Made available in DSpace on 2014-06-11T19:22:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-27Bitstream added on 2014-06-13T20:48:41Z : No. of bitstreams: 1 sao_ms_me_sjrp.pdf: 869338 bytes, checksum: b0db7a87cc227ab381c15debf7dfff9e (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho vincula-se a uma pesquisa maior que está sendo desenvolvida simultaneamente por pesquisadores do GP “Lexicologia e Lexicografia contrastiva”. Tratamos da elaboração de uma obra de referência multilíngüe especial e inédita: o Dicionário Multilíngüe de Regência Verbal: verbos preposicionados, na direção português-alemão / espanhol / francês / inglês / italiano / japonês. Com base no levantamento já realizado dos verbos transitivos indiretos ou transitivos diretos e indiretos mais usuais da língua portuguesa do Brasil, elaboramos a microestrutura em língua francesa, propondo equivalentes a cada acepção dos verbos elencados na nomenclatura, ou seja, uma tradução (mesmo parafrásica) que corresponda ao significado indicado e, se for o caso, as preposições adequadas. Os resultados obtidos contribuem de modo efetivo para o desenvolvimento da lexicografia especial no país, atendendo a uma necessidade específica e central de diversos tipos de consulentes, sobretudo na produção textual em língua estrangeira e na tradução. / This work is attached to a larger survey which is being developed at the same time by researchers of GP Contrastive Lexicology and Lexicography. It is a drafting of a special and unique multilingual reference, the: Dicionário Multilíngue de Regência Verbal: verbos preposicionados, toward Portuguese-German / Spanish / French / English / Italian / Japanese. Based on the survey available about the most usual indirect transitive verbs or transitive direct and indirect verbs in Portuguese, as a Brazilian language, we developed a microstructure in the French language that offers the equivalent word for each meaning of the verbs listed in the nomenclature or a translation (also paraphrases) which corresponds to the meaning, followed by the indication of the appropriate prepositions, in the necessary cases. We believe that the results to be achieved with this work may effectively contribute to the development of a special lexicography in the country, given to the central and specific needs of different users, mainly in foreign language textual output and translations.

Orientador: Claudia Maria Xatara / Banca: Maria Cristina Parreira da Silva / Banca: Sidney Barbosa / Resumo: Este trabalho vincula-se a uma pesquisa maior que está sendo desenvolvida simultaneamente por pesquisadores do GP "Lexicologia e Lexicografia contrastiva". Tratamos da elaboração de uma obra de referência multilíngüe especial e inédita: o Dicionário Multilíngüe de Regência Verbal: verbos preposicionados, na direção português-alemão / espanhol / francês / inglês / italiano / japonês. Com base no levantamento já realizado dos verbos transitivos indiretos ou transitivos diretos e indiretos mais usuais da língua portuguesa do Brasil, elaboramos a microestrutura em língua francesa, propondo equivalentes a cada acepção dos verbos elencados na nomenclatura, ou seja, uma tradução (mesmo parafrásica) que corresponda ao significado indicado e, se for o caso, as preposições adequadas. Os resultados obtidos contribuem de modo efetivo para o desenvolvimento da lexicografia especial no país, atendendo a uma necessidade específica e central de diversos tipos de consulentes, sobretudo na produção textual em língua estrangeira e na tradução. / Abstract: This work is attached to a larger survey which is being developed at the same time by researchers of GP "Contrastive Lexicology and Lexicography." It is a drafting of a special and unique multilingual reference, the: Dicionário Multilíngue de Regência Verbal: verbos preposicionados, toward Portuguese-German / Spanish / French / English / Italian / Japanese. Based on the survey available about the most usual indirect transitive verbs or transitive direct and indirect verbs in Portuguese, as a Brazilian language, we developed a microstructure in the French language that offers the equivalent word for each meaning of the verbs listed in the nomenclature or a translation (also paraphrases) which corresponds to the meaning, followed by the indication of the appropriate prepositions, in the necessary cases. We believe that the results to be achieved with this work may effectively contribute to the development of a special lexicography in the country, given to the central and specific needs of different users, mainly in foreign language textual output and translations. / Mestre

