A Vida Paulista semanário ilustrado de humorismo, crítica e arte foi publicada na cidade de São Paulo entre 1903 e 1905. Naquela época, a indústria gráfica estava em expansão e o jornalismo se convertia em empreendimento lucrativo, acompanhando o desenvolvimento urbano e comercial das principais cidades do país. Na capital paulista, desde a última década do século XIX, a imprensa periódica proliferava e assumia funções diversas. A Vida Paulista delimitou o seu escopo pelo trinômio humorismo, crítica e arte, mas abordou assuntos vários e defendeu um programa fundado no bom-senso dos comentários e na independência da opinião. Os diretores do semanário pretendiam fazer dele um caleidoscópio do viver multiforme e cosmopolita da capital artística do Brasil. No alvorecer do século XX, o estado de São Paulo e sua capital passavam por grandes transformações e foram palcos de tramas diversas, das quais a Vida Paulista foi testemunha e agente. No presente trabalho, pretendemos apresentar o semanário ilustrado fundado por Arlindo Leal e Peregrino de Castro, disponibilizá-lo em versão digital para futuras pesquisas e oferecer caminhos sem qualquer ambição de esgotar as infinitas possibilidades de leitura da Vida Paulista como fonte de conhecimento sobre o passado. Nosso objetivo é nutrir a revista de alguns pressupostos necessários à sua utilização como documento histórico, restituindo-lhe parte da inteligibilidade que o tempo e o esquecimento removeram. / Vida Paulista illustrated weekly magazine of humor, criticism and art was published in São Paulo (city) between 1903 and 1905. By that time, graphic industry was expanding and journalism was converting into a profitable enterprise, following the urban and commercial development of the main cities of Brazil. At São Paulos capital, since the last decade of nineteenth century, the periodical press proliferated and assumed various functions. Vida Paulista delimited its own scope by the trinomial humor, criticism and art, even though it addressed several issues and defended a program based on a good judgment of their reviews and independence of opinion. The heads of the magazine intended to make it a kaleidoscope of the multiform and cosmopolitan way of living of Brazils artistic capital. At the beginning of the twentieth century, the state of São Paulo and its capital went through major transformations and worked as stage for several plots, of which Vida Paulista was witness and agent. In this work, we seek to present the illustrated weekly magazine founded by Arlindo Leal and Peregrino de Castro, make it available in digital form for future researches and offer ways with no ambition to deplete the unlimited possibilities to read Vida Paulista as a source of knowledge about the past. Our goal is to foster the magazine with some assumptions that are needed for its utilization as historical document, restoring part of the intelligibility that time and oblivion has removed from it.

Made available in DSpace on 2016-04-28T14:16:26Z (GMT). No. of bitstreams: 1 Dissertacao OTAVIO PEREIRA LIMA.pdf: 3821535 bytes, checksum: 9ebac6c93d28497c104f49fe393709da (MD5) Previous issue date: 2006-05-17 / The present study focuses the thought of Afrânio Peixoto (1876 - 1947) with approach in its workmanship Elementos de hijiene, published in 1913 and reedited in 1914 under the name of Noções de hygiene, directed to education in the schools. This work aimed at to contribute for the improvement of the quality of life of the Brazilian people. Afrânio Peixoto participated of the sanitarist movement, which looked for to present ways to cure a country that until then would be seen as a great hospital. The studies of the sanitarists approached questions as, epidemics, architecture and urban cleanness among others. This work are focused on the controversies relations between fashion and Hygiene, commented in the related workmanship of the illustrious doctor, writer and Brazilian politician of the beginning of century XX. For in such a way, the selected primary sources include, beyond the workmanship Elements of hijiene, images, articles and announcements published at Fon Fon! Magazine between the years of 1912 and 1913, which, at that time, dictated and spread out the rules of the fashion and the behavior of the Brazilian elite / O presente estudo focaliza o pensamento de Afrânio Peixoto (1876 - 1947) com enfoque em sua obra Elementos de hijiene, publicada em 1913 e reeditada em 1914 com o nome de Noções de hygiene, voltada ao ensino nas escolas primárias. Essa obra visava contribuir para a melhoria da qualidade de vida do brasileiro. Afrânio Peixoto participava do movimento sanitarista, o qual procurava apresentar meios para curar um país que seria até então visto como um grande hospital. Os estudos dos sanitaristas abordavam questões como eugenia, epidemiologia, arquitetura e limpeza urbana entre outras. Neste trabalho são focalizadas as polêmicas relações entre moda e Higiene, comentadas na referida obra do ilustre médico, literato e político brasileiro do início do século XX. Para tanto, as fontes primárias selecionadas incluem, além da obra Elementos de hijiene, imagens, artigos e anúncios publicados na Revista Fon Fon! entre os anos de 1912 e 1913, a qual, naquela época, ditava e difundia os preceitos da moda e do comportamento da elite brasileira

