CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / O centro da cidade de Fortaleza tem sua essÃncia construÃda historicamente com a modernizaÃÃo do estado quando se tornou capital. Todos os sÃmbolos de desenvolvimento econÃmico, cultural e educacional estiveram presentes neste espaÃo. GraÃas ao crescimento populacional e expansÃo para Ãreas perifÃricas, a educaÃÃo no centro da cidade foi vista como rito de passagem para o amadurecimento dos jovens cearenses. Esta pesquisa se constitui em uma anÃlise das experiencias de jovens estudantes no centro, evidenciando o processo educacional da formaÃÃo que este espaÃo proporcionava. A experiÃncia de estudar em escolas do centro da cidade tambÃm era marcada por aprendizados que se tornavam possÃvel graÃas a vivÃncias alheias aos conhecimentos escolares e sua transmissÃo. Todas estas experimentaÃÃes poderiam ser tidas como sintomas de um desvio de conduta, rebeldia, irreverÃncia e mau comportamento. AtravÃs das narrativas de estudantes de escolas do centro na dÃcada de 1980, buscamos explicitar os processos de assunÃÃo da autonomia e da maioridade proporcionados pelas experiÃncias contidas na formaÃÃo escolar e atravÃs da sociabilidade presente no centro da cidade. A metodologia da pesquisa se pauta no uso de fontes orais, imagens extraÃdas dos jornais locais, explicitando o perÃodo analisado, alÃmimagens do arquivo pessoal dos entrevistados, onde podemos vislumbrar os aspetos enfatizados pelos seus objetivos.

Esta dissertação estuda as transformações da paisagem na comunidade quilombola Pedro Cubas, localizada na região do Vale do Ribeira, no Estado de São Paulo. A paisagem é entendida a partir de uma abordagem cultural. Para viabilizar o estudo das transformações, adota-se um recorte das temporalidades presentes no espaço de vida da população. Estuda-se a trajetória do conceito de quilombo e o histórico de ocupação da região para verificar o contexto em que a comunidade se insere. A imersão da pesquisadora na área de estudo é o caminho usado para experienciar a paisagem, estabelecer uma relação com as pessoas e com o lugar e compreender como a introdução de novas técnicas afetam as práticas culturais. Aplicase uma análise categorial aos elementos identificados na paisagem, a fim de apreender de que forma os moradores percebem as temporalidades presentes. Identificam-se as Persistências, Transformações e Ressignificações dos elementos da paisagem. Avaliam-se como práticas do passado permanecem, transformam-se e são ressignificadas no espaço de vida dessa comunidade. Compreender estas transformações, a partir do olhar dos moradores, abre para a possibilidade de um planejamento de ações mais adequado ao modo de vida do local. / This dissertation studies landscape transformation in the quilombola community of Pedro Cubas, based at Vale do Ribeira region of São Paulo state. Landscape is understood through a cultural perspective. To make this study of transformations feasible, the dissertation focuses on temporalities present on Pedro Cubas communitys life-space. The course of quilombo concept and the historical occupation of the region were considered in order to apprehend the context in which this community is inserted. Intense fieldwork was essential given that it allowed the researcher to experience the landscape as well as establish a relationship with people and their environment. Elements identified within the landscape were submitted to a categorical data analysis, which facilitated the comprehension of how community members perceive present temporalities. Understanding transformations based on local perspectives allows the plan of actions to be more adequate to their way of life.

The emergence of novelists such as Kazuo Ishiguro and Timothy Mo in the final decades of the twentieth century has often been taken as evidence of an increasing multiculturalism both in Britain and the wider world, as well as in British literature itself. With their dual British-Asian heritage and their interrogation of notions of history, identity and agency, these authors are often celebrated as proponents of the cosmopolitan novel, a genre which rejects binary notions of East and West or national interest in favour of a transnational mode of cooperation and cohabitation. Reading against the grain of such celebratory notions of the cosmopolitan, this thesis suggests that if the novels of Ishiguro and Mo are concerned with the exigencies of the cosmopolitan world, then they portray that world as one which remains split and haunted by divisions between East and West, past and present, self and ‘other’. That is, they present a cosmopolitan world in which the process of negotiation and contact is difficult, confrontational and often violent. Drawing upon Fredric Jameson’s notion of the ‘political unconscious’, I suggest that these novels in fact reveal the origins of the rather deeper divisions which have emerged in the first decade of the twenty first century, analysing the ways in which they reveal a degree of cultural incommensurability, frustrated cosmopolitan agency and the enduring power and appeal of the nation state. I also suggest that the contemporary critical obsession with the spatial – whereby cosmopolitanism’s work is carried out in ‘Third Spaces’, interstitial sites, and border zones – fails to recognize the importance of temporal concerns to the experience of cosmopolitan living. My analysis of the novels of Ishiguro and Mo is thus concerned with the way in which the temporal is a key concern of these works at both a narratological and thematic level. In particular, I identify a curious ‘double-time’ of cosmopolitanism, whereby the busyness which we might expect of the period is counterpointed by a simultaneous sense of stasis and inactivity. I argue that it is within this unsettling contemporary ‘double-time’ that the cracks and fissures in the narrative of cosmopolitanism begin to emerge.