Dans le cadre général d’une interrogation sur le renouvellement de la tragédie classique française à l’époque de la Régence (1715-1723), le travail étudie plus spécifiquement la manière dont la recherche de l’effet tragique conduit à la naissance de la tragédie philosophique. Ce travail prend appui sur l’analyse des pièces représentées à la Comédie-Française au cours de cette période et accorde une attention particulière à leur réception contemporaine dans la presse périodique et dans les brochures. Il envisage d’abord les recherches de renouvellement de la tragédie à partir de deux polémiques, la Querelle des Anciens et des Modernes et la querelle sur la moralité du théâtre, en montrant comment la réflexion sur le théâtre conduit les auteurs à chercher des effets dramatiques mieux adaptés aux attentes d’un public dont la sensibilité évolue au début du XVIIIe siècle. Il établit ensuite que la production d’un plus grand effet est liée, d’une part, à l’intensification de l’effet de terreur à travers la mise en scène du personnage odieux et, d’autre part, à la recherche d’une plus grande action grâce à l’exploitation des éléments du sacré (oracles, prêtres et chœur). Il démontre enfin que, si les impiétés relevées dans un certain nombre de tragédies ne visent qu’à la production d’un plus grand effet, l’Œdipe de Voltaire peut être considéré comme la première tragédie philosophique dans la mesure où le dramaturge met en œuvre une véritable stratégie critique et où les attaques contre la religion sont clairement perçues par le public contemporain. Le travail analyse ainsi de quelle manière les mutations qui affectent le dispositif dramaturgique dans cette quête de l’effet peuvent faire de la tragédie le lieu de la diffusion des idées qui participent de l’émergence des Lumières. Le phénomène est déterminant pour les combats philosophiques à venir ainsi que pour la transformation de la société que les philosophes vont chercher à faire advenir grâce à un support accessible à un large public. / Within the quest of renewal of the French Classical Tragedy of Regency period (1715-1723); the work closely explores the way how looking for a tragic impact leads to the philosophical tragedy birth. This work is grounded on an analysis of the French Comedy dramas performed during this period, but in the process, it gives a special attention to their contemporaneous acceptance in periodicals and brochures. First of all, the work speculates about the tragedy renewal in terms of two polemics – the dispute between Olds and News, and the dispute about theatre morality, but in this process it demonstrates how the thoughts of a theatre lead authors to the searching of the better adapted dramatic impact in view of spectators’ expectation whose sensibility is under evolution in the low of 18th century. Afterwards, the work specifies how the greater impact generating is related to a rising intensity of a great fear through a baddy on the one hand and to the searching for a greater story through numinous elements (prophecy, priesthood and choir) on the other hand. Finally, the work shows the fact how far the blasphemies found in some tragedies are calculated only to make a greater impact, on the contrary the Voltaire’s Oedipus can be considered as the first philosophical tragedy with respect to the fact when a dramatist creates the real critical strategy and to the fact when the tilts at religion are distinctly perceived by contemporary spectators. Thus, the work analyses a phenomenon how the changes related to the dramaturgical “statement” under the impact seeking can change the tragedy into the instrument for dispensing ideas which are a part of the Enlightenment birth. This phenomenon is prevailing both for future philosophical fights and for society transformation whereof philosophers will strive this via a medium available to a general audience.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-22T15:28:43Z No. of bitstreams: 1 dariopinheirosilva.pdf: 1286041 bytes, checksum: 9cc23326fa168023974f5da533967967 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-22T15:44:13Z (GMT) No. of bitstreams: 1 dariopinheirosilva.pdf: 1286041 bytes, checksum: 9cc23326fa168023974f5da533967967 (MD5) / Made available in DSpace on 2016-07-22T15:44:13Z (GMT). No. of bitstreams: 1 dariopinheirosilva.pdf: 1286041 bytes, checksum: 9cc23326fa168023974f5da533967967 (MD5) Previous issue date: 2015-08-28 / A Constituição Brasileira de 1988 trouxe em seu texto o norteamento para a condução legal da educação brasileira para as décadas seguintes. Com a promulgação da lei nº 11.738, em 16 de julho de 2008, conhecida como a Lei do Piso Salarial, promoveu-se um redimensionamento na composição da jornada de trabalho do professor da educação básica, levando a SEDUC-AM a normatizar nos