Oliver Goldsmith was not only a superior craftsman but also a sincere moralist, an author who created works crackling with intentional satire; the most representative of these works is The Citizen of the World, a remarkably varied collection that contains outstanding examples of the satiric essay. Goldsmith has been established as a satiric author, yet there are some questions of refinement--points involving his method and intent, his relationship to the eighteenth century, and the nature of his work--that need to be answered. The aim of this paper is to clarify these points by systematically analyzing the satiric technique and purpose in Goldsmith's The Citizen of the World, and by characterizing the satiric nature of Goldsmith's collection. The Citizen of the World was published in 1762, a time of change for eighteenth-century satire; consequently, the technique, purpose, and nature of Goldsmith's satire can be determined only by examining his work through an historical perspective, taking into account the influences in both halves of the eighteenth century.Two sections provide the background for this approach: the first defines the elements of satire, and the second traces the rise and decline of major English satire during the eighteenth century. The satiric elements--technique, purpose, and nature--are based on the following points that constitute the working definition of satire for this study: an attack on irrational, inappropriate conduct, the transformation of that attack into literature through selected techniques, and the justification of that attack based on the author's moral judgment. Satiric technique includes form, characters, and rhetorical tools; purpose involves the author's attitude, satiric objects of attack, and norms; and nature encompasses the specific kind of satire that differentiates one period from another, one author from another, making the definition a more sensitive instrument. Once established, these elements are applied to satire written during the English eighteenth century, a period that includes two kinds of satire, one created by the Augustan Age, the other by the Age of Sensibility. Examining the major changes in satire through this method not only illuminates the eighteenth-century satiric tradition but also provides essential background for analysis of Goldsmith's collection.The satire in The Citizen of the World, consequently, reflects various traits representative of each period within the eighteenth century. Those features characteristic of the Augustan Age--the pseudoletter genre, Altangi, assorted caricatures, the rhetorical tools drawn from all four comic theories, the satiric weapon of irony, the quality of critical humor, the intense emotions of moral contempt and righteous indignation, the unacceptable examples of vice and folly, the emphasis on man's responsibility for his own actions, and the normative values-generate satire that is, at least in several respects, moral, moderate, reasonable, amusing, and powerful. Similarly, those features characteristic of the Age of Sensibility--extensive variety and miscellany, the Man in Black, the developing character of Beau Tibbs, the concept of benevolent laughter, the definite tone of amusement and tolerance, the unacceptable examples of affectation, and the general objects of attack--generate satire that is, at least partially, good-natured, tolerant, moderate, amusing, and mild. Taken together, these features from both periods of the eighteenth century account for a satiric work that is Horatian, that is occasionally intense, occasionally moderate, that is, in truth, a blend of two particular kinds of satire, one created by the Augustan Age, the other by the Age of Sensibility.

No description available.

