This thesis studies print culture in colonial Lagos against the background of the public sphere, and brings together a variety of English-language and Yoruba-language newspapers. Such an approach allows for highlighting the practicalities of newspaper production and foregrounding the work accomplished by newspapermen in a changing 'information environment' and political context. It offers insights into Lagos politics, contributes to the history of the educated elite, and to more global histories of communication. Using newspapers as well as archival records, and focussing on events that strikingly reveal dynamics in the public sphere, this thesis narrates a nuanced history of a discursive field which was, amongst other things, central for Lagos politics. This thesis complicates a Habermasian notion of the public sphere as an open discursive space, and not only highlights that the public sphere was an arena of contested meanings, but also illustrates axes along which the composition of this social structure was negotiated. When newspapers emerged in the late nineteenth-century, discussions in the press were largely restricted to the elite. The economy of recognition that was at play in the public sphere was to change in the 1920s. This thesis highlights how newspapermen and contributors sought to carve out niches for themselves in the public sphere in new ways and how their becoming a speaker in this discursive field was challenged and contested. It highlights the nuanced ways in which newspapermen and contributors convened publics through their papers: how they did so around particular issues, in distinction from each other, and how they adapted the convening of publics to new political dynamics in the 1940s. This thesis gives insight into the complex relationship between English-language and Yoruba-language newspapers, and moreover illustrates how the practicalities of the newspaper business were coming to bear on dynamics in the public sphere.

A presente tese analisa historicamente cinco diferentes momentos em que músicos populares e intelectuais eruditos brasileiros estabeleceram intercâmbios e trabalharam em parceria na construção de discursos sobre o ser nacional, sob influência marcante de um ideário de vanguarda. Para cada um desses momentos, elegeram-se parcerias representativas a serem estudadas. Os momentos abordados, compreendidos entre 1924 e 1969, foram o modernismo, o regionalismo baiano, a bossa-nova, a música de protesto da década de 1960 e o tropicalismo, tendo como representantes escolhidos, respectivamente: Marcelo Tupinambá e Mário de Andrade; Dorival Caymmi e Jorge Amado; Antônio Carlos Jobim, João Gilberto e Vinícius de Moraes; Carlos Lyra e Gianfrancesco Guarnieri; Caetano Veloso e Rogério Duprat. / This thesis examines five different historical moments when Brazilian popular musicians and high culture intellectual established exchanges and worked together in the construction of discourses about the national being, under strong influence of a cutting-edge set of ideas, ranging between 1924 and 1969. For each of these moments, were elected one representative partnership to be studied. The moments discussed were modernism, Bahias regionalism, bossa-nova, protest song movement of the 1960s decade and tropicalism, whose main representatives artists chosen were, respectively: Marcelo Tupinambá and Mário de Andrade; Dorival Caymmi and Jorge Amado; Antonio Carlos Jobim, João Gilberto and Vinícius de Moraes; Carlos Lyra and Gianfrancesco Guarnieri; Caetano Veloso and Rogério Duprat.

Esta Dissertação de Mestrado descreve o nascimento, a inserção e o desenvolvimento das religiões não Católicas em solo brasileiro. Discorre, entre as que estão em maior evidência, sobre suas doutrinas e práticas fundamentais. Por outro lado, analisa a produção científica brasileira sobre a temática, ocorrida entre 1900 e 2000, através de um balanço bibliográfico. Procura, assim, verificar quais religiões foram mais estudadas pela comunidade científica, bem como as lacunas existentes. / This Master thesis describes the birth, insertion and development of the noncatholic religions in the Brazilian territory. It concerns about the dogmas and basic practices of the most popular ones. On the other hand, it analyses the Brazilian scientific production about such issue between 1900 and 2000, through a bybliographic research. Thus far, this text aims to verify which religions were studied the most by the scientific community, as well as the blanks left by them.