anos de 2013 e 2014 o compartilhamento de cargas horárias. Esta dissertação pretende apresentar esta experiência através da percepção dos professores que a vivenciaram. Desse modo, a pesquisa objetiva conhecer os efeitos da citada normatização lotacional no cotidiano relacionado às rotinas profissional e pessoal dos que atuaram em regência de classe. Ao apresentar a estrutura da Secretaria de Estado da Educação e Qualidade do Ensino do Amazonas (SEDUC-AM), o foco foi o Departamento de Gestão de Pessoas – DGP e o perfil profissional dos atores diretamente envolvidos nas ações lotacionais. Foram trazidas breves noções sobre lotação de servidores, fundamentadas em estatutos de funcionários públicos civis e em autores como Di Baccio (2012) e Alvares (2012a e 2012b). A metodologia utilizada foi uma pesquisa exploratória, com amostragem não probabilística por quotas e utilizou-se como instrumentos: questionário eletrônico por e-mail, análise documental de leis, pareceres e instruções normativas, além dos autores como Mont‟Alvão, Souza e Neubert (2011), Tardif e Raymond (2000), Malhotra (2011) e Vieira, Castro e Júnior (2010) no referencial teórico. A análise dos dados recolhidos das percepções apresentadas pelos professores respondentes não revelou alteração na rotina pessoal com relação às suas atividades de lazer, mas apontou alterações nas rotinas profissionais ao participarem de espaços escolares diferentes. O compartilhamento de cargas horárias incidiu em um quantitativo maior de professores contratados; interferiu negativamente nos planejamentos pedagógicos nas atividades docentes; e impediu que os professores participassem de todas as reuniões pedagógicas e atividades das escolas nas quais estavam lotados no mesmo turno em dias diferentes, mesmo tendo receptividade considerada normal dos gestores escolares. Foi predominante a não concordância dos professores com a normatização lotacional implementada nos anos letivos de 2013 e 2014 na SEDUC-AM. Finalmente, as percepções analisadas levaram à construção de um Plano de Ação Educacional (PAE) como proposta para a implantação de projetos de atividade escolar para complementação de determinadas cargas horárias envolvendo a comunidade escolar como um todo nos níveis macro e micro educacionais. / The Brazilian Constitution of 1988 brought in its text for guiding legal conduct of Brazilian education for the following decades. With the enactment of Law No. 11,738, on July 16, 2008, known as the law of wage floor, promoted up a resize of working time of the basic education teachers, leading to the SEDUC-AM standardize the years 2013 and 2014 in the workload sharing. This master‟s thesis intends to present an experience through perception of teachers who experienced it. Thus, the research aims to know the effects of regulation of designation of the teachers related to daily routines professional and personnel who worked in the class regency. In presenting the structure of the State Department of Education and Teaching Quality from Amazonas (SEDUC-AM), the focus was on the Department of Personnel Management - DGP and the professional profile of the participants directly involved in the designation actions. Brief notions were brought about designation of civil servants , based on their statutes and authors like Di Baccio (2012) and Alvarez (2012a and 2012b). The methodology used was an exploratory research with non-probability sampling by quotas and used as instruments: electronic questionnaire by e-mail, document analysis of laws, opinions and normative statements, besides the authors as Mont'Alvão, Souza and Neubert (2011), and Raymond Tardif (2000), Malhotra (2011) and Vieira, Castro and Junior (2010) in the theoretical framework. The analysis of data collected from perceptions presented by teachers didn‟t reveal any change in personal routine in relation to their leisure activities, but revealed changes in professional routines to take part in several school spaces. The sharing workloads focused on a greater quantity of contract teachers; negative influence on educational planning in teaching activities; prevented the teachers participate in all meetings and educational activities of the schools in which were assigned in the same shift on different days, even though considered normal receptivity of school principals.It was predominantly non-concordance of the teachers with the regulation implemented in 2013 and 2014 school years in SEDUC-AM. Finally, perceptions analyzed led to the construction of an Educational Action Plan (PAE) as a proposal for the implementation of school activity projects to completion of certain workloads involving the school community as a whole in the macro and micro levels of education.