Inaug.-Diss.--Berlin. / Lebenslauf.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-02T14:31:23Z No. of bitstreams: 1 Sancha Livia Resende.pdf: 3713954 bytes, checksum: b0f60319213a993542a7880f08c842d7 (MD5) / Made available in DSpace on 2016-09-02T14:31:23Z (GMT). No. of bitstreams: 1 Sancha Livia Resende.pdf: 3713954 bytes, checksum: b0f60319213a993542a7880f08c842d7 (MD5) Previous issue date: 2016-04-08 / This work aims to analyse the transformations the jewellery industry went through in Belo Horizonte - MG and it's impacts on the goldsmith labour. The focus is to understand to what extent and in what ways the contemporary transformations of work practices generate changes in the specific field of work of goldsmiths. The work starts from an assumption that these transformations had direct impact on goldsmith activities and jewellery workers. To answer the question, this work is structured based on the technical features surrounding goldsmiths in Minas Gerais, the knowledge of goldsmith practices, the changes in this specific field of labour and it's production, generated from the contemporary changing work standards. As a methodology, workers, jewellery businessmen, union representatives, a mineralogy professor and a jewellery designer were all interviewed. Pictures were taken, along with dictionary researches, web researches and also a consultation to the jewellery industry's data source / Este trabalho tem como objetivo analisar as transformações do trabalho na indústria joalheira de Belo Horizonte - MG e seus impactos no ofício da ourivesaria. O foco é entender até que ponto e, de que forma, as transformações contemporâneas do trabalho geraram mudanças no ofício da ourivesaria. Partiu-se do pressuposto de que essas transformações no trabalho impactaram diretamente o ofício da ourivesaria e os trabalhadores ourives. Para responder à questão de pesquisa, este trabalho foi estruturado, a partir das características da ourivesaria mineira, o conhecimento da prática do ofício da ourivesaria, as mudanças no ofício e na produção, geradas a partir das transformações no trabalho. Utilizou-se como metodologia entrevistas semiestruturadas com trabalhadores, empresários, representantes sindicais, um professor de mineralogia e uma designer de joias. Foram feitas fotografias, coleta de dados em dicionários, sítios da internet e dados relativos à produção de uma indústria joalheira

Thesis (Ph. D.)--Yale University, 1925.

Thesis (M.A.)--University of Adelaide, Dept. of English, 1993. / "Submitted as Ph. D thesis." Includes bibliographical references (leaves 468-493).

Zugleich: Diss. Münster (Westfalen), 2007. / Register. Literaturverz.

Orientador: José Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:21:28Z (GMT). No. of bitstreams: 3 BertidaSilva_DouglasRegis_M.pdf: 16408229 bytes, checksum: 036ad2e6aada58e00ac047303daf0fa4 (MD5) BertiDaSilva_DouglasRegis_Anexo1.zip: 147919886 bytes, checksum: a9c5dad785b66408ac9f89714b3c4cb0 (MD5) BertiDaSilva_DouglasRegis_Anexo2.zip: 386337236 bytes, checksum: f594563c559a3a5f032c7e6b2152b1a1 (MD5) Previous issue date: 2014 / Resumo: Este trabalho teve por objetivo demonstrar hábitos definidos de efeitos de orquestração em trilhas sonoras, no âmbito do cinema industrial hollywoodiano, por meio de recursos de instrumentação e organização do timbre orquestral consagrados por Jerry Goldsmith. Sob um panorama cronológico, delineamos através de partituras o desenvolvimento de técnicas e procedimentos formais de orquestração, paralelamente à evolução de grupos instrumentais na história da música ocidental. A expansão dos limites da música sinfônica e as inovações orquestrais desenvolvidas pelos grandes compositores, tornaram-se a referência para dirigirmos as atenções aos primeiros compositores de música original para o cinema clássico, e assim nos deparamos com os primeiros filmes que retratam o sobrenatural e os mistérios desconhecidos da humanidade, especialmente por Bernard Herrmann. As artimanhas necessárias para criar uma nova sonoridade orquestral que representasse monstros e alienígenas na música de cinema ¿ além das aflições humanas, é claro ¿ se tornam, em última instância, a nossa derradeira missão: o legado de Jerry Goldsmith e os efeitos da sonoridade orquestral no cinema / Abstract: This study aimed to show defined custom orchestration effects found in Hollywood film industry soundtracks, via resources of instrumentation and orchestral tone established by Jerry Goldsmith. Under a chronological prospect, we outlined the development of techniques and formal method of orchestration through scores, at the same time with the evolution of instrumental sets in European music history. The spreading of symphonic music¿s boundaries and the technical innovation developed by the great composers became reference to us to focus to the first original music composers in the classical Hollywoodian cinema, and here we run into the first movies that depict the supernatural and the unknown mysteries of mankind, specially by Bernard Herrmann. The required tricks to creat a new orchestral sound which intended to play monsters and aliens in the music track ¿ human suffering as well ¿ turn up, as a last resort, our last mission: Jerry Goldsmith¿s legacy and the effects of the orchestral sounds on film / Mestrado / Fundamentos Teoricos / Mestre em Música

