Orientador: Roberto Cesar Pires / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T22:15:12Z (GMT). No. of bitstreams: 1 PereiraJunior_GeremiasTiofilo_M.pdf: 30726793 bytes, checksum: 87defb498a2db6c065b3c42194e6a355 (MD5) Previous issue date: 2012 / Resumo: O presente trabalho investiga a valsa-canção "Lábios que beijei", composição da dupla J. Cascata (pseudônimo de Álvaro Nunes Filho, 1912-1961) e Leonel Azevedo (1908-1980), gravada em 1937 pela empresa RCA Victor na cidade do Rio de Janeiro. Essa foi uma gravação de grande sucesso e contribuiu para consolidar as carreiras de seu intérprete, o cantor Orlando Silva (1915-1978), e de seu arranjador, Radamés Gnattali (1906-1988). Diante do sucesso dessa valsa-canção, críticos e historiadores enfatizam alguns aspectos musicais fazendo referências ao arranjo de Radamés Gnattali para esta composição. É mediante esse contexto que nossa pesquisa se orienta e busca realizar uma transcrição musical e uma análise deste arranjo. Em complemento serão apresentadas informações sobre a trajetória de Radamés Gnattali como arranjador, bem como de outros arranjadores contemporâneos e antecessores à sua época, contribuindo com as pesquisas sobre o arranjo musical no Brasil, particularmente no início do século XX / Abstract: The present work investigates the song-waltz "Lábios que beijei" ("Lips that I kissed"), composed by J. Cascata (psedonym of Álvaro Nunes Filho, 1912-1961) and Leonel Azevedo (1908-1980) and recorded in 1937 by the company RCA Victor in the city of Rio de Janeiro. This recording was a great success and helped build the careers of his interpreter, the singer Orlando Silva (1915-1978), and his arranger, Radamés Gnattali (1906-1988). Given the success of this waltz-song, critics and historians emphasize some musical aspects by reference to the musical arrangement of Radamés Gnattali for this composition. It is through this context that our research is oriented and seeks to make a musical transcription and analysis of this arrangement. In addition, information will be displayed on the trajectory of Radamés Gnattali as an arranger, as well as other previous arrangers and contemporaries of his time, contributing to research on musical arrangement in Brazil, particularly in the early twentieth century / Mestrado / Fundamentos Teoricos / Mestre em Música

The costume design for the University of Central Florida Conservatory Theatre‘s production of Seamus Heaney‘s The Burial at Thebes: A Version of Sophocles’ Antigone took an ancient Greek classic by Sophocles and infused it with influences from avant-garde theatre. This thesis documents the process of designing the costumes from academic, artistic, and technical aspects. Through this process, I explored how to communicate abstract ideas about humanity into actual costumes and how multiple cultural heritages can be intertwined in a united visual which pushes the audience to think more critically about the story. The recurring themes of duality are central to the final costume design: silk chiffon chitons draped over seemingly nude tattooed bodies, representing the ever-present competing allegiances to the will of the gods or to the law of man. Working backwards through the process, this thesis discusses the avant-garde aims of the production and how they were achieved in design. The historical and cultural research, and how it directly influenced the costume design, is discussed for both Seamus Heaney and The Burial at Thebes, as well as for Sophocles and Antigone. Moving through a thorough script analysis and text-to-text comparison of Antigone and The Burial at Thebes illuminates the character and situation traits that are expressed in the design. Script-to-script comparisons reveal the heightened political language Heaney has created to make a story readily accessible to modern audiences. This gives Creon more humanity, thus magnifying the conflict, which is analyzed using conflict theory

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As the church focuses on people’s spiritual development, there is growing realisation that the church should be holistic in its approach and participate in resolving urban poverty issues through the implementation of community development projects. This study looks at the way in which traditional theories of community development concentrated on stimulating economic growth and ignored the social aspects involved. It suggests that despite the massive injection of donor funds to some communities, the situation of the poor has deteriorated over the years and sustainability of projects has been minimal. The study finds that projects implemented by the Church of the Nazarene in Orlando East, while improving the lives of the community, are not in line with community development principles and the sustainable livelihoods approach primarily because the community was not involved in the assessment of needs or designing of interventions, and the community members were only the implementers. The evaluation of these projects through this study suggests an alternative developmental paradigm that has been used with success in other similar circumstances – the sustainable livelihood approach (SLA). The SLA contends that urban communities should become planners, initiators and executors of community development interventions so that transformation can occur. The study recommends that urban communities such as that in Orlando East have to change their behaviour and attitudes, be willing to accept change, and take ownership of their own projects. The facilitators, non-governmental organisations (NGOs) and government have to be willing to unlearn their traditional ways, to listen, and to accept that they are not the only experts in community development as they attempt to embrace indigenous knowledge systems. / Development Studies / M.A. (Development Studies)

