de representação na arquitetura. Desenvolve-se a partir da desconstrução da Géométrie descriptive de Gaspard Monge, publicada em 1799, acompanhando a exposição de seu autor desde o conteúdo da capa até a sua última página, de onde são destacadas partes a serem estudadas entre os textos, desenhos e a própria apresentação da obra. Desconstruir a teoria mongeana apresenta-se relevante neste estudo por investigar sobre as lições dadas por Monge em 1799, que coexistem até o momento com outras representações, entretanto sem um questionamento e entendimento epistemológico. Considerando que existem distorções na exposição original das lições mongeanas em obras subseqüentes à Géométrie descriptive e que conceitos de representação determinam limites de compreensão do espaço que implicam na própria arquitetura, este estudo dá abertura de resignificação à teoria original de Monge no ensino de arquitetura. / This thesis is about the descriptive geometry contextualization as an Architecture representation system. It was developed after Gaspard Monge’s Géométrie descriptive deconstruction, published in 1799, accompanying its author exposition since its cover content until its last page, form where parts are detached to be studied among the texts, draws and the own handiwork presentation. To deconstruct Monge’s theory is relevantly presented in this study for investigate Monge’s lessons taught in 1799 that coexists until this moment with different representations, without any question and epistemology understanding. Considering that there are distortions in the original Monge lessons exposition in Géométrie descriptive following handiwork and that its representation concepts determinate limits to the space comprehension that imply the Architecture itself, this study gives opening to Monge’s original theory resignification in the Architecture teaching.

Esta tese trata da contextualização da geometria descritiva como sistema de representação na arquitetura. Desenvolve-se a partir da desconstrução da Géométrie descriptive de Gaspard Monge, publicada em 1799, acompanhando a exposição de seu autor desde o conteúdo da capa até a sua última página, de onde são destacadas partes a serem estudadas entre os textos, desenhos e a própria apresentação da obra. Desconstruir a teoria mongeana apresenta-se relevante neste estudo por investigar sobre as lições dadas por Monge em 1799, que coexistem até o momento com outras representações, entretanto sem um questionamento e entendimento epistemológico. Considerando que existem distorções na exposição original das lições mongeanas em obras subseqüentes à Géométrie descriptive e que conceitos de representação determinam limites de compreensão do espaço que implicam na própria arquitetura, este estudo dá abertura de resignificação à teoria original de Monge no ensino de arquitetura. / This thesis is about the descriptive geometry contextualization as an Architecture representation system. It was developed after Gaspard Monge’s Géométrie descriptive deconstruction, published in 1799, accompanying its author exposition since its cover content until its last page, form where parts are detached to be studied among the texts, draws and the own handiwork presentation. To deconstruct Monge’s theory is relevantly presented in this study for investigate Monge’s lessons taught in 1799 that coexists until this moment with different representations, without any question and epistemology understanding. Considering that there are distortions in the original Monge lessons exposition in Géométrie descriptive following handiwork and that its representation concepts determinate limits to the space comprehension that imply the Architecture itself, this study gives opening to Monge’s original theory resignification in the Architecture teaching.

Mgr François-Gaspard de Jouffroy-Gonsans appartient au corps épiscopal français engagé dans cette époque de transition que constitue la seconde moitié du XVIIIème siècle. Cette thèse vise à appréhender l’individualité de ce prélat à partir de sa pratique épiscopale, mais aussi sous l’angle de son engagement social, politique et religieux, et de sa personnalité tantôt vantée, tantôt décriée. Le parcours ecclésiastique atypique de ce cadet de noblesse provinciale est retracé en étudiant les réseaux qui ont porté sa carrière. Nommé en 1774 sur le siège de Gap puis transféré sur le siège plus prestigieux du Mans dès 1778, Mgr de Jouffroy-Gonsans apparaît comme un laboureur et un administrateur de diocèse. Soucieux de l’amélioration de la pratique des fidèles et de la réforme du clergé dont il a la charge, il demeure très attaché à l’unité décisionnelle et gallicane du corps épiscopal français. Son action diocésaine se révèle être le fruit d’une adaptation de l’ecclésiologie tridentine aux idées des Lumières. Elu aux Etats généraux de 1789, et député siégeant à la droite de l’Assemblée constituante, il s’engage dans une première contre-révolution se limitant au domaine religieux. En exil à partir de 1792, il poursuit son administration diocésaine et organise un système missionnaire permettant de poursuivre une réforme du clergé et de maintenir dans le Maine le culte catholique durant la période révolutionnaire. / François-Gaspard de Jouffroy-Gonsans belongs to the French episcopal body involved in the second half of the eighteenth century, a time of transition. The objective of this thesis is to understand the individuality of this prelate from the angle of his Episcopal practice, but also of his social, political and religious commitment, and the way his personality was sometimes praised, sometimes criticized. The atypical ecclesiastical career of this young provincial nobleman is traced when studying the networks which supported his career. After being appointed in 1774 to the seat of Gap and then transferred to the more prestigious seat of Le Mans in 1778, Bishop Jouffroy-Gonsans appears as a farmer and a director of the diocese. As he is anxious to improve the practice of the faithful and the reformation of the clergy which he is responsible of, he is still very attached to the intelligence unit and Gallican French episcopate. His diocesan action proves to be the result of an adaptation of the Tridentine ecclesiology ideas of the Enlightenment. After being elected to the General Estates in 1789, and as a deputy member sitting on the right-side of the Constituent Assembly, he gets involved in a first counter-revolution against the religious field. Exiled in 1792, he carries on his mission in the diocesan administration and organizes a missionary system to keep on reforming the clergy and maintaining Catholic worship in Maine during the revolutionary period.

In mainstream literary histories, Aloysius Bertrand (1807-1841) is still remembered as the canonical inventor of the prose poem in France. The established classification of Gaspard de la Nuit (1842) within the realm of the prose poem inevitably involves a retrospective appreciation of Bertrand’s work in light of the better-known authors that succeeded him in the history of this genre, such as Baudelaire and Mallarmé. The result is that Bertrand is often viewed as the inventor and/or the precursor of this genre; an important but, ultimately, minor contributor to its development. This hindsight brings with it a risk of critical anachronism against which Bertrand's contribution is often downplayed, especially because his thematic choices are seen to be outmoded, when compared to works by poets writing decades later. This thesis is a re-examination of Bertrand's Gaspard de la Nuit, incorporating an analysis of the cultural context that contributed to its production. The central argument is that in order to fairly assess Bertrand’s work, it is crucial to consider the poet’s contribution to, as well as his position in, the wider cultural exchange typical of his time. Using this contextual and historical approach, this thesis examines and challenges some of the main traditional considerations of Bertrand, such as his being a petit romantique, his provincialism, his unoriginality, and his role as the precursor and/or inventor of the prose poem. The overall aim is to assess fairly Bertrand’s unique synthesis of contemporary cultural and literary material with his own original work. By emphasising the crucial role of cultural exchange at the time of Gaspard de la Nuit’s production, we are thus able to begin to understand Bertrand in his own terms, rather than those of his successors, ourselves included, challenging commonly-held views and opening up new avenues for research.

Made available in DSpace on 2015-09-17T15:26:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-05-21. Added 1 bitstream(s) on 2015-09-17T15:45:42Z : No. of bitstreams: 1 000846831.pdf: 913168 bytes, checksum: 81a68379389118e1f165ec42ded8426c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Gaspard de la Nuit, obra póstuma de Aloysius Bertrand, ficou por muito tempo desconhecido do público em geral antes que os estudos em torno de sua forma poética lhe restituíssem a devida importância. Contudo, só atualmente têm surgido análises que versam a respeito de sua temática, não menos complexa do que os meandros do poema em prosa. O medievalismo de Bertrand, dessa forma, mostra-se muito mais rico do que aquele que entrara em voga na década de 1830 na França, não só pela riqueza de detalhes (muito longe de um simples pitoresco), mas sobretudo pela forma como se dispõem através de sua imagética. A forte presença de tensões em todos os níveis do poema bertrandiano levou-nos ao estudo mais apurado do caráter grotesco nas suas imagens poéticas. Considerando os diversos estudos teóricos acerca do grotesco, buscamos destacar a sua significação tanto no Romantismo quanto na Idade Média (antes mesmo da existência do termo), visando sua confluência no Gaspard, de forma a compreender como as dissonâncias do grotesco permitem ao poeta o restabelecimento de uma realidade plena / Gaspard de la Nuit, posthumous work of Aloysius Bertrand, was for a long time unknown to the public before the studies around his poetic form restituted its adequate importance. However, only today emerged analyzes that talk specifically about its theme, not less complex than the prose poem's intricacies. Bertrand's medievalism shows up much richer than the form that come into vogue in the 1830s in France, not only by the richness of detail (far from a simple form of picturesque), but especially by the way they feature through his imagery. The strong presence of tensions at all levels of Bertrand's poem took us to an accurate study of the grotesque character of his poetic images. Considering the many theoretical studies about the grotesque, we seek to highlight its significance both in Romanticism as in the Middle Ages (when the term do not exist), to its confluence in Gaspard, in order to understand how the grotesque's dissonance allow the poet the reestablishment of a plenary reality