Cette thèse porte sur l’activité épigraphique de F. Ximenez, administrateur de l’hôpital trinitaire de Tunis qui, entre 1720 et 1735, a entrepris plusieurs excursions dans la Régence. Ses ouvrages sont restés inédits pour la plupart et, bien qu’ils aient été dépouillés à l’occasion de la publication du huitième volume du Corpus Inscriptionum Latinarum (CIL), une relecture s’avérait nécessaire. En effet, plusieurs des informations relatives aux inscriptions n’avaient pas été relevées, tandis que d’autres n’avaient pas été interprétées de manière satisfaisante. Ces informations concernent les caractéristiques des monuments épigraphiques, leur localisation ainsi que les conditions de leur découverte. Les erreurs d’interprétation faites lors du dépouillement des manuscrits de F. Ximenez ont mené à la création de doublons, mais ont conduit également à situer la provenance de certaines inscriptions loin du site qui leur correspond. Afin de mieux cerner les itinéraires empruntés par F. Ximenez pour déterminer les sites de provenance des inscriptions, il a été indispensable de consulter des cartes archéologiques tant anciennes que récentes et de se rendre sur le terrain afin de suivre les pas de cet auteur et ainsi reconstituer ceux de ses parcours qui apparaissaient comme les plus obscurs. De même, la relecture des manuscrits de F. Ximenez et la comparaison avec les textes des voyageurs qui lui étaient contemporains ont permis de reconstituer les stemmata de la tradition manuscrite des inscriptions. Il s’agissait d’analyser la transmission des informations entre les antiquaires de l’époque et de rendre à chacune des parties en cause ce qui lui était dû. Ces comparaisons nous ont mené à analyser les motivations et les intérêts de F. Ximenez relativement aux inscriptions anciennes. Qu’est-ce qui l’intéresse principalement dans les épigraphes ? Quels types de données collecte-t-il les concernant et quelles informations tente-t-il de déduire à partir de ces documents ? Comment en fait-il les relevés ? Ces aspects nous ont permis de mieux situer F. Ximenez au sein des antiquaires de son époque ; pour cela, il a d’ailleurs été nécessaire d’étudier la réception par quelques-uns de ces antiquaires. Quelle était l’opinion de ces savants le concernant ? Comment se sont-ils servis des informations que F. Ximenez a recueillies ? / This thesis deals with the epigraphical activity of F. Ximenez, the administrator of the Trinitarians hospital at Tunis who, between 1720 and 1735, undertook several excursions in the interior of the Regency. Most of his work remains unpublished, and even and even after being dissected for the publication of the Corpus Inscriptionum Latinarum (CIL), a re-reading have been proved to be necessary. Indeed, a certain amount of the information on the inscriptions was yet to be discerned and a significant part extracted from it hasn’t been correctly interpreted. They concern the features of the epigraphical monuments as well as their localisations and the conditions of their discovery. The major blunders committed interpreting the manuscripts of F. Ximenez have created duplications of inