Orientador: Marcos Aurelio Pereira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-13T02:58:13Z (GMT). No. of bitstreams: 1 CarmoNeto_JulioMariado_M.pdf: 486382 bytes, checksum: d9bf65f7ed3fb8a498a9152496dd362b (MD5) Previous issue date: 2009 / Resumo: Este trabalho versa sobre o mito de Orfeu, narrado pelo poeta romano Ovídio em sua obra as Metamorfoses. Focamo-nos no aspecto artístico dessa personagem, que freqüentemente é considerada o poeta, cantor e músico arquetípico. A seção da obra em que ela se insere como voz predominante é o livro X, do qual também propomos uma tradução, em prosa, ao final da dissertação. Nossa leitura considerou também a forma como a mesma personagem é apresentada em outro poeta romano, Virgílio, na seção final da obra Geórgicas. Como Ovídio dialoga de perto com a versão de seu antecessor, tal consideração se nos mostrou inevitável. O objetivo final é perceber a importância de se levar em conta o aspecto artístico da personagem para entendê-la no contexto do livro X das Metamorfoses, no qual Orfeu desponta como figura principal e dominante. / Abstract: This is a work on the mith of Orpheus, as narrated by the roman poet Ovid in his master piece Metamorphoses. We have focused on the artistic aspects of this character, who is often considered the archetipical poet, musician and singer. It is the dominant voice of Book 10, of which we offer a translation, in prose, at the end of this dissertation. Our readings have also taken into consideration the way this character is presented in another ronam poet, Vergil, in the final section of his work The Georgics. Considering Ovid dialogs closely to his antecessor, such consideration has presented itself unavoidable. The final goal is to aprehend the importance of taking into consideration the artistic aspects of the character in order to understand it in context of Book 10 of Metamorphoses, where Orpheus is the main dominant figure. / Mestrado / Linguistica / Mestre em Linguística

Esta dissertação tem por objetivo realizar uma leitura poético-filosófica do livro Marinheiro de primeira viagem, de Osman Lins, que se destaca por seu experimentalismo literário e por inovar o gênero \"literatura de viagem\". Embora seja um livro elaborado com base na viagem que seu autor fez à Europa, onde ficou seis meses, em 1961, ele não oferece a seus relatos as características que se costuma imprimir a esse gênero tradicional, em que o autor revela suas impressões e faz descrições das experiências vividas. Ao registrar suas memórias, ele cria uma estética literária inovadora por sua narrativa insubmissa, não-linear, marcadamente fragmentada, mas poética. Nos registros, o diálogo intertextual com a tradição cultural é intenso, e destacaremos esse intercâmbio como memória que a literatura tem dela mesma. Nessa relação entre textos, ganha relevo o mítico Orfeu e sua amada Eurídice, que potencializam a poética do livro e congregam o leitor ao texto para uma leitura hermenêutica com base na estética da recepção. Quanto ao aspecto filosófico do trabalho, encontramos apoio nas idéias hermenêuticoontológicas do filósofo Martin Heidegger e sua meditação sobre a obra de arte e a poesia, que contribuem para uma reflexão acerca do evento poético que unifica os fragmentos em Marinheiro de primeira viagem. / The purpose of this work is to do a poetic-philosophical reading of the Osman Lins book Marinheiro de primeira viagem, which is distinguished by its literary experimentalism, and its innovation in the \"travel narrative\". In spite of the fact that the author created this book based on a six month trip in Europe, in 1961, he didn\'t give it the characteristics normally founded in these traditional works which mean: impressions and descriptions of lived experiences. When he writes about his memoirs, he creates a new literary esthetics with a revolutionary narrative totally fragmentary and poetic. In the author\'s notes the intertextual dialogue with cultural tradition is so intensive, that we will stress the value of this interchange as literature memoirs. In this relation between the texts, we will also stress the mythical Orpheus and his beloved Eurydice which increase the poetic in the book and gather the reader with the text for a hermeneutic reading based on the esthetics of the reception. As for the philosophical aspect of this work, we have founded our choices on the philosopher Martin Heidegger hermeneutic-ontological ideas and his meditation on the works of art and the poetry, which contribute to a reflection about the poetic event which unifies the fragments in Marinheiro de primeira viagem.