Nous nous intéressons dans cette thèse à la relation originale et problématique qui s’est établie, dans la période qui va de l’après-guerre jusqu’à la fin des années 1970, entre, d’une part, la temporalité de l’écriture telle que vécue par l’écrivain et, d’autre part, la temporalité produite par le texte. Le schème paradoxal qui préside à cette relation pourrait se résumer ainsi : écrire pour savoir pourquoi écrire. Si la formule semble consonner avec la vulgate d’une écriture autotélique, elle nous semble plus profondément poser la question complexe du désir du scripteur, quand toute relation univoque entre le dedans et le dehors est mise en cause. Pour mener à bien cette étude, nous procédons en deux grands moments. Le premier aborde cette configuration par un bord théorique : nous suivons le fil du syntagme de « point aveugle », en ses acceptions métaphoriques et conceptuelles, dans un corpus essayistique extrait du grand moment théorique français. La seconde propose deux parcours de lecture dans les œuvres littéraires narratives fictionnelles de Bernard Pingaud et d’Henri Thomas – écrivains qui, selon des modalités distinctes, montrent deux voies d’articulation originale des registres temporels considérés. Aussi différents soient-ils, ils partagent ce principe : écrire pour savoir ce que, sans cette traversée, on ne pourrait savoir, en s’affrontant à cet irréductible point aveugle qui se donne comme condition de possibilité et d’impossibilité du sens / The focus of this thesis is the relationship - in the period between the end of World War Two and the late 1970s - between the temporality of writing as experienced by the writer, and the temporality produced by the text itself. The paradoxical structure of this relationship can be captured by the following formula: writing in order to know why one writes. Though this formula may seem to invoke the modernist received wisdom concerning autotelitic writing, this thesis takes it as the starting point in order to understand the desires of the “scriptor” (to use Roland Barthes’s term) when all unambiguous relations between the internal and the external are called into doubt. This study will proceed in two major parts. The first will apply a theoretical lens to the notion of the “blind spot” as it appears in its various metaphorical and conceptual senses in the essayistic corpus of so-called “French theory”. The second will consist of a literary analysis of the fictional narratives of Bernard Pingaud and Henri Thomas: writers who, each in their own distinct modalities, reveal an original way of articulating the forms of temporality at the center of this study. As different as they are, Pingaud and Thomas each share the aim of writing in order to understand that which, without writing, one could never understand. In pursuit of this aim, both writers come face-to-face with a blind spot that poses itself as the condition of both the possibility and the impossibility of meaning

Recently, there have been efforts to design more efficient ways to internalize music by applying the disciplines of cognition, psychology, temporality, aesthetics, and philosophy. Bringing together the fields of art and science, computational techniques can also be applied to musical analysis. Although a wide range of research projects have been conducted, the automatization of music analysis remains emergent. Importantly, patterns are revealed by using automated tools to analyze core musical elements created from melodies, harmonies, and rhythms, high-level features that are perceivable by the human ear. For music to be captured and successfully analyzed by a computer, however, one needs to extract certain information found in the lower-level features of amplitude, frequency, and duration. Moreover, while the identity of harmonic progressions, melodic contour, musical patterns, and pitch quantification are crucial factors in traditional music analysis, these alone are not exclusive. Visual representations are useful tools that reflect form and structure of non-conventional musical repertoire. Because I regard the fluidity of music and visual shape as strongly interactive, the ultimate goal of this thesis is to construct a practical tool that prepares the visual material used for musical composition. By utilizing concepts of time, computation, and composition, this tool effectively integrates computer science, signal processing, and music perception. This will be obtained by presenting two concepts, one abstract and one mathematical, that will provide materials leading to the original composition. To extract the desired visualization, I propose a fully automated tool for musical analysis that is grounded in both the mid-level elements of loudness, density, and range, and low-level features of frequency and duration. As evidenced by my sinfonietta, Equilibrium, this tool, capable of rapidly analyzing a variety of musical examples such as instrumental repertoire, electro-acoustic music, improvisation and folk music, is highly beneficial to my proposed compositional procedure.

