Made available in DSpace on 2016-03-15T19:47:28Z (GMT). No. of bitstreams: 1 Rosemary de Paula Leite Carter.pdf: 2396365 bytes, checksum: 02308ac50a48da6354e5fa042873c800 (MD5) Previous issue date: 2012-02-10 / This thesis has the purpose to investigate Monteiro Lobato's expectations and interests in relation to the publishing of his literary works in North-America with a broader number of readers and a larger book circulation. We will specially focus on Brazilian Short Stories, Series Little Blue Books, nº 733, published by Haldeman-Julius Company in 1925. The pioneer role of the North-American literary critic Isaac Goldberg (1887-1938) as a go-between and organizer of some Brazilian literary works of Art as well as of some Lobato's earliest published material in The United States of America will also be pursued. We also aim to examine the accomplishments of two transpositions of the short story O Engraçado Arrependido into English. The literary works are: "The Penitent Wag" in Brazilian Short Stories, Little Blue Book nº 733, by Haldeman Julius Company (1925) and The Funny Man Who Repented published in A World Of Great Stories by Crown Publisher(1947). In order to attain this target we intend to compare the text in Portuguese (9th edition, Urupês, 1923), with the mentioned transpositions into English in 1925 and 1947. / Este trabalho discutirá, num primeiro momento, expectativas e interesses do escritor Monteiro Lobato (1882-1948) em relação à publicação, no idioma inglês, de seus contos no mercado livreiro norte-americano que dispunha, na ocasião, de um contingente maior de leitores. Destacaremos, primeiramente, a obra Brazilian Short Stories, Série Little Blue Books nº. 733, lançada pela editora Haldeman Julius em 1925. A pesquisa pretende, também, investigar o papel do crítico literário norte-americano Isaac Goldberg (1887-1938) estacando o pioneirismo de seu papel como intermediário e divulgador de obras da literatura brasileira nos Estados Unidos, nas primeiras décadas do século XX. Num segundo momento, será objeto de análise duas transposições do conto "O Engraçado Arrependido", nona edição de Urupês, 1923, que neste trabalho será a obra cotejada como texto de partida, com os dois textos de chegada em língua inglesa: "The Penitent Wag", publicado em Brazilian Short Stories (1925), pela Haldeman-Julius Company e "The Funny-Man Who Repented", título dado ao conto na coletânea A World Of Great Stories (1947), publicada pela Crown Publishers Inc.

The National Alliance for Youth Sports compared field reports released in 1995 to those in 2000, illustrating a 5% to 15% increase in adults that have gotten out of line at youth events (Carlozo, 2000). The purpose of this study was to assess the nature and frequency of adult comments at Little League baseball games for children ages 9 to 12. In addition, adults were surveyed in order to evaluate their personal opinions of crowd conduct.The participants in this study consisted of adults attending Little League baseball games in rural Indiana from May 30, 2001 to June 26, 2001. To address the purpose of the study, the researcher recorded adult comments using an adaptation of the Parent Observation Instrument for Sports Events (Kidman et al., 1999). An additional sample of 65 adults attending the last game of the season was purposefully selected to complete the survey portion of the study.The researcher tried to determine if there were significant differences between the nature of the adult comments (positive or negative), the frequency of adult comments by team play (offense or defense), by gender of the adult, by team status (winning or losing), or by competitive level (major league or minor league). Additionally, the researcher tried to determine whether there were qualitative differences between actual comments and adult opinions of comments.A chi square analysis was calculated for hypotheses 1 - 5 (p < .05) and the last hypothesis compared a chi square calculation to the frequency counts on a survey of adults. The results showed a significant difference in the frequency of comments based on the nature of the comment (positive/negative), gender, and competitive level (major league/minor league). There was no significant difference between team status (winning/losing) and frequency of comments made. There was consistency between adults' opinions of comments and actual observations. Observation results showed higher frequencies of positive comments than negative comments. Through survey data analysis, it was determined that adults believed more positive comments were made at the games. / School of Physical Education

