"Zugl.: Bochum, Univ., Diss., 2007"--T.p. verso. / Includes bibliographical references (p. [231]-249).

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014. / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-10-10T18:02:50Z No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-10-13T13:43:00Z (GMT) No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / Made available in DSpace on 2014-10-13T13:43:00Z (GMT). No. of bitstreams: 1 2014_StephanieWinkler.pdf: 733152 bytes, checksum: 4dc4c5d26511581e54478f75507f111c (MD5) / O objetivo deste trabalho é comparar duas personagens femininas: Lady MacBeth de Shakespeare e Lady MacBeth de Leskov. A partir de uma análise bakhtiniana, pretende-se mapear as diferenças entre essas Ladies. A primeira, do teatro, é uma personagem elevada, cuja ação desmedida é dotada de uma ambição que a levaria a superar sua condição de nobreza. Tudo isso, ligado a um entendimento da tragédia e do herói trágico a partir de princípios aristotélicos, clássicos e de sua releitura pelo dramaturgo inglês. A segunda, da prosa, é uma pessoa comum. Envolvida por uma narrativa cotidiana, sua ambição não-heróica, egoísta e violenta, a conduz a uma satisfação pessoal, afetiva e individualista. Além disso, há uma grande afinidade entre Leskov e Dostoiévski ao criar personagens no mundo literário com características humanas excepcionalmente realistas. Tudo isso, problematizado em consonância com a perspectiva benjaminiana em seu texto “O Narrador” – paradigma do tradutor brasileiro Paulo Bezerra. Tendo em vista que o foco de análise é justamente Leskov, ficam muito evidentes os elementos narrativos, orais e escritos, que respondem e estabelecem um dialogismo com Shakespeare e com a literatura e cultura russas do século XIX. ____________________________________________________________________________________ ABSTRACT / The main purpose of this thesis is to compare two feminine characters: Shakespeare's Lady Macbeth and Leskov's Lady Macbeth of Mtsensk. From a Bakhtin based analysis, the intention is to map out the differences between these two Ladies: the first one, from the theatre, is a distinguished character, whose extreme measures are blinded by the ambition of surpassing her condition of nobility - all of this linked to an understanding of tragedy and the tragic hero based on Aristotelic principals. The other lady is a commoner, written in an everyday narrative in prose. Her personal ambition is non-heroic at the same time that it is individualist and violent, an attitude that provides personal satisfaction. Also, there is great affinity between Leskov and Dostoyevsky in creating fictional characters that have exceptionally realistic human qualities. All these aspects will then be examined from Walter Benjamin's perspective in his text The Storyteller. Having in mind that the focus of this research is Leskov, the narrative, oral and written elements become quite evident because they respond and establish a dialogism with Shakespeare and Russian literature and culture of the XIX century.