Philosophiae Doctor - PhD / The work of the International Defence and Aid Fund (IDAF) conducted between 1956 and 1991 gave rise to a collection of records that traverse 35 years of support work. As a solidarity organisation IDAF provided support to liberation movements in South Africa through their legal and welfare assistance programmes. Equally significant, IDAF also sought to highlight the oppressive machinery of the apartheid government through the deployment of their research, information and publications programmes as a way of creating awareness and ‘keeping the conscience of the world alive.’ When the administrative records of IDAF were relocated to South Africa, with the Mayibuye Centre for History and Culture as chosen location, they were turned into an archival collection which also became a memorial to IDAF’s resistance work located in the foremost anti-apartheid university and politically in a new project that intended to create a museum about apartheid. Later the collection was incorporated into the Robben Island Museum (RIM) through an agreement between the University of the Western Cape (UWC) and the Museum. The dissertation examines the cultural history and the political life of the IDAF archival collection and the processes through which it was made and continues to be remade.

No description available.

This thesis focuses on developing an architectural study modifications of selected localities in the urban reserve Kroměříže. The proposal respects the regulatory plan and conservation requirements. The selected street Vejvanovského function has been selected, addressed a formal operational connection with the immediate surroundings, including urban interior green. In addition an architectural study of three selected newly designed buildings with regard to the historical picture of the urban conservation area towns.

Esta dissertação nasceu com um propósito simples: ler Monções (1945). Lê-lo, contudo, carregou o signo de um esforço duplo: de encarar o livro ora como documento da história intelectual do Brasil da primeira metade do século XX, e ora como artefato que interage com a nossa atualidade, e que nos permite interpelá-lo através do diálogo e do comentário crítico. O objeto desta pesquisa é a linguagem deste livro. Mobilizamos como método de análise procedimentos criados por Roland Barthes para o estudo daquilo que ele designou como \"o plural do texto\"; e de Michel Foucault, no que ele denominou como \"pesquisa arqueológica\", \"autor\" e \"arquivo\". Estas são nossas referências teóricas mais explícitas. Afora elas, operamos metodicamente com objetivo de estabelecer com a dissertação a crítica literária do livro e a exposição histórica da linguagem de seu texto. Devido à referida leitura dupla, por mais que inquiramos em Monções o seu sentido no contexto de uma obra, o \"autor\" de sua produção, e a biografia de Sérgio Buarque de Holanda, esta pesquisa não se confunde com o estudo da obra, da vida e do pensamento do autor. Neste instante, tal distinção pode aparentar sutil, mas será decisiva para que a investigação faça da \"linguagem do texto\" o seu objeto de estudo. Para cumprirmos este objetivo de investigação, contextualizamos Monções com a literatura da primeira metade do século XX, reconhecendo no seu campo de debate os assuntos que aportam numa rede de interpretações sobre o Brasil, na qual a diversidade da linguagem intelectual surge como seu panorama histórico. A base teórica deste estudo acompanha uma bibliografia que problematiza \"o ato de leitura\", \"o discurso histórico\", \"a modernidade\", e \"o modernismo no Brasil\". Entendemos que esta dissertação, pelo seu problema, contribuirá no assunto \"história intelectual do Brasil\", para as décadas de 1930 e 1940, e, pelo seu método e objeto de estudo, acreditamos que este estudo contribui pelo seu esforço em historiar a linguagem do documento histórico. / This monography began with a simple purpose: to read Monções (1945). To read it, however, is also to carry the meaning of a double struggle, namely, to face the book as a document of Brazil\'s intellectual history at the beginning of the 20th century, and as an object that communicates with our present time, that allows us to question the book through dialogue and critical review. The method for analysis was some procedures created by Roland Barthes for critical review, which he designated as \"le pluriel du texte\"; and some procedures of Michel Foucault that he classifies as \'archeological research\', \'author\', and \'archive\'. These are our most important theorical references. In addictions, methodologically, we conducted the research aiming at the connection between the critical review of the book and the historical appearance of the language in its text. Due to those approaches to the text, this research is not to be mistaken by the study of the oeuvre, and its author\'s thinking. For now, it\'s a subtle distinction, but it will be decisive to turn the language of the book into the study-object of this monography. To conclude this research, we contextualized Monções with the literature of the first half of the 20th century, acknowledging many subjects of this book in a weft of interpretations of Brazil, in which the intellectual language diversity arises as its historical perspective. The theoretical basis of this research builds upons literature that argues about the \'act of reading\', \'historical discourse\', \'modernity\', and the \'modernism in Brazil\'. We expect that this monography will contribute in the field of intellectual history of Brazil in the 30\'s and 40\'s of the 20th century, and because of its methodology and object of study, it will add a new view to historize the language in the document.