Il nostro lavoro nasce dall’esigenza di voler delineare i confini tra metafora e similitudine al fine di distinguere il campo d’indagine di ognuna delle due figure. Il rapporto analogico che le caratterizza ha provocato nel tempo un’associazione costante tra i due procedimenti retorici che tendono, pertanto, ad essere sovrapposti. La nostra tesi si propone di dimostrare che seppur si tratti di due figure affini, similitudine e metafora si realizzano attraverso processi stilistici diversi. Questo studio presenta due grandi parti: una prima parte teorica e una seconda parte applicativa. La prima consta di tre capitoli: nel primo abbiamo esaminato le diverse definizioni che, nel corso degli anni, sono state assegnate alla similitudine e alla metafora; nel secondo, abbiamo presentato le teorie che, nel differenziare le due figure, hanno confuso, a nostro avviso, i loro campi d’indagine; nel terzo capitolo abbiamo analizzato e descritto il procedimento comparativo. Nella seconda parte, abbiamo applicato alla raccolta poetica Gaspard de la Nuit di Aloysius Bertrand, le analisi teoriche presentate nella prima parte del nostro lavoro. Per ogni testo poetico è stato affrontato uno studio di tipo linguistico e retorico: abbiamo analizzato le varie tipologie di similitudini e di metafora presenti in ciascun componimento. / The purpose of this work has its origins in the necessity of defining the boundary between metaphor and simile in order to demarcate the analytical fields corresponding to the two figures. The analogical relationship that characterizes them has provoked over the course of time a constant association between the two rhetorical procedures which have thus tended to become overlapped. This thesis intends to demonstrate that even though treating of related figures, simile and metaphor are produced by means of different stylistic procedures. This study is divided into two main parts: the first theoretical and the second of practical application. The first part consists of three chapters: in the first are examined the diverse definitions that have been assigned over the course of time to simile and to metaphor; the second presents theories which, in differentiating the two figures, have only served to confuse the fields of inquiry; in the third chapter the comparative method is analyzed and described. In the second part of the thesis the theoretical analyses presented in the first part of the work are applied to Gaspard de la Nuit, a collection of poetry by Aloysius Bertrand. Each text is subjected to a linguistic and a rhetorical analysis, thus analyzing the various typologies of similes and metaphors present in each of the compositions.

Made available in DSpace on 2016-04-28T20:57:10Z (GMT). No. of bitstreams: 1 Aliciene F M Cordeiro.pdf: 961449 bytes, checksum: 93161441fe55b1b3eddf9012fd6f740f (MD5) Previous issue date: 2007-05-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The interventions carried out in the beginning of the nineteenth century involving the Aveyron s savage , who was called Victor, have been immortalized through Doctor-pedagogue Jean Marc-Gaspard Itard s words. The reports on the work he developed with Victor as well as other documents are the basis of the present research which intends to discuss Itard s contributions to the relations among education, the learning process and the human being development in the constitution of man as a cultural and historical being. In the social historiographical perspective, the following study has sought for the articulation of three, however not mutually excluding, levels of analysis. Firstly, the inner level, which involves the concepts, method, practices, in short, the straight-related aspects to Itard s work; secondly, the methodological basis in which the elements above acquired a certain conformation; and finally the articulation between Itard s work and the Parisian society of the eighteenth century considering the relationships produced in that particular time and place as well as all the aspects that had them established. Itard was a man of his time who had an enormous scientific commitment and was conformed in the sensualist epistemological basis: his ideas as well as his experience were overwhelmed by social, political, economical and cultural influences which resulted from the reality they were in. His work had its beginning in a time when men started being the center of scientific investigations. He contributes with important thoughts about the classificatory criteria used as instruments that define the kind of relationship that we are supposed to establish with the ones who have been evaluated. Through his practice, Itard presents an alternative to segregation, having us think upon social, historical and cultural paths built and supported by Psychology, Medicine and Education for those who failed the patterns determined by that society / As intervenções realizadas no princípio do século XIX envolvendo o selvagem do Aveyron , denominado Victor, ficaram imortalizadas nas palavras do médico-pedagogo Jean Marc-Gaspard Itard. Tendo como base os dois relatórios redigidos sobre seu trabalho com Victor bem como outros documentos, o objetivo central deste trabalho é discutir as contribuições de Itard sobre as relações entre educação, aprendizagem e desenvolvimento na constituição do homem como ser histórico e cultural. Na perspectiva historiográfica social, buscou-se articular três, mas não mutuamente exclusivos, níveis de análise: o nível interno que se refere aos conceitos, pressupostos, método, práticas, enfim aqueles aspectos relacionados diretamente à obra de Itard; a base metodológica na qual esses elementos adquiriram uma determinada conformação e a articulação entre a obra de Itard e a sociedade parisiense de 1800, considerando as relações produzidas nesse tempo-espaço específico e as forças que as determinaram. Itard foi um homem de sua época, com grande comprometimento científico, conformado na base epistemológica sensualista: suas idéias e sua prática sofreram determinações sociais, políticas, econômicas e culturais da realidade da qual faziam parte. Sua obra teve início em um momento histórico em que o homem se tornava centro das investigações científicas. Ela traz importantes reflexões sobre os critérios classificatórios utilizados como instrumentos que determinam o tipo de relação que devemos estabelecer com aqueles que são avaliados. Por meio de sua prática apresenta uma alternativa à segregação asilar, fazendo-nos pensar sobre os caminhos sociais, históricos e culturais traçados com ajuda da Psicologia, Medicina e Educação para aqueles que fracassavam perante os padrões estabelecidos por aquela sociedade