A Vida Paulista semanário ilustrado de humorismo, crítica e arte foi publicada na cidade de São Paulo entre 1903 e 1905. Naquela época, a indústria gráfica estava em expansão e o jornalismo se convertia em empreendimento lucrativo, acompanhando o desenvolvimento urbano e comercial das principais cidades do país. Na capital paulista, desde a última década do século XIX, a imprensa periódica proliferava e assumia funções diversas. A Vida Paulista delimitou o seu escopo pelo trinômio humorismo, crítica e arte, mas abordou assuntos vários e defendeu um programa fundado no bom-senso dos comentários e na independência da opinião. Os diretores do semanário pretendiam fazer dele um caleidoscópio do viver multiforme e cosmopolita da capital artística do Brasil. No alvorecer do século XX, o estado de São Paulo e sua capital passavam por grandes transformações e foram palcos de tramas diversas, das quais a Vida Paulista foi testemunha e agente. No presente trabalho, pretendemos apresentar o semanário ilustrado fundado por Arlindo Leal e Peregrino de Castro, disponibilizá-lo em versão digital para futuras pesquisas e oferecer caminhos sem qualquer ambição de esgotar as infinitas possibilidades de leitura da Vida Paulista como fonte de conhecimento sobre o passado. Nosso objetivo é nutrir a revista de alguns pressupostos necessários à sua utilização como documento histórico, restituindo-lhe parte da inteligibilidade que o tempo e o esquecimento removeram. / Vida Paulista illustrated weekly magazine of humor, criticism and art was published in São Paulo (city) between 1903 and 1905. By that time, graphic industry was expanding and journalism was converting into a profitable enterprise, following the urban and commercial development of the main cities of Brazil. At São Paulos capital, since the last decade of nineteenth century, the periodical press proliferated and assumed various functions. Vida Paulista delimited its own scope by the trinomial humor, criticism and art, even though it addressed several issues and defended a program based on a good judgment of their reviews and independence of opinion. The heads of the magazine intended to make it a kaleidoscope of the multiform and cosmopolitan way of living of Brazils artistic capital. At the beginning of the twentieth century, the state of São Paulo and its capital went through major transformations and worked as stage for several plots, of which Vida Paulista was witness and agent. In this work, we seek to present the illustrated weekly magazine founded by Arlindo Leal and Peregrino de Castro, make it available in digital form for future researches and offer ways with no ambition to deplete the unlimited possibilities to read Vida Paulista as a source of knowledge about the past. Our goal is to foster the magazine with some assumptions that are needed for its utilization as historical document, restoring part of the intelligibility that time and oblivion has removed from it.

En France, le XIXe siècle est témoin d’un renouveau de la littérature orale. Alors que les dialectologues accomplissent un important travail de documentation et de préservation des sources orales au XIXe siècle, les littéraires mettent en scène les patois. Les contes populaires de Gaston Demongé, auteur normand (Aux gars de Normandie, 1917 ; Les Terreux, 1925 et 1955) ont marqué l’imaginaire de son époque. Auteur engagé dans le débat sociopolitique sous la Troisième République, Gaston Demongé opte par son choix de retranscription du patois de rester fidèle à ses convictions profondément régionalistes. L’œuvre de l’auteur normand offre une disparité dans sa façon d’aborder le patois cauchois et le discours social qu’il transmet sur le paysan entre le début du XXe siècle et la période de l’après guerre. De fait, il manifeste dans son écriture, dès 1925, son désaccord avec le discours imposé sur le paysan et son langage.

This Master Thesis describes the Expérience Grand-Guignol project, consisting on the one hand of research of the texts preserved in the Parisian Theatre Grand-Guignol (1897 – 1963) and on the other hand of a graduation performance in Theatre DISK which staged four plays from the repertory of this famous theatre of horrors. The Expérience Grand-Guignol project explored in practice various approaches to the historical material of Grand-Guignol placed in a contemporary context. It examined limits of the genre and methods of staging favorable to the Grand-Guignol experience today. The thesis is structured in three parts. The first part presents the Grand-Guignol theatre phenomenon, its history and theory compiled from accessible literature. The second part is dedicated to a detailed preparation and realization of the project. It presents four performed shows, including the overall set design and storyline, which provides the frame for the cycle. The last part presents a short reflection on fear as an effect of a theatre performance, a summary of observations from the practical examination, and an evaluation of project.