A proposta dessa dissertação é analisar as peças The Children´s Hour e The Little Foxes, de Lillian Hellman, pela primeira vez encenadas nos Estados Unidos em 1934 e 1939 respectivamente. A análise discute a forma da peça bem feita e a forma do melodrama nessas obras, assim como o conteúdo delas, a fim de identificar como a crítica social e as formas teatrais propostas pela dramaturga estão intrincadas. Com base em autores como Peter Szondi, essencial para se entender a dialética entre forma e conteúdo, Jean Marie Thomasseau, teórico do melodrama, e de outros que escreveram sobre a peça bem feita, procurou-se entender como Hellman valeu-se das próprias formas correntes da cultura dominante e da indústria cultural para investigar a sociedade capitalista norte-americana. Para a compreensão ampla de tais questões, foram analisados os textos dramatúrgicos, encenações, adaptações para cinema e televisão, tanto nos Estados como no Brasil. Hellman foi constantemente criticada pelas opções formais de suas obras, algo que é revelado pela fortuna crítica mais relevante que foi coletada e é apresentada nessa dissertação, servindo de suplemento para as análises. Lillian Hellman examinou o conservadorismo arbitrário e as estratégias de manutenção do capitalismo criticando a classe dominante através da utilização das formas teatrais privilegiadas por essa classe. / This work aims to analyze Lillian Hellman\'s plays The Children´s Hour and The Little Foxes, which were first performed in the United States in 1934 and 1939 respectively. In addition to the content of these works, the analysis discusses the well-made play and the melodrama in order to identify how social criticism and these theater forms are interrelated, as proposed by her. Based on authors such as Peter Szondi, whose work is fundamental to understanding the dialectics between form and content, and Jean-Marie Thomasseau, a melodrama theorist, as well as others who wrote about the well-made play, this dissertation searches for a comprehension of how the playwright made use of the dominant culture\'s own forms to investigate North-American capitalist society. For a comprehensive understanding of such issues, the dramaturgical texts, performances, as well as film and television adaptations in both the United States and Brazil have been analyzed. Hellman was constantly criticized for the formal choices of her plays, something revealed in articles and essays by relevant critics. These criticisms are presented in this dissertation in order to supplement the analysis. Lillian Hellman criticized the dominant class\' arbitrary conservatism and the strategies of capitalist maintenance by employing theater forms which were endowed by that class.

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2018-05-18T12:28:36Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Marge Faria do Amaral Peixoto_Dissertação.pdf: 7769546 bytes, checksum: 9e2cdde30448a907e91fb9030e7991db (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:53:56Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Marge Faria do Amaral Peixoto_Dissertação.pdf: 7769546 bytes, checksum: 9e2cdde30448a907e91fb9030e7991db (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:54:03Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Marge Faria do Amaral Peixoto_Dissertação.pdf: 7769546 bytes, checksum: 9e2cdde30448a907e91fb9030e7991db (MD5) / Made available in DSpace on 2018-05-18T20:54:12Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Marge Faria do Amaral Peixoto_Dissertação.pdf: 7769546 bytes, checksum: 9e2cdde30448a907e91fb9030e7991db (MD5) Previous issue date: 2017-03-29 / Sem bolsa / Esta dissertação, tendo como título: “Escolinha Municipal de Arte de Pelotas: Memória, História e Ensino de Arte (1963/1998), insere-se na Linha de Pesquisa “Ensino da Arte e Educação Estética” do Programa de Pós -Graduação em Artes Visuais, Mestrado, da Universidade Federal de Pelotas, RS. Sustenta-se na necessidade de se conhecer essa história que foi desenvolvida na área da Arte -Educação em 30 anos de existência. Foi uma experiência educativa, funcionando desde o princípio com uma proposta baseada nas Linguagens da Arte. Na sua criação, recebeu o nome de Escolinha Municipal de Arte (Pelotas/RS). Está entre as Escolinhas que tiveram suas bases no Movimento Escolinhas de Arte, surgido em meados de 1952. O objetivo principal desta pesquisa é reconstituir, preservar, divulgar e valorizar a memória, a história e o ensino de arte da Escolinha Municipal de Arte de Pelotas. Espera-se que esta pesquisa possa contribuir para a reflexão das pessoas, sobre a memória, a história e o ensino de arte em Pelotas. A pesquisa aconteceu seguindo uma abordagem qualitativa, tendo como fontes de pesquisa a análise documental do acervo da escola, imagens de registros e entrevistas com algumas pessoas que trabalharam ou estudaram na Escolinha ou tiveram relação com ela. Divide-se em quatro etapas: Introdução, Contexto Histórico-Político da Arte-Educação, Escolinha Municipal de Arte de Pelotas. Devido à escassez de registros escritos sobre a Metodologia desenvolvida durante esses 33 anos de Escolinha, teve-se que usar de entrevistas com os protagonistas que fizeram parte dessa história, a fim de coletar informações e imagens. As entrevistas contribuíram para compor o texto da dissertação, mas não foram utilizadas na sua íntegra e sim no decorrer do texto. Acredita-se que tenha alcançado os objetivos e que esta pesquisa possa realmente contribuir para o ensino de arte. Para aprofundar os estudos, as principais referências foram: RODRIGUES (1980); READ (1978;1986); BARBOSA (1997; 1988; 1991); MEIRA (2003; 2010); VARELA (1980; 2001). / This master thesis is entitled: “Municipal Little Art School of Pelotas: Memory, History and Teaching of Art (1963/1998), it is inserted in the Line of Research “Teaching of Art and Esthetical Education” of the Postgraduate Program in Visual Arts, Master’s Degree in the Federal University of Pelotas, RS. It is sustained in the necessity of knowing this history which was developed in the area of Education throughout 30 years of existence. It was an educational experience functioning since its beginning as a proposal based on Languages of Art. In its foundation was given the name Municipal Little Art School (Pelotas/RS). It is among the Schools which were based on the Art Schools Movement, emerging around 1952. This research aims at reconstitute, preserving and spreading, appraising the memory, history and the teaching of art of the Municipal Little Art School of Pelotas. It is expected that this research can contribute for the reflection of people, about the memory, history and teaching of art in Pelotas. The research was carried out following the qualitative approach having as research source the analysis of documents of the school database, images or records and interviews with some people who worked or studied in the institution or had some kind of relation with it. It is divided into three parts: Introduction, Historical and Political Context of Art-Education and the Municipal Little Art School of Pelotas. Due to scarce written resources about the methodology developed in the last 33 years of the institution, I had to use interviews with the protagonists who took part of this history, in order to collect information and images. The interviews contributed to construct the text of this thesis, but they were not used entirely but only throughout the text. I believe I had achieved my goals and this research could really contribute for the teaching of art. For further reading the main references were the following: RODRIGUES (1980); READ (1978; 1986); BARBOSA (1997; 1988; 1991); MEIRA (2003; 2010); VARELA (1980; 2001).