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T06:51:07Z (GMT). No. of bitstreams: 1 Dias_FabianaQuintana_M.pdf: 6613270 bytes, checksum: faf596c45dfc10530af2d819ca323be8 (MD5) Previous issue date: 2011 / Resumo: Esta pesquisa tem como objetivo estudar a trilha sonora dos filmes "Orfeu Negro", de Marcel Camus (1959) e "Orfeu", de Cacá Diegues (1999), integrando música instrumental, canção, sound design e edição de som enquanto elementos criativos das obras e sua relação com as outras linguagens que compõem a totalidade dos filmes. Será feita uma decupagem imagética e sonora analisando a trilha musical como recurso articulatório da narrativa fílmica. Serão observadas, também, as estratégias encontradas pelos diretores ao realizar a transcrição do mito Orfeu para a linguagem audiovisual. A dramaturgia dos filmes será analisada a partir de sua referência direta que é a peça "Orfeu da Conceição" de Vinicius de Moraes, que antecipou musicalmente a bossa nova. A análise compreenderá, ainda, o modo pelo qual a música se insere na dramaturgia específica do cinema e a importância do pensamento sonoro cinematográfico. O universo musical de Orfeu é tão vasto que, para se compreender as trilhas musicais dos filmes, será necessário visitá-lo em sua longa história, nas várias manifestações do mito, especialmente as dramático-musicais / Abstract: This reseach deals about the Orfeu's soundtrack including music, songs, sound design and sound edition from the movies "Black Orpheus", directed by Marcel Camus (1959), and "Orfeu", directed by Cacá Diegues (1999), likewise a creative elements and their relationships the sound and film language as a whole. The Orfeu's musical universe is so great that, to understand the soundtracks of the movies it's necessary visit and know the history of musical dramaturgy, in what many manifestations of the myth are found. The objective is to make an image and sound decupage by means of an analysis of the soundtrack as a narrative film resource. There'll be analysed too the director's strategies to make the transcription of the Orpheu's myth using the conventions of the film's language. The start point is the seminal work of Vinicius de Moraes - "Orfeu da Conceição" - that influences bossa nova and the related films. These analysis will include, either, the way music is used to articulate the dramaturgy in those movies, and the importance of the cinematografic's musical thought / Mestrado / Multimeios / Mestre em Multimeios

This comprehensive study of Thea Musgrave's Orfeo I is the basis for a lecture-recital performed on March 20, 1989, at the University of North Texas, as part of DMA dissertation requirements. It includes: brief bio-background of Musgrave and Orfeo; historical background of both the Orpheus legend and some landmark dramatic works based on it; general development of Musgrave's dramatic language and specific ways in which she uses it in this composition; analysis of the work; performance guide; and annotated appendix listing Musgrave's published and recorded chamber works which include flute. Orfeo I is a major work for flute and electronic tape comprised entirely of manipulated flute sounds. It was commissioned by the British Broadcasting Corporation for James Galway, who recorded the taped material and was the featured performer in the 1976 London premier. An alternate version, Orfeo II, with fifteen strings in place of electronic tape, was premiered by David Shostac in 1976 in Los Angeles, and conducted by the composer. Orfeo's form is programmatically designed, divided into six sections based on Musgrave's "Scenario"of the Orpheus myth. Characters are dramatically depicted through means of "motifs"; that of Orpheus in solo flute, and all others in tape sounds. Musgrave uses quotations from Gluck's opera, Orfeo ed Euridice and Stravinsky's ballet, Orpheus, as basic compositional models. Using her own harmonic language, she combines tonal and chromatic elements in a linear compositional style which ties flute and tape together. Through "controlled aleatory," the soloist is allowed to shape certain aspects of the work. Use of electronic tape places Orfeo I in the realm of intermedia. In addition, Musgrave offers a versatile range of performance possibilities, from highly dramatic (including lighting instructions, option of ballet choreography for solo male dancer, costuming, etc.) to a straight concert rendition.

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La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendance. / The notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time.

Orientador: Paulo Elias Allane Franchetti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T20:22:48Z (GMT). No. of bitstreams: 1 Honorato_Suene_D.pdf: 2867463 bytes, checksum: 94ac4a6659cf4a575cd262bd6865c66a (MD5) Previous issue date: 2013 / Resumo: O resumo poderá ser visualizado no texto completo da tese digital / Abstract: The complete abstract is available with the full electronic document / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

The ancient Greeks are prime subjects of study for those wishing to understand the roles that religion and mythology play in a society and how the two interact with each other. This paper covers what I feel after my study of Greek mythology and religion are the eight functions of mythology: history, education, explanation - both of the natural world and the culture of each society, legality, genesis, what happens after death, and entertainment; as well as the two function of religion: civic and spiritual. In the first chapter, in order to show each of the mythological functions, I summarize and explain a myth that falls primarily into each category. The second chapter discusses and illustrates Civic Religion and the third examines the three major Mystery Religions. The goal is to offer a basic understand of some of the myths, religious beliefs, and cult practices of the ancient Greeks.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

No description available.