The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-12T13:15:46Z No. of bitstreams: 1 Mônica Soares Stacheski.pdf: 20430811 bytes, checksum: e8a855e80c376c2b39448d517600276c (MD5) / Made available in DSpace on 2017-05-12T13:15:46Z (GMT). No. of bitstreams: 1 Mônica Soares Stacheski.pdf: 20430811 bytes, checksum: e8a855e80c376c2b39448d517600276c (MD5) Previous issue date: 2017-02-17 / Antidotarium Nicolai is a collection of recipes of composite medicines probably written about 1180 in Salerno, southern Italy, was related to the medical literary movement originated in the School of Salerno. Its author remains unknown, although the manuscript begins stating “Ego, Nicolaus” (I, Nicholas). It was written for the author’s colleagues, i.e., practicing doctors, or students as a practical book on the preparation of medicines. Copied in hundreds of manuscripts and printed as incunabula and books, Antidotarium Nicolai circulated across medical schools outside Italy starting at the end of the 13th century. It was included both officially and unofficially in the syllabus of European university courses along the Middle Ages and modern times. The present study discusses the historical-social context, secondary literature and primary sources closest to Antidotarium Nicolai and analyzes its content from the perspective of history of science / O Antidotarium Nicolai é uma coleção de receitas de medicamentos compostos, redigido provavelmente perto de 1180, na cidade de Salerno, no sul da península itálica e conexo ao movimento literário médico da Escola de Salerno. De autoria desconhecida, apesar do autor escrever “Ego, Nicolaus” (Eu, Nicolau), essa obra surgiu da solicitação de colegas praticantes de medicina ou discípulos, no sentido de elaborar uma obra prática sobre a produção de medicamentos. Copiado em centenas de manuscritos, impresso em incunábulos e livros, o Antidotarium Nicolai circulou em escolas médicas estrangeiras a partir do final do século XIII. Fez parte de currículos universitários de forma oficial e extraoficial pela Europa medieval e moderna. O presente estudo averigua o contexto histórico-social, a literatura secundária e as fontes primárias temporalmente mais próximas da origem, e faz uma análise da obra da perspectiva da história da ciência

Cette étude de la diffusion du comique en Europe, à travers les productions d’opere buffe, d’opéras-comiques et de komische Opern dans la première moitié du XIXe siècle, porte dans un premier temps sur les livrets et leur circulation, puis sur la diffusion des œuvres, enfin sur les modèles structurels musicaux du comique et leurs transferts. Entré le premier dans l’ère de la « littérature industrielle », le théâtre français s’impose à l’échelle du continent et les librettistes français bénéficient du système avantageux du droit d’auteur. Déconsidérés et mal rémunérés, les librettistes italiens et allemands traduisent et adaptent en grande quantité des pièces françaises. Tandis que l’opera buffa connaît une incroyable diffusion en France et en Allemagne entre 1800 et 1850, aussi bien en langue originale qu’en traduction, et que l’opéra-comique suit son exemple en Allemagne en traduction, la komische Oper est rarement jouée en France, et les genres français et allemand restent inconnus en Italie. Les modèles structurels du comique italien, dont les opere buffe de Rossini constituent la plus célèbre expression, sont repris par les compositeurs français et allemands dans leurs propres ouvrages. Les compositeurs allemands empruntent également aux modèles structurels du comique français, si bien que le genre de la komische Oper consiste principalement en une synthèse franco-italienne. Dans une période caractérisée par l’essor des nationalismes, la circulation des œuvres, des librettistes et des compositeurs favorise paradoxalement la construction d’une unité de l’Europe par le rire. / This study of the diffusion of comic in Europe, through the productions of opere buffe, opéras-comiques and komische Opern during the first half of the 19th century, firstly examines the libretti and their circulation, then the diffusion of comic operas, and lastly the musical structural models of comic and their transfers. The French theatre inaugurates the age of « industrial literature » imposing itself on the whole continent, and the French librettists benefit from the profitable system of royalties. Discredited and badly payed, the Italian and German librettists translate and adapt a great number of French plays. While the opera buffa enjoys an incredible diffusion in France and in Germany between 1800 and 1850, as well in the original language as in translation, and while the opéra-comique follows suit in Germany (but always in translation), the komische Oper is rarely played in France, and the French and German genres remain unknown in Italy. The structural models of Italian comic, of which Rossini’s opere buffe are the most famous expression, are taken up by French and German composers in their own works. The German composers also borrow from the structural models of French comic, so much so that the genre of the komische Oper ends up consisting principally of a synthesis of French and Italian elements. During a period characterised by the rise of nationalisms, the circulation of the works, the librettists and the composers paradoxically favours the construction of a European unity through laughter.

