O objetivo central desta tese é estudar o percurso artístico e intelectual de Leon Hirszman a partir dos filmes Que país é este? (1976-77), ABC da greve (1979- 90) e Eles não usam black-tie (1981). Discutindo as relações entre cinema e História, a pesquisa se concentra nas práticas culturais, estéticas e ideológicas do realizador, procurando analisar as interpretações que ele mobilizou em torno do Brasil durante a vigência do regime militar. A despeito de Hirszman ter consolidado a sua trajetória como integrante do Cinema Novo, questão que percorre as páginas deste doutorado, propõe-se também uma aproximação entre a sua obra e o projeto dramatúrgico construído por autores oriundos do Teatro de Arena. Na década de 1970, face à crise que se instalou no campo cultural da esquerda, em especial o colapso da crença revolucionária anterior a 1964 e o refluxo da leitura do povo como vanguarda heroica para uma transformação do mundo, o cineasta se aproximaria do revisionismo artístico proposto, principalmente, por Gianfrancesco Guarnieri, Paulo Pontes e Vianinha. Mantendo em seus filmes uma abordagem politizada da classe popular, sem abdicar da figura do intelectual como mediador de denúncias contra a ditadura, o diretor se voltaria para uma produção em sintonia com o viés comunista de engajamento, em diálogo com a tradição do realismo crítico e disposta a elaborar narrativas e registros documentais em confronto ao autoritarismo dos militares. Nesse sentido, mesmo sem partilhar do ideário do novo sindicalismo surgido sobretudo entre os metalúrgicos da cidade paulista de São Bernardo do Campo, Hirszman deslocaria a figura do operário para o centro do processo criativo de ABC da greve e de Black-tie, representando-o em uma chave próxima à resistência articulada pelo Partido Comunista Brasileiro (PCB), na qual o trabalhador seria visto como parte de uma ampla frente organizada para superar a ditadura e atuar em prol da redemocratização. Uma obra realizada com o intuito de responder aos dilemas sociais de seu contexto histórico, a propor uma abordagem particular sobre a classe popular e a militância antiautoritária, a partir de leituras e experiências estéticas construídas em meio aos impasses que percorreram a esquerda política e cultural na segunda metade dos anos 1970. / The main goal of this thesis is to study Leon Hirszman\'s artistic and intellectual trajectory through the films Que país é este? (1976-77), ABC da greve (1979-90) and They don\'t wear black-tie (1981). Discussing the relation between film and History, the research concentrates itself on the cultural, aesthetic and ideological practices of the director, aiming to analyze his interpretations about Brazil during its military dictatorship. Despite Hirszman\'s consolidated career as a member of the Cinema Novo movement, issue that is described during this doctoral thesis, it also proposes an approach of his work with the dramaturgical project originated by authors from the Teatro de Arena. On the 1970\'s, in virtue of the crisis installed in the left wing\'s cultural sphere, specially the collapse of the revolutionary belief preceding 1964 and the retrocession of the interpretation placing the people as the heroic vanguard leading a structural transformation, the filmmaker would court the artistic revisionism proposed by Gianfrancesco Guarnieri, Paulo Pontes and Vianinha. Maintaining a politicized approach about the popular class on his films, without abdicating the image of the intellectual as a mediator of denounces against the dictatorship, the director would proceed to a production in tune with the communist\'s active participation project, establishing a dialogue with the tradition of critical realism, willing to elaborate narratives and documental registers confronting with the authoritarian way of the military. In this sense, even without sharing the ideology originated from the newly born trade unionism, especially among the steelworkers from São Bernardo do Campo\'s city, Hirszman shifted the figure of the worker, making it the core of the creative process of ABC da greve and Black-tie. In these movies, it was represented as a key-piece close to the resistance articulated by the Brazilian Communist Party (PCB), in which it was seen as part of a large front, organized to overcome the military regime and act in favor of the country\'s redemocratization. A work realized with the intention of responding to the social dilemmas of its time, proposing a singular approach about the popular class and the anti-authoritarian militancy, originating interpretations and aesthetic experiences constructed among conflicts that filled the left-wing politic and cultural manifestations on the second half of the seventies.