O objetivo dessa investigação foi analisar de que maneira a cultura popular coletada sob a forma de cantos, contos, provérbios e brincadeiras infantis foi tratada pela folclorista e professora mineira Alexina de Magalhães Pinto (1870-1921), considerada pioneira na aplicação das diversas formas da cultura oral à pedagogia. A intenção ao estudar a folclorista Alexina e suas obras na área do folclore foi verificar de que maneira ela colocava-se como intermediária em relação às práticas populares e a partir daí analisar o discurso que a intelectual construiu sobre essas práticas e vivências. Ao analisar os modos como Alexina manejou a cultura popular, seja corrigindo a fala do povo, ou a métrica das canções, valorizando os aspectos morais dos provérbios, criando e recriando contos populares, edulcorando seus finais, enfim, fazendo uso desse material para educar física, moral e intelectualmente as crianças, percebe-se como essas práticas estavam em consonância com a missão civilizadora que a elite letrada atribuiu para si entre o final do século XIX até as duas primeiras décadas do XX. Desse modo, a produção bibliográfica da folclorista e a historiografia sobre o tema, ajudam a revelar e/ou (re) construir os conflitos, tensões e projetos dessa conjuntura histórica marcada pela preocupação com a construção de uma identidade nacional brasileira. / Against the background of the period of the late nineteenth century until the first two decades of the twentieth century and thematic construction of Brazilian national identity, this study aimed at examining how the popular culture collected in the form of songs, stories , proverbs and child´s play was treated by folk and professor of mineira Alexina Magalhães Pinto (1870-1921), considered a pioneer in the application of oral literature and other forms of popular culture on teaching. The intention to study the folklore and the works Alexina left in the field of folklore was seen, how the folk posed herself as intermediary in relation to popular practice, and from this point analyze the speech that she builds about these practices and these experiences. In examining how the folk Alexina handled popular culture, \"correcting\" the speech of the people, or the metric of the songs, highlighting the moral aspects of proverbs, creating and recreating popular stories, sweetened its end, so making use of this material to educate physically, morally and intellectually children, we can notice how these \"practices\" used by her were according to a civilizing mission that the literate elite of the time attributed to themselves.Thus, production of folk literature and history about her, helps to reveal and / or (re) build the conflicts, tensions and projects that historical juncture marked by concern with the construction of a Brazilian national identity.

Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem. / Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.

Este trabalho investiga a circulação e o uso de imagens bidimensionais no Rio de Janeiro do período joanino (1808-1821), principalmente as impressas, produzidas nacionalmente ou importadas da Europa. A principal fonte para a pesquisa foram os anúncios e notícias publicadas nas mais de 1.850 edições da Gazeta do Rio de Janeiro, primeiro periódico impresso no Brasil e que circulou de 1808 a 1822. Este levantamento foi combinado com os estudos já existentes sobre a História da Cultura, História da Arte e Cultura Material para o período. / This study explores questions regarding the use and the circulation of bidimensional images in Rio de Janeiro during Dom João VI Brazilian period (1808-1821), with focus on engraved and printed images, locally produced or imported from Europe. The main sources were the advertisements published in more than 1.850 editions of Gazeta do Rio de Janeiro (1808-1822), the first periodic printed in the country. This survey brings together subfields as the Cultural History, Art History and Material Culture studies for this period.