Cette étude esquisse les narratives concurrentes au sein de l’espace médiatique français par rapport à la perception des guerres balkaniques de 1912-1913 (guerre de civilisations contre guerre d’intérêts économiques, de libération/unification nationale, nouvelle croisade, guerre juste, contre guerre illégitime, guerre de conquête, nouvelle expédition colonialiste, discours pacifistes contre rhétoriques militaristes, approches nationalistes contre solutions fédéralistes). Elle participe également à un essai de schématisation de différents facteurs, paramètres et de leurs interactions (affinités personnelles, sensibilités idéologiques, intérêts économiques, considérations géopolitiques, couverture médiatique, représentations de Soi et de l’Autre, de l’Ici et de l’Ailleurs, du Passé, du Présent et du Futur) façonnant la perception d’un conflit par une société observatrice phénoménalement extérieure à son déroulement. Elle nous informe aussi sur les pratiques journalistiques et les goûts du public médiatique avec l’importance croissante des correspondants de guerre dans la médiatisation de la guerre et l’exigence d’une couverture sensationnelle, directe et omnisciente des événements. Elle explore également la place des Balkaniques, des Balkans et de l’histoire de cet espace dans l’imaginaire français de la Belle Époque et l’invitation des guerres balkaniques dans la vie politique, économique et socioculturelle française, à la veille de la Grande Guerre. Enfin, elle s’interroge sur le rôle des propagandes des belligérants dans la transformation de la presse en un champ de batailles médiatiques et représentationnelles, entre les acteurs directement impliqués dans le conflit et les observateurs extérieurs, s’exprimant dans l’espace médiatique français, avec comme enjeu majeur, la définition d’une entité politique et axiologique européenne. / This study outlines the competitive narratives of the 1912-1913 Balkan wars inside the French media landscape (national liberation/unification wars, new crusade, just war, versus illegitimate conquest war, new colonialist expedition, pacifist settlement versus militarist rhetoric, nationalist approaches versus federalist proposals). It is also a schematization essay of the different factors-parameters and their interactions, (personal affinities, ideological orientations, economical interests, geopolitical considerations, media coverage, representation of the Self and the Other, the Here and Elsewhere, the Past, the Present and the Future) intervening in one’s conflict perception on behalf of a phenomenally external society to its unfolding. It also informs us about journalistic practices and the media’s public tastes stretching the rising importance of war reporters and the demand for a sensational, direct and omniscient news coverage. It also explores the place of Balkan people, Balkans’ history and geography, in the imagination of French Belle Époque, as well as the way Balkan wars had been invited within French political, economical and socio-cultural life at the eve of the Great War. Finally, it questions the role of belligerents’ propagandas in the newspapers’ transformation at a media and representational battlefield between the actors directly concerned by the conflict and the external observers expressing themselves in French media, having as major stake the definition of a political and axiological European entity.

Cette étude aborde la manière dont l’Orient-Express a été décrit, perçu et imaginé, et s’efforce de mesurer l’écart entre les représentations communes et ce qui se dégage d’un corpus de textes très divers à travers trois grands axes de réflexion :les évocations des itinéraires de l’Orient- Express, les discours tenus sur le train et ses voyageurs, les thématisations et récupérations littéraires dont il a fait l’objet.L’idée directrice du propos est de montrer comment l’Orient-Express, rêve programmé par de très efficaces campagnes publicitaires et suscité par un imaginaire géographique, historique et littéraire puissant, n’a pu pleinement convaincre les voyageurs, mais aussi les écrivains et les lecteurs qui, semble-t-il, ne cessent de déplorer la disparition d’un train et d’un voyage qui n’ont peut-être jamais existé ou qui ne sont jamais vraiment ceux qu’ils imaginaient. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished

En France, le XIXe siècle est témoin d’un renouveau de la littérature orale. Alors que les dialectologues accomplissent un important travail de documentation et de préservation des sources orales au XIXe siècle, les littéraires mettent en scène les patois. Les contes populaires de Gaston Demongé, auteur normand (Aux gars de Normandie, 1917 ; Les Terreux, 1925 et 1955) ont marqué l’imaginaire de son époque. Auteur engagé dans le débat sociopolitique sous la Troisième République, Gaston Demongé opte par son choix de retranscription du patois de rester fidèle à ses convictions profondément régionalistes. L’œuvre de l’auteur normand offre une disparité dans sa façon d’aborder le patois cauchois et le discours social qu’il transmet sur le paysan entre le début du XXe siècle et la période de l’après guerre. De fait, il manifeste dans son écriture, dès 1925, son désaccord avec le discours imposé sur le paysan et son langage.

In this investigation I will go to the bottom of the idea of progressivism by using one of the symbols of its consequences: The Titanic disaster. The purpose is to analyze the claims of Walter Lord, comparing his story with the historical development of the 1900’s and Thomas S. Kuhns theory of paradigm shifts. According to Lord the Titanic disaster changed humans’ view on the world and their place in it, leading to a paradigm shift. By using the method of hermeneutics and critical discourse analysis I will show that Lords claims, depending on the perspective, are somewhat exaggerated. Instead Titanic would become a powerful symbol for the critics of the current paradigm, which is that of progressivism. Even if the Titanic disaster led to some changes, the idea of progressivism has been able to modify and adapt itself, reproducing the current societal paradigm of progressivism.

The study contrasts the architecture of the Art Nouveau period  1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of  the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in  the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way? / Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition,  fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i  Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av  Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.