O objetivo central desta tese é estudar o percurso artístico e intelectual de Leon Hirszman a partir dos filmes Que país é este? (1976-77), ABC da greve (1979- 90) e Eles não usam black-tie (1981). Discutindo as relações entre cinema e História, a pesquisa se concentra nas práticas culturais, estéticas e ideológicas do realizador, procurando analisar as interpretações que ele mobilizou em torno do Brasil durante a vigência do regime militar. A despeito de Hirszman ter consolidado a sua trajetória como integrante do Cinema Novo, questão que percorre as páginas deste doutorado, propõe-se também uma aproximação entre a sua obra e o projeto dramatúrgico construído por autores oriundos do Teatro de Arena. Na década de 1970, face à crise que se instalou no campo cultural da esquerda, em especial o colapso da crença revolucionária anterior a 1964 e o refluxo da leitura do povo como vanguarda heroica para uma transformação do mundo, o cineasta se aproximaria do revisionismo artístico proposto, principalmente, por Gianfrancesco Guarnieri, Paulo Pontes e Vianinha. Mantendo em seus filmes uma abordagem politizada da classe popular, sem abdicar da figura do intelectual como mediador de denúncias contra a ditadura, o diretor se voltaria para uma produção em sintonia com o viés comunista de engajamento, em diálogo com a tradição do realismo crítico e disposta a elaborar narrativas e registros documentais em confronto ao autoritarismo dos militares. Nesse sentido, mesmo sem partilhar do ideário do novo sindicalismo surgido sobretudo entre os metalúrgicos da cidade paulista de São Bernardo do Campo, Hirszman deslocaria a figura do operário para o centro do processo criativo de ABC da greve e de Black-tie, representando-o em uma chave próxima à resistência articulada pelo Partido Comunista Brasileiro (PCB), na qual o trabalhador seria visto como parte de uma ampla frente organizada para superar a ditadura e atuar em prol da redemocratização. Uma obra realizada com o intuito de responder aos dilemas sociais de seu contexto histórico, a propor uma abordagem particular sobre a classe popular e a militância antiautoritária, a partir de leituras e experiências estéticas construídas em meio aos impasses que percorreram a esquerda política e cultural na segunda metade dos anos 1970. / The main goal of this thesis is to study Leon Hirszman\'s artistic and intellectual trajectory through the films Que país é este? (1976-77), ABC da greve (1979-90) and They don\'t wear black-tie (1981). Discussing the relation between film and History, the research concentrates itself on the cultural, aesthetic and ideological practices of the director, aiming to analyze his interpretations about Brazil during its military dictatorship. Despite Hirszman\'s consolidated career as a member of the Cinema Novo movement, issue that is described during this doctoral thesis, it also proposes an approach of his work with the dramaturgical project originated by authors from the Teatro de Arena. On the 1970\'s, in virtue of the crisis installed in the left wing\'s cultural sphere, specially the collapse of the revolutionary belief preceding 1964 and the retrocession of the interpretation placing the people as the heroic vanguard leading a structural transformation, the filmmaker would court the artistic revisionism proposed by Gianfrancesco Guarnieri, Paulo Pontes and Vianinha. Maintaining a politicized approach about the popular class on his films, without abdicating the image of the intellectual as a mediator of denounces against the dictatorship, the director would proceed to a production in tune with the communist\'s active participation project, establishing a dialogue with the tradition of critical realism, willing to elaborate narratives and documental registers confronting with the authoritarian way of the military. In this sense, even without sharing the ideology originated from the newly born trade unionism, especially among the steelworkers from São Bernardo do Campo\'s city, Hirszman shifted the figure of the worker, making it the core of the creative process of ABC da greve and Black-tie. In these movies, it was represented as a key-piece close to the resistance articulated by the Brazilian Communist Party (PCB), in which it was seen as part of a large front, organized to overcome the military regime and act in favor of the country\'s redemocratization. A work realized with the intention of responding to the social dilemmas of its time, proposing a singular approach about the popular class and the anti-authoritarian militancy, originating interpretations and aesthetic experiences constructed among conflicts that filled the left-wing politic and cultural manifestations on the second half of the seventies.