Cette thèse présente une réflexion sur les multiples figures du romancier américain qui émergent des entretiens littéraires de The Paris Review entre 1953 et 1973, soit les deux premières décennies d'existence de la revue. Afin de mieux saisir les spécificités et l'impact du modèle d'entretien littéraire créé par une poignée de rédacteurs aussi inspirés que débutants, cette étude revient tout d'abord sur l'histoire des little magazines, sur le contexte de la création et le fonctionnement interne de The Paris Review, avant de retracer l'histoire complexe de l'entretien littéraire. Grâce à l'analyse des archives de la revue, elle met en évidence la collaboration de l'équipe de rédacteurs et des romanciers interviewés dans un processus novateur de réécriture des entretiens. Car l'entretien littéraire est un lieu de négociation de différentes autorités, entre l'« ethos préalable » de l'écrivain utilisé par l'interviewer et les diverses stratégies (scénographies auctoriales, postures, « prêt à être écrivain ») déployées par le romancier pour asseoir sa légitimité. Derrière le portrait à deux voix que semble être l'entretien littéraire apparaît bientôt l'autoportrait de l'écrivain. L'entretien littéraire de The Paris Review donne lieu à une forme de fiction biographique, à travers laquelle l'écrivain que The Paris Review était venu interroger sur « l'art de la fiction » laisse la parole à l'auteur pour construire et défendre son image. / This dissertation examines the various figures of the American novelist which takes form in the famous literary interviews published by The Paris Review during the first two decades of its existence (1953-1973). In order to analyze the specificities and the impact of the new model of literary interview created by the inspired, yet inexperienced editors and interviewers of the review, this dissertation first traces the history of "little magazines" as well as the context in which the Paris Review interviews were shaped and polished, and then analyzes the complex history of the literary interview as a genre. Through the study of the archives of the review, the author casts a light on the collaboration between the editorial board and the interviewed novelists during the demanding rewriting process of the literary interviews. The literary interview thus appears as a space where negotiations take place, opposing the preconceptions of the interviewer to the various strategies displayed by the novelist in order to assert his legitimacy. What was originally designed as a single portrait composed by two instances actually turns into the novelist's controlled self-portrait.Ultimately The Paris Review literary interview becomes a form of biographical fiction, in which the writer, initally questioned on "the art of fiction", leaves center stage to the author, who takes great care of his own public persona.

This study analyzed the personalities and actions of Regina, Birdie, Alexandra, and Lavinia from Lillian Hellman's The Little Foxes and Another Part of the Forest. The analysis was focused on the relationship between the life and personality of Lillian Hellman and each of the characters. The method of character analysis that was used was that described by David Grote in Script Analysis, but the effect of cultural history on the characters and on Lillian Hellman was examined as well. It was discovered that Lillian Hellman had infused the characters with many aspects her own personality. In the case of Regina and Lavinia, Hellman also used the characterizations to sort out her mixed feelings toward her parents.

During the 20th century, chamber works for harp expanded to include significantly different instrumentations, like flute, voice and harp. Indeed, a body of works for flute, voice, and harp began to develop mainly through the commissioning efforts of ensembles comprised of these instruments. This study of George Crumb's Federico's Little Songs for Children for flutes, soprano, and harp considers the unique advantages and challenges of this instrumentation and offers specific suggestions for performance. Attention to various compositional elements of Federico's Little Songs for Children, especially as they relate to the text, is also helpful in preparing to perform this work. The form, pitch material, and text-painting in the work allow for special opportunities to convey meaning to audiences in ways that do not rely on traditional tonal relationships. Accompanying the shift away from traditional tonal relationships, the development of the harp repertoire in chamber and solo settings during the 20th century also led to the development of many extended- techniques for this instrument. For the most part, these techniques have been described and given various notational symbols but not discussed in detail with regard to execution. Federico's Little Songs for Children itself requires several unique extended-techniques. Recommendations are given in this paper concerning how to achieve the extended-techniques in Crumb's work in a stylistically appropriate and effective manner.

The purpose of this investigation is to compare the dissolved and suspended organic material in Lake Dallas to that coming into the lake through Pecan Creek.

No description available.

No description available.