Of Brahms' choral output, a few works seem to be studied, performed, recorded more or, in general, more popular than others. Brahms' cantata Rinaldo, composed between 1863 and 1868, is a relatively unknown and neglected work worthy of study and performance.For the cantata Rinaldo, Brahms chose a poem by Goethe that is derived from Torquato Tasso's epic poem Gerusalemme Liberata (Jerusalem Delivered), which recounts the mystical tale of the Crusader Knight Rinaldo (a solo tenor) who is persuaded by his crew (the men's chorus) to leave the enchantress Armida and return to war. In this study, I will demonstrate that Brahms' cantata Rinaldo, a work unfamiliar to many American choral conductors, includes two well-crafted choruses that can be extracted from the cantata as independent movements, and used as repertory for men's choirs. In order to accomplish this, I will focus on the origination and comparison of Torquato Tasso's tale and Goethe's own adaptation of the story. I will also examine Brahms' early life, his acquirement of Goethe's text, and provide an in-depth look at two of the choruses from the cantata: "Zuruck nur!" and "Auf dem Meere."Since these movements have not been published as independent choral octavos, an important and primary component of my project will be to create a new edition of these movements. The source material I used to create the editions is Brahms' original manuscript scores of Rinaldo. Additionally, a complete translation of Rinaldo, an IPA pronunciation guide for the edition, and a complete transcription of an interview with Maestro Helmuth Rilling concerning Rinaldo are included in the appendices of this document.

Made available in DSpace on 2015-05-14T12:39:41Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1246600 bytes, checksum: 517c301da8d989ed4b481f5969637dad (MD5) Previous issue date: 2012-05-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims at analyzing short stories by the contemporary writer Rinaldo de Fernandes, focusing on the form with which this writer portrays his female characters in his short narrative. The corpus of analysis is composed of four of his short stories. In three of them, we can meet female protagonists who are, to our view, convincing and true-to-life. On the fourth short story, we have a male protagonist, whose analysis will both contrast and complement the proposed debate on authorship and female character. The premise is to demonstrate that the portrayal of women in literature can be comfortably done by a male writer, as, throughout the presented considerations, we intend to disengage the concept of authorship from any notion of typified writing as related to the sex of the one who has produced the text. In order to reach our goals, we shall refer to some theorists of the feminist literary criticism. The purpose is to relativize their assertions other than (re)affirm them. Besides that, other theorists shall help us to widen the debate round such issues as gender, identity (as proposed by cultural studies), sex in writing, as well as the definitions of short story as textual genre. Departing from these theoretical and critic viewpoints, we propose to discuss the selected short stories. / O objetivo desta pesquisa é analisar contos do escritor contemporâneo Rinaldo de Fernandes, dando destaque à forma como o autor constrói as personagens femininas em sua narrativa curta. Utilizaremos quatro contos do autor como nosso corpus, sendo que em três deles encontramos protagonistas femininas, a nosso ver, convincentes e verossímeis, e em um deles um protagonista masculino, que, em nossa análise, servirá inclusive como contraponto para o debate proposto sobre autoria e personagem feminina. A premissa é demonstrar que a representação das mulheres na literatura pode ser confortavelmente desenvolvida por um autor do sexo masculino, já que, através das discussões que apresentamos, pretendemos desatrelar autoria de qualquer noção de escrita tipificada de acordo com o sexo daquele/a que produziu o texto. Para atingir nossa proposta, nos ancoramos em algumas teóricas da crítica literária feminista, mais com o intuito de relativizar do que de (re)afirmar suas assertivas. Além disso, outro/as teórico/as irão nos ajudar a problematizar as questões ligadas aos temas gênero (sexual), identidade (conforme posto pelos estudos culturais), o sexo da escrita, bem como as definições do conto como gênero textual. A partir desses olhares teórico-críticos, propomos discutir os contos selecionados.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-15T12:51:52Z No. of bitstreams: 1 arquivo total.pdf: 676447 bytes, checksum: 2a2956903006760a4d7eca100cd82b4f (MD5) / Made available in DSpace on 2016-06-15T12:51:52Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 676447 bytes, checksum: 2a2956903006760a4d7eca100cd82b4f (MD5) Previous issue date: 2015-03-03 / The present paper aims at carrying out a reading of the novel Rita no Pomar by Rinaldo Fernandes in the attempt of realizing how the subjectivity of the traumatizing condition is outlined by the protagonist-narrator‘s language. The narrative‘s fragmentation goes along with the reframing of the lived past in São Paulo and at the Pomar beach, places whose involvement with characters and facts are always present in Rita‘s report. Through Charles Sanders Peirce‘s semiotics, we shall analyse how it is organized in the narrative‘s structure the arrangements of the symbolic, indexical and iconic signs in order to produce the effect of discontinuity and anticipation in the plot. With the support of Sigmund Freud‘s psychoanalitic theory, we shall discuss about the trauma and its representation in the novel. We still seek to investigate the presence of the movement attraction-rejection, a recurrent image in the structural and fictional levels, as well as in the macrostructre of the work, as an icon for Trauma. / O presente trabalho tem como objetivo realizar a leitura do romance Rita no Pomar, de Rinaldo de Fernandes, na tentativa de perceber como está delineada na linguagem da narradora-protagonista a subjetividade da condição traumatizante. A fragmentação da narrativa acompanha a reconstituição do passado vivido em São Paulo e na Praia do Pomar, lugares cujo envolvimento com personagens e fatos se fazem sempre presentes no relato de Rita. Através da semiótica de Charles Sanders Peirce, analisaremos como se organiza na estrutura da narrativa os arranjos dos signos icônicos, indexicais e simbólicos, a fim de produzirem o efeito de descontinuidade e antecipação na trama. Com o suporte da teoria psicanalítica de Sigmund Freud, discutiremos sobre o trauma e a sua representação no romance. Buscamos ainda investigar a presença do movimento de atração e rejeição, figura que se repete nos níveis estrutural e ficcional, bem como na macroestrutura da obra, como ícone do Trauma.

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