Made available in DSpace on 2016-04-27T18:47:36Z (GMT). No. of bitstreams: 1 Cristiane Cinat.pdf: 670062 bytes, checksum: 5ad6800b17210934794f2a1cbd88e9d0 (MD5) Previous issue date: 2010-02-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Through a history of singular life, this dissertation explores some of the dimensions that, present in a singular citizen, in the truth, is refer the life of whole mens. Aging, social participation, public politics and social movements are the boarded subjects, although not run out. The peculiarity of the life s history of collected inhabits in the fact of the person in such a way to articulate its in itself , as the other (collective). As it could be seen, in the person are observed, clearly, motivations and disposals that exceed the individual scope; that involve the collective. For our person, it only has life will have to be committed politician and social; if it will be moved by causes ample, challenging and directed the questions related to the basic human rights and the quality of life. Now aged, she continues in the fight for the right to have a rights (cf. Arendt); fight to take on since the youngest years of her life. Her life is moved to the constant elaboration of projects, fact that confers, to the person, great vitality. At last, Olga to set a good exemple, in high and good sound , that the old age does not mean retirement of the life; however. This because dreams, fights, conquests and searchs for the better quality of life does t have age. What Olga to be witness is exactly this / Através de uma história de vida singular, essa dissertação explora algumas das dimensões que, presentes em um sujeito singular, referem-se, na verdade, à vida de todos os homens. Envelhecimento, participação social, politicas públicas e movimentos sociais são os temas abordados, apesar de não esgotados. A peculiaridade da história de vida coletada reside no fato de a personagem articular tanto o seu em si , como o outro (coletivo). Como poderá ser visto, na personagem observam-se, claramente, motivações e disposições que transcendem o âmbito individual; que envolvem a coletividade. Para nossa personagem, só há vida se houver comprometimento político e social; se for movida por causas mais amplas, desafiadoras e voltadas a questões relacionadas aos direitos humanos fundamentais e à qualidade de vida. Agora idosa, continua na luta pelo direito a ter direitos (cf. Arendt); luta abraçada desde os mais tenros anos de vida. Sua vida é movida à constante elaboração de projetos, fato que confere, à personagem, grande vitalidade. Enfim, Olga exemplifica,em alto e bom som, que a velhice não significa aposentadoria da vida; pelo contrario. Isso porque sonhos, lutas, conquistas e busca por qualidade de vida não têm idade. O que Olga testemunha é exatamente isso

Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèse. / This thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image.

Over the past 100–150 years Texas rangelands have dramatically changed from native open savannahs to dense woodlands. On the Edwards plateau, a major management concern is the increasing encroachment of Ashe juniper (Juniperus ashei). Preceding an anticipated brush management program, I investigated the presence, co-occurrence, and habitat relationships of 7 breeding bird species in the Leon River Watershed in central Texas, USA: black-capped vireo (Vireo atricapillus), golden-cheeked warbler (Dendroica chrysoparia), northern bobwhite (Colinus virginianus), white-eyed vireo (Vireo griseus), Bell’s vireo (Vireo bellii), painted bunting (Passerina ciris), and brown-headed cowbird (Molothrus ater). Vegetation characteristics were compared between sites occupied by each species and unoccupied sites using univariate analysis. Models for predicting species site occupancy were developed (using logistic regression) based on habitat characteristics correlated with the presence of each species. Two species of special concern, the endangered black-capped vireo and golden-cheeked warbler occupied 5.6% of sites and 13.8% of sites respectively, while the brood parasite brown-headed cowbird was the most widespread, occupying 86.8% of sites. Species co-occurrence patterns revealed significant associations between the golden-cheeked warbler and each of 5 other species. For most species, variables included in habitat models could be explained by knowledge of species known habitat associations. For example, the black-capped vireo was positively associated with increasing low-growing (<1.5 m) hardwood cover and with Low Stony Hill ecological sites. The golden-cheeked warbler was positively associated with increasing density of larger juniper trees, increasing variability in vertical vegetation structure, and decreasing midstory canopy of deciduous nonoaks (e.g., cedar elm [Ulmus crasifolia]). It also preferred Low Stony Hill and Steep Adobe ecological sites. Site occupancy seemed to be driven by variables that describe overall vegetation structure. In particular, cover of low-growing non-juniper vegetation and juniper tree density appeared to be important in determining site occupancy for several species. Although the models constructed were not very robust, resource managers can still benefit from such models because they provide a preliminary examination of important controlling variables. Managing rangelands to maintain or restore a mosaic of juniper patches and open shrublands are likely to help meet the habitat requirements of these bird communities.