As the church focuses on people’s spiritual development, there is growing realisation that the church should be holistic in its approach and participate in resolving urban poverty issues through the implementation of community development projects. This study looks at the way in which traditional theories of community development concentrated on stimulating economic growth and ignored the social aspects involved. It suggests that despite the massive injection of donor funds to some communities, the situation of the poor has deteriorated over the years and sustainability of projects has been minimal. The study finds that projects implemented by the Church of the Nazarene in Orlando East, while improving the lives of the community, are not in line with community development principles and the sustainable livelihoods approach primarily because the community was not involved in the assessment of needs or designing of interventions, and the community members were only the implementers. The evaluation of these projects through this study suggests an alternative developmental paradigm that has been used with success in other similar circumstances – the sustainable livelihood approach (SLA). The SLA contends that urban communities should become planners, initiators and executors of community development interventions so that transformation can occur. The study recommends that urban communities such as that in Orlando East have to change their behaviour and attitudes, be willing to accept change, and take ownership of their own projects. The facilitators, non-governmental organisations (NGOs) and government have to be willing to unlearn their traditional ways, to listen, and to accept that they are not the only experts in community development as they attempt to embrace indigenous knowledge systems. / Development Studies / M.A. (Development Studies)

This is a hermeneutical study of an attempt to inculturate a Redemptorist parish mission in a black township parish. The purpose of Redemptorist parish mission is conversion and renewal. This study is influenced by - - the spirit of St. Alphonsus Liguori (1696-1787) founder of the Redemptorists - Vatican II (1962-1965) and by - the African Synod (1994); and it uses the systemic stage model of Rambo and the spiral model of Costas, as a framework to understand conversion. The conversion experiences of ten parishioners of St. Peter's parish are used as data for the study. A theological reflection on the ten conversions confirmed the following: that cultural context is important for understanding conversion; that conversion is both a distinct moment and a continuous process; that it is imperative to understand conversion from the perspective of the convert him/herself. For 'mission preaching' to effect genuine conversion it must be inculturated. / Christian Spirituality, Church History and Missiology / Th. M. (Missiology)

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-02-21T12:17:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-02-21T12:18:39Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) / Made available in DSpace on 2017-02-21T12:18:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ErotismoMasculinoFotografias.pdf: 2740621 bytes, checksum: 9edc1b434761b1b6f93667817305ec0b (MD5) Previous issue date: 2012 / O tema proposto é o estudo da representação do corpo masculino e as características do erotismo na fotografia contemporânea paraense. Para o estudo, foram escolhidas obras dos artistas Sinval Garcia (série “Automatic Men”) e Orlando Maneschy (série “Homens de Sangue”) produzidas nas décadas de 1990 e 2000. A investigação desta pesquisa contou com levantamento bibliográfico sobre arte contemporânea, fotografia, erotismo e homoerotismo. Para isso, foram usados os ensaios sobre fotografia de Susan Sontag, o estudo de Charlotte Cotton sobre fotografia e arte contemporânea, além do pensamento de Kátia Canton sobre a relação e implicações de imagem e mundo, e como essa relação é evidenciada através do corpo. George Bataille e Afonso Medeiros são referências para o estudo do erotismo. Esse trabalho pretende colaborar para as reflexões sobre a produção fotográfica do Pará e na construção do panorama da arte contemporânea nacional. / The proposed theme is the study of the representation of the male body and the characteristics of eroticism in the contemporary paraense photograph. For the study were chosen works from the artists Sinval Garcia (series "Automátic Men") and Orlando Maneschy (series: "Homens de Sangue") produced in the decades of 1990 and 2000. The investigation in the research relied on bibliographic examination on contemporary art, photography, eroticism, and homoeroticism. For this, we used the tests on photograph of Susan Sontag, the study of Charlotte Cotton on photography and contemporary art, in addition of the thought of Kátia Canton on the relationship and implications of image and world, and how this relationship is demonstrated through the body. George Bataille and Afonso Medeiros are references for the study of eroticism. This work aims to contribute to the reflections on the photographic production of Para and in the construction of the national contemporary art’s panorama.