No description available.

<p>This dissertation analyzes the period of late modernism (roughly 1930-1965) by attending to an understudied subgenre: fictions that depict the experiences of the dead in the afterworld. The project originated from my observation that a number of late modernist authors resorted to this type of writing, leading to the question of what made them do so. Such a project addresses the periodization and definition of late modernism, a period that has received relatively little critical attention until recent years. It also contributes indirectly to the study of European culture before and after the Second World War, identifying clusters of concerns around common experiences of belief and time during the period. </p><p>To approach this question, I adopt a situational approach. In this type of reading, I attempt to reconstruct the situations (both literary and extra-literary) of specific authors using historical and biographical material, then interpret the literary work as a response to that situation. Such a methodology allows me to ask what similarities between situations led to these convergent responses of afterlife writing. My primary objects are afterlife novels and plays by Jean-Paul Sartre, Simone de Beauvoir, Wyndham Lewis, Flann O'Brien, and Samuel Beckett.</p><p>I find that the subgenre provided late modernists with the literary tools to figure and contest changes in experiences of belief and time in mid-20th century Europe. The situation of modernism is marked by <italic>the loss of belief in the world</italic>, a failure in the faith in action to transform the world, and <italic>the serialization of time</italic>, the treatment of time as static repetition and change as something that can only occur at the individual rather than the systemic level. While earlier modernists challenged these trends with the production of idiosyncratic private mythologies, late modernists encountered them as brute facts, leading to a shift in aesthetic sensibilities and strategies. Belief was split between private opinion and external submission to authority, and change reappeared under the figure of catastrophe.</p> / Dissertation

This study is a critical inquiry into the changes of the conceptualisations of the term &ldquo / program&rdquo / in architectural discourse, particularly after the 1960s and early 1970s. The aim of this thesis is to benefit from the difficulty of defining &ldquo / program&rdquo / in architecture as a fruitful, pragmatic and intellectual source. Although several terms, such as &ldquo / function,&rdquo / &ldquo / use,&rdquo / &ldquo / occupation,&rdquo / &ldquo / activity,&rdquo / and &ldquo / event&rdquo / fulfil some aspects, none of them suggest an exact definition of the term &ldquo / program&rdquo / in architecture. Neither does the introduction of the existence of the terms &ldquo / temporary activities,&rdquo / &ldquo / spontaneity,&rdquo / &ldquo / coincidence,&rdquo / &ldquo / hybridisation,&rdquo / and &ldquo / interface spaces,&rdquo / which consider the emergence of &ldquo / temporality&rdquo / as a more considerable variable in contemporary architecture, provides an adequate definition for the term. Therefore, in this research &ldquo / program&rdquo / in architecture is problematized as a &ldquo / weakly&rdquo / defined phenomenon. This study introduces the idea of &ldquo / programmatic experimentation&rdquo / by exploring and re-reading the work of Gordon Matta-Clark, in which &ldquo / experimentation&rdquo / led to the evaluation of &ldquo / program&rdquo / as &ldquo / concept.&rdquo / &ldquo / Program&rdquo / is re-conceptualised under two theoretical statements defining the general framework of this study: &ldquo / Concept&rdquo / and &ldquo / Experimentation&rdquo / . &ldquo / Concept,&rdquo / as introduced by the French philosopher Gilles Deleuze, produces a direction towards thinking to allow a new understanding by constructing multiple situations rather than constricting program&rsquo / s definition with specific terms. &ldquo / Experimentation&rdquo / suggests that the consequences of the experimental attempts of the 1960s and early 1970s are more than just technological possibilities inserted into architecture, revealing a shift in architectural &ldquo / program.&rdquo / In the end, the implementation of the constructed togetherness of the two terms is traced through the work of Matta-Clark as a radical criticism of the established conventions of architectural discourse.

This thesis aims at propounding possible relations between the concepts of time and art in Martin Heidegger&rsquo / s thinking. Time and art which hold a central place in different periods of Heidegger&rsquo / s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork&rsquo / s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, this thesis argues that the work of art bears a temporality of its own and attempts to show how this is realized with the experience of art

In this scientific work discussing main hermeneutics ideas ant their connection with neoromantizm. Hermeneutics is poems analysis method. Lyrics is analysing in aspect of temporality ant eternity. Symbols of Putinas lyrics meanings compating with traditional symbols. Sections distributing according themes: munity, divinity, dualism, night and death.