The northern Iberian Bishopric of Calahorra was re-founded in 1045 by Garcia 111 of Navarre. Between that date and the death of its eighth post-restoration bishop in 1190 all or part of its diocesan territory changed hands seven times between the Kingdoms of Navarre, Leon-Castile/Castile, and Aragon, as they competed over the riojan frontier- zone on which it was located. The position of the diocese on such a volatile secular frontier had consistently profound, but also steadily changing, effects on its political and institutional development. In the initial phase of Calahorra's restoration, its bishop was enormously empowered by his central role in the consolidation of Navarre's southern and western frontiers, but was held back from establishing a centralized diocesan administration by the insecurities inherent in the borderland condition of his see. Following a change of political regime in the Rioja in 1076, the bishopric suffered the severe consequences of its total identification with a defeated secular power when its embryonic diocesan structures were comprehensively dismantled and its bishops subjected to a dominant and hostile crown that effectively undermined their diocesan authority. The debilitation of royal authority in the Rioja and the region's political marginalization between 1109 and 1134 provided the context for the emergence of the see's independent political stance and its notably autonomous and rapid development of a strong cathedral. When Leonese-Castilian regional dominance was forcefully reasserted between 1134 and 1157, the Bishops of Calahorra were able to put the forceful currents of canonical reform that emanated from an increasingly comprehensive and emphatically territorial secular ecclesiastical hierarchy to use in combining their centrality to the north-eastern border politics of the Crown of Leon-Castile with the independent pursuit of a specifically diocesan agenda. When Castile ceased serving Calahorra's territorial interests towards the end of the twelfth century, the see used the political leverage it gained by its inclusion in the Aragonese Metropolitanate of Tarragona to distance itself from Castilian politics, thus revealing its maturity as a frontier power in its own right.

x, 91 p. : ill., music / In this study I examine representations of antisemitism, fantasy, and cultural imperialism in the 1864 ballet The Little Humpbacked Horse, composed by Cesare Pugni and choreographed by Arthur Saint-Leon. As the creative team adapted the story from verse to ballet, they literally morphed the titular character into new fantastical forms. They also added Jewish, Muslim, and other oriental characters and ended the ballet with a parade of the Russian nations. Drawing on the works of Richard S. Wortman, Julie Kalman, and Roger Bartra, I place these transformations in the context of a larger Russian ambivalence around the shift from a rural and woodland economy to an urban one, the inclusion of Eastern provinces in the rapidly expanding nation, and the emancipation – and inclusion of – internal minorities. I then explain how the music, choreography, and focus of the ballet change as the relevance of these mid-nineteenth century concerns fades. / Committee in charge: Loren Kajikawa, Co-Chairperson; Marian Smith, Co-Chairperson; Anne Dhu McLucas, Member

Submitted by Kilvya Braga (kilvyabraga@hotmail.com) on 2018-04-23T22:31:15Z No. of bitstreams: 1 BRENO GOMES DE LIMA AMORIM – DISSERTAÇÃO (PPGH) 2016.pdf: 888574 bytes, checksum: 2e9711505fe7f4e309890ee9bc238b9c (MD5) / Made available in DSpace on 2018-04-23T22:31:15Z (GMT). No. of bitstreams: 1 BRENO GOMES DE LIMA AMORIM – DISSERTAÇÃO (PPGH) 2016.pdf: 888574 bytes, checksum: 2e9711505fe7f4e309890ee9bc238b9c (MD5) Previous issue date: 2016-06-07 / O presente trabalho procura analisar a presença do mundo antigo na obra Sobre a Família, escrita pelo florentino Leon Battista Alberti, no século XV. O Sobre a Família se constitui como um manual cívico elaborado com a intenção de formular um modelo de família considerado útil para a Florença do Quattrocento. Em um primeiro momento, discutimos sobre o conceito de família na antiguidade, levando em consideração sua ambigüidade e artificialidade, e como se construiu o discurso da importância da família para a conservação dos valores citadinos. Mapeamos elementos do mundo grecoromano que servem para justificar o modelo de família proposto pelo humanista. Do mesmo modo, problematizamos em que medida os temas postos pela historiografia da Roma Antiga são apropriados com a intenção de incutir no cidadão florentino o apreço pela virtude. Por fim, analisar-se-á como a antiguidade é recepcionada em períodos posteriores. Trata-se de perceber como o passado (antiguidade) pode sugerir algo em um determinado presente (século XV). / The present paper seeks to analyze the presence of the ancient world in the work On the Family, written by the Florentine Leon Battista Alberti, in the fifteenth century. On the Family is constituted as a civic manual developed with the intent of formulating a famil y model considered useful for the Florence of the Quattrocento period. I n a first moment, we discussed about the concept of family in ancient times, taking into consideration its ambiguity and artificiality, as well as how the discourse on the importance of the family was constructed for conserving the city values. We mapped elements of the Greco-Roman world that serve to justify the family model proposed by the referred humanist. In the same way, we questioned to what extent the topics pointed by the historiography of Ancient Rome are appropriated with the intention of instilling in the Florentine citizen an appreciation for virtue. At last, we will analyze how antiquity is received in poster periods of time. We seek to perceive how the past (antiquity) may suggest something in a given present time (the fifteenth century).