Supersymmetrische Feldtheorien können durch eine nicht-lineare und nicht-lokale Transformation der bosonischen Felder charakterisiert werden, der Nicolai-Abbildung. Sie bildet das wechselwirkende Funktionalmaß so auf das Maß der zugehörigen freien Theorie ab, dass die Jacobi-Determinante gleich dem Produkt der fermionischen Determinanten ist. Wir untersuchen die Nicolai-Abbildungen des 2-dimenionalen Wess-Zumino Modells und der N=1 sowie N=4 super Yang-Mills Theorien. Wir geben einen konstruktiven Beweis für die Existenz der Nicolai-Abbildung in diesen Theorien. Der Beweis beinhaltet die Herleitung des infinitesimalen Generators der inversen Abbildung, dem R-Operator. Wir benutzen diesen Operator, um die Nicolai-Abbildung im 2-dimensionalen Wess-Zumino Modell bis zur fünften Ordnung in der Kopplung zu berechnen. In der N=1 super Yang-Mills Theorie führen wir die Begriffe der on- bzw. off-shell Nicolai-Abbildungen ein. Die on-shell Abbildung existiert in d=3,4,6 und 10 Dimensionen aber nur für die Landau Eichung. Wir bestimmen sie bis zur vierten Ordnung. Die off-shell Abbildung existiert nur in d=4 Dimensionen aber für allgemeine Eichungen. Wir berechnen sie in der axialen Eichung bis zur zweiten Ordnung. Für die N=4 super Yang-Mills Theorie geben wir den R-Operator an und zeigen, dass man die N=4 Nicolai-Abbildung durch dimensionale Reduktion aus der N=1 Abbildung erhält. Inverse Nicolai-Abbildungen bilden Quantenkorrelationsfunktionen bosonischer Observablen auf freie Korrelationsfunktionen ab. Daher gestatten sie eine Quantisierung supersymmetrischer Theorien ohne die Verwendung von Fermionen oder Geistern. Wir benutzten diese Eigenschaft, um den Vakuum-Erwartungswert der Maldacena-Wilson Geraden bis zur sechsten Ordnung zu berechnen. Im zweiten Teil dieser Arbeit bestimmen wir die explizite Form aller Felder im 1/2-BPS Energie-Impuls-Tensor Multiplet in N=4 super Yang-Mills. Dieses Multiplet enthält den R-Symmetrie Fluss und den Energie-Impuls-Tensor. / Supersymmetric field theories can be characterized by the existence of a non-linear and non-local transformation of the bosonic fields, the Nicolai map. It maps the interacting functional measure to that of a free theory such that the Jacobian determinant of the transformation equals the product of the fermionic determinants. In this thesis, we study the Nicolai maps of the 2-dimensional Wess-Zumino model, N=1 super Yang-Mills and N=4 super Yang-Mills. We give a constructive proof for the existence of the Nicolai map in these theories. The proof includes the derivation of the infinitesimal generator of the inverse Nicolai map, called the R-operator. We use this operator to compute the Nicolai map of the 2-dimensional Wess-Zumino model up to the fifth order in the coupling. In N=1 super Yang-Mills, we introduce the notion of on- and off-shell Nicolai maps. The on-shell Nicolai map of N=1 super Yang-Mills exists in d=3,4,6 and 10 dimensions but is constrained to the Landau gauge. We compute this map up to the fourth order. The off-shell Nicolai map exists only in d=4 dimensions but for general gauges. We compute it in the axial gauge up to the second order. In N=4 super Yang-Mills, we give the R-operator and show that the Nicolai map can be obtained from the Nicolai map of 10-dimensional N=1 super Yang-Mills by dimensional reduction. Inverse Nicolai maps map quantum correlation functions of bosonic observables to free correlation functions. Hence, Nicolai maps allow for a fermion (and ghost) free quantization of supersymmetric (gauge) theories. We apply this property to compute the vacuum expectation value of the infinite straight line Maldacena-Wilson loop in N=4 super Yang-Mills to the sixth order. Thus extending the previous perturbative result by one order. In the second part of this thesis, we derive the explicit field content of the 1/2-BPS stress tensor multiplet in N=4 super Yang-Mills, which contains the R-symmetry current and the energy-momentum tensor.