Made available in DSpace on 2016-04-25T20:20:01Z (GMT). No. of bitstreams: 1 Sancha Livia Resende.pdf: 2688564 bytes, checksum: 79838198764ba455d0ab17a0df30bf37 (MD5) Previous issue date: 2010-11-29 / This master thesis deals with the goldsmith activity in the city of Belo Horizonte - MG, from data and information collected about three situations of jewel-making. On the first situation, a goldsmith who works in a atelier where he creates and executes the jewel, having full control of all the steps of this making. On the second situation, the goldsmith has a small manufactory, where he executes the jewel created by another person, in this case, the designer. On the third, a goldsmith works in an industry, making parts of jewels or small adjustments to finished jewels. On the jewel-making, they use both hands and head, but not every one of them acts at the various steps of this making. Although in the situations selected for this study the relations between hands and heads shows up in the goldsmith's working practice, theirs working places are different and in the industry most of them are distributed by separated departments and offices, executing standard models created by other people / Esta dissertação de mestrado trata do fazer do ourives na cidade de Belo Horizonte MG, a partir de dados e informações coletados sobre três situações do fazer joia. Na primeira situação, um ourives que trabalha em um atelier onde cria e faz uma joia, tendo o domínio de todas as fases desse fazer. Na segunda situação, o ourives tem uma pequena oficina, onde faz joia concebida por outro, no caso o designer. Na terceira, um ourives trabalha em uma indústria, executando partes de uma joia ou ajustes em joias prontas. No fazer joias todos eles usam mãos e cabeça, porém nem todos atuam nas várias etapas desse fazer. Ainda que nas situações selecionadas para o estudo, as relações entre mãos e cabeça apareçam nas práticas de trabalho dos ourives, os seus locais de trabalho são diferentes e na indústria a maioria deles está distribuída por setores e salas separadas, executando modelos padronizados criados por outros

Made available in DSpace on 2016-04-26T14:52:54Z (GMT). No. of bitstreams: 1 Sancha Livia Resende.pdf: 2688564 bytes, checksum: 79838198764ba455d0ab17a0df30bf37 (MD5) Previous issue date: 2010-11-29 / This master thesis deals with the goldsmith activity in the city of Belo Horizonte - MG, from data and information collected about three situations of jewel-making. On the first situation, a goldsmith who works in a atelier where he creates and executes the jewel, having full control of all the steps of this making. On the second situation, the goldsmith has a small manufactory, where he executes the jewel created by another person, in this case, the designer. On the third, a goldsmith works in an industry, making parts of jewels or small adjustments to finished jewels. On the jewel-making, they use both hands and head, but not every one of them acts at the various steps of this making. Although in the situations selected for this study the relations between hands and heads shows up in the goldsmith's working practice, theirs working places are different and in the industry most of them are distributed by separated departments and offices, executing standard models created by other people / Esta dissertação de mestrado trata do fazer do ourives na cidade de Belo Horizonte MG, a partir de dados e informações coletados sobre três situações do fazer joia. Na primeira situação, um ourives que trabalha em um atelier onde cria e faz uma joia, tendo o domínio de todas as fases desse fazer. Na segunda situação, o ourives tem uma pequena oficina, onde faz joia concebida por outro, no caso o designer. Na terceira, um ourives trabalha em uma indústria, executando partes de uma joia ou ajustes em joias prontas. No fazer joias todos eles usam mãos e cabeça, porém nem todos atuam nas várias etapas desse fazer. Ainda que nas situações selecionadas para o estudo, as relações entre mãos e cabeça apareçam nas práticas de trabalho dos ourives, os seus locais de trabalho são diferentes e na indústria a maioria deles está distribuída por setores e salas separadas, executando modelos padronizados criados por outros