This thesis addresses the relationship between Cinema, Literature and History from the filmic adaptations of São Bernardo and Vidas Secas - literary Graciliano Ramos brought to the screen by filmmakers Hirszman Leon (1973) and Nelson Pereira dos Santos (1963), respectively. The writer and the filmmakers, through their aesthetic and political positions, sought to build their works through discussions that pointed to the projects, world views and ideals of non-hegemonic social categories, showing a Brazil multifaceted and heterogeneous. To realize these positions we try to capture its relations with the various proposals of realism and the left over the adaptation, production and reception of the books and movies, as each of the authors not only sought to build his criticism of propositions and policies of the hegemonic social categories, as advocated in his own way, aesthetic and political positions parallel, but not necessarily identical in seeking to represent Brazil. / Esta tese aborda a relação entre Cinema, Literatura e História a partir das adaptações fílmicas de São Bernardo e Vidas Secas - obras literárias de Graciliano Ramos levadas à tela pelos cineastas Leon Hirszman (1973) e Nelson Pereira dos Santos (1963), respectivamente. O escritor e os cineastas, pelas suas posições estéticas e políticas, procuraram edificar suas obras por meio de discussões que apontassem para os projetos, visões de mundo e ideais das categorias sociais não hegemônicas, mostrando um Brasil multifacetado e heterogêneo. Para perceber essas posições procuramos captar suas relações com as variadas propostas do realismo e das esquerdas ao longo da adaptação, produção e recepção dos livros e dos filmes, pois cada um buscou construir sua crítica às proposições e políticas das categorias sociais hegemônicas, assim como defendeu, a seu modo, posições estéticas e políticas paralelas, mas não necessariamente idênticas na busca por representar o Brasil. / Doutor em História

Orientador: Claudia Valladão de Matos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:15:35Z (GMT). No. of bitstreams: 1 Formico_MarcelaRegina_M.pdf: 13487393 bytes, checksum: 919b96d1f4b3895551f708c721d3b616 (MD5) Previous issue date: 2012 / Resumo: Este trabalho apresenta uma contribuição para a análise do jogo de relações que se estabeleceu entre a pintura produzida no contexto brasileiro do século XIX e a produção internacional, especialmente francesa, centrando-nos na trajetória artística do pintor Oscar Pereira da Silva. A trajetória desse artista foi marcada por diversas idas e vindas entre Brasil e França, fazendo do artista um verdadeiro tradutor do sistema artístico francês para o contexto brasileiro. Desta forma, a partir da escolha da obra, "Escrava Romana", como "chave-mestra" para o desenvolvimento do debate em questão que se baseia o fluxo argumentativo da pesquisa. Razão que é justificável por esta tela representar um exemplar do primor técnico do estudo acadêmico do pintor brasileiro durante sua estádia com os mestres franceses, principalmente o pintor Jean- Léon Gérôme, que possui uma gama de obras que versam a temática explorada pelo objeto central de estudo. O segundo e último motivo se resguarda por se tratar de uma obra de grande impacto visual que compõe a galeria da Pinacoteca do Estado de São Paulo e ser um belíssimo representante da mais clássica das atividades do currículo da arte acadêmica do século XIX, a representação do nu / Abstract: This work presents a contribution for the relation's analysis between the masterpieces made inside the Brazilian's context on the 19th century and the international art's production, specially in France, focussing in the artistic path of the painter Oscar Pereira da Silva. The artist's life had a closer relation with France, making the painter a true translator of the French artistic model to Brazil. By choosing a particular painting as a methodological matter, the "Escrava Romana" became the "master key" for the research. To justify, this canvas is a perfect model of academic studies during his learning period with the French masters, specially Jean-Léon Gérôme, artist who developed a great number of canvas with the same thematic. The second and last reason is the great visual impact that this master-piece represents inside the gallery of Pinacoteca do Estado de São Paulo and for being a beautiful sample of the most classic discipline in the learning process at École des Beaux Arts and the academic art in general, the representation of the nude / Mestrado / Mestra em Artes Visuais