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No Canto Segundo do poema O Guesa (188?), uma das treze seções que compõe o longo poema épico de Sousândrade, destaca-se a reunião de índios com personagens não indígenas em um festim supostamente oferecido ao demônio Jurupari, na região do Alto Solimões, no Amazonas. Nessa pândega assinalada por uma dança depravada que ficou conhecida como Tatuturema, designação também atribuída pela crítica literária ao excerto do canto no qual o episódio festivo se desenvolve, chama atenção, principalmente, a caracterização dos nativos como seres degradados e explorados pelo contato com a sociedade branca. Representação que é oposta à imagem idealizada do índio presente na literatura oitocentista. Isso posto, o objetivo desta dissertação é analisar as figurações do Indianismo no Canto Segundo e suas implicações. A hipótese aventada é que a temática da festa indígena seria pano de fundo para a crítica de Sousândrade ao favorecimento de um grupo restrito de pessoas ligadas ao imperador d. Pedro II e à política opressiva e excludente do Segundo Reinado em relação aos grupos indígenas no projeto de construção da ideia de nação. / In the Second Canto of the poem The Guesa (188?), one of the thirteen chapters that composes the Sousândrades long epic poem, emerges the meeting of indians with nonindigenous people in a party, probably dedicated to the devil Jurupari, in the area of Alto Solimões River, in the Amazon. In these festivities indicated by a depraved dance which remained known as Tatuturema, name also awarded by the literary critic to the extract of the Canto where the festive episode takes place, what mainly draws the attention is the representation of the natives as degraded and exploited beings by the contact of the white society. Representation which is opposed to the idealized image of the Indian present in the 19th century Indianist literature. Therefore, the aim of this dissertation is to analyze the figurations of Romantic Indianism in the Second Canto and its implications. The suggested hypothesis is that the theme of the party would be the backcloth for Sousândrades criticism of the advantages of a small group of people linked to the emperor d. Pedro II and the oppressive and exclusionary politics of the Second Empire in relation of indigenous groups in the building project of the idea of nation.

No Canto Segundo do poema O Guesa (188?), uma das treze seções que compõe o longo poema épico de Sousândrade, destaca-se a reunião de índios com personagens não indígenas em um festim supostamente oferecido ao demônio Jurupari, na região do Alto Solimões, no Amazonas. Nessa pândega assinalada por uma dança depravada que ficou conhecida como Tatuturema, designação também atribuída pela crítica literária ao excerto do canto no qual o episódio festivo se desenvolve, chama atenção, principalmente, a caracterização dos nativos como seres degradados e explorados pelo contato com a sociedade branca. Representação que é oposta à imagem idealizada do índio presente na literatura oitocentista. Isso posto, o objetivo desta dissertação é analisar as figurações do Indianismo no Canto Segundo e suas implicações. A hipótese aventada é que a temática da festa indígena seria pano de fundo para a crítica de Sousândrade ao favorecimento de um grupo restrito de pessoas ligadas ao imperador d. Pedro II e à política opressiva e excludente do Segundo Reinado em relação aos grupos indígenas no projeto de construção da ideia de nação. / In the Second Canto of the poem The Guesa (188?), one of the thirteen chapters that composes the Sousândrades long epic poem, emerges the meeting of indians with nonindigenous people in a party, probably dedicated to the devil Jurupari, in the area of Alto Solimões River, in the Amazon. In these festivities indicated by a depraved dance which remained known as Tatuturema, name also awarded by the literary critic to the extract of the Canto where the festive episode takes place, what mainly draws the attention is the representation of the natives as degraded and exploited beings by the contact of the white society. Representation which is opposed to the idealized image of the Indian present in the 19th century Indianist literature. Therefore, the aim of this dissertation is to analyze the figurations of Romantic Indianism in the Second Canto and its implications. The suggested hypothesis is that the theme of the party would be the backcloth for Sousândrades criticism of the advantages of a small group of people linked to the emperor d. Pedro II and the oppressive and exclusionary politics of the Second Empire in relation of indigenous groups in the building project of the idea of nation.

Este trabalho objetiva uma introdução à análise e interpretação de poemas de Machado de Assis (1839-1908) presentes no livro Americanas (1875), com o resgate de sua escassa fortuna crítica; apresentação esquemática dos poemas; das suas datas de publicação anteriores à reunião em livro; das críticas recebidas por Machado em vida, especialmente por Sílvio Romero (1857-1914); e das modificações operadas por Machado como reação a tais críticas. Busca-se analisar como Machado redirecionou e recriou certas peças literárias ao longo do processo formativo da nossa literatura de cunho nacionalista, representando certa formação do caráter nacional. Para tanto, analisamos dois contos intitulados Mariana, publicados em tempos distintos e entremeio à publicação de um poema das Americanas intitulado Sabina, cuja temática liga-se aos dois contos. Através da leitura dos textos ficcionais, bem como dos textos de crítica do próprio poeta e prosador, buscamos fundamentar uma leitura que aponta para a importância de sua referida obra poética, considerada como engrenagem a mover peças de sua obra em prosa. / This dissertation aims to introduce an introductory analyses and interpretation on some Machado de Assiss poems (1839-1908) published in the book Americanas (1875), bringing back to a new approach its rare reviewing essays; a systematic presentation for the poems, their launching datum, before they were gathered and published in a book reunion; some reviews received by Machado right after publishing them, especially those from Sílvio Romero (1857-1914); and some changes made by Machado as a direct reaction to those reviews. We try to analyze how Machado redirected and recreated some literary pieces of work over those years considered as Brazilian formative ones, when forms of nationalism, such as indianism, was the main topic for writers committed to represent their national identity. Therefore, we analyze two short stories entitled Mariana, published in different dates separated by the composition of a poem from Americanas named Sabina, of which its theme links to the other two short stories. Through the reading of those fictional texts, as well as including some reviews written by Machado, we search for a reading focused on the importance of Machados poetry as a gear wheel for moving forward his prose works.

Este trabalho objetiva uma introdução à análise e interpretação de poemas de Machado de Assis (1839-1908) presentes no livro Americanas (1875), com o resgate de sua escassa fortuna crítica; apresentação esquemática dos poemas; das suas datas de publicação anteriores à reunião em livro; das críticas recebidas por Machado em vida, especialmente por Sílvio Romero (1857-1914); e das modificações operadas por Machado como reação a tais críticas. Busca-se analisar como Machado redirecionou e recriou certas peças literárias ao longo do processo formativo da nossa literatura de cunho nacionalista, representando certa formação do caráter nacional. Para tanto, analisamos dois contos intitulados Mariana, publicados em tempos distintos e entremeio à publicação de um poema das Americanas intitulado Sabina, cuja temática liga-se aos dois contos. Através da leitura dos textos ficcionais, bem como dos textos de crítica do próprio poeta e prosador, buscamos fundamentar uma leitura que aponta para a importância de sua referida obra poética, considerada como engrenagem a mover peças de sua obra em prosa. / This dissertation aims to introduce an introductory analyses and interpretation on some Machado de Assiss poems (1839-1908) published in the book Americanas (1875), bringing back to a new approach its rare reviewing essays; a systematic presentation for the poems, their launching datum, before they were gathered and published in a book reunion; some reviews received by Machado right after publishing them, especially those from Sílvio Romero (1857-1914); and some changes made by Machado as a direct reaction to those reviews. We try to analyze how Machado redirected and recreated some literary pieces of work over those years considered as Brazilian formative ones, when forms of nationalism, such as indianism, was the main topic for writers committed to represent their national identity. Therefore, we analyze two short stories entitled Mariana, published in different dates separated by the composition of a poem from Americanas named Sabina, of which its theme links to the other two short stories. Through the reading of those fictional texts, as well as including some reviews written by Machado, we search for a reading focused on the importance of Machados poetry as a gear wheel for moving forward his prose works.

My paper defines and analyzes the use of Native American elements in classical piano repertoire that has been composed based on Native American tribal melodies, rhythms, and motifs. First, a historical background and survey of scholarly transcriptions of many tribal melodies, in chapter 1, explains the interest generated in American indigenous music by music scholars and composers. Chapter 2 defines and illustrates prominent Native American musical elements. Chapter 3 outlines the timing of seven factors that led to the beginning of a truly American concert idiom, music based on its own indigenous folk material. Chapter 4 analyzes examples of Native American inspired piano repertoire by the "Indianist" composers between 1890-1920 and other composers known primarily as "mainstream" composers. Chapter 5 proves that the interest in Native American elements as compositional material did not die out with the end of the "Indianist" movement around 1920, but has enjoyed a new creative activity in the area called "Classical Native" by current day Native American composers. The findings are that the creative interest and source of inspiration for the earlier "Indianist" compositions was thought to have waned in the face of so many other American musical interests after 1920, but the tradition has recently taken a new direction with the success of many new Native American composers who have an intrinsic commitment to see it succeed as a category of classical repertoire. Native American musical elements have been misunderstood for many years due to differences in systems of notation and cultural barriers. The ethnographers and Indianist composers, though criticized for creating a paradox, in reality are the ones who saved the original tribal melodies and created the perpetual interest in Native American music as a thematic resource for classical music repertoire, in particular piano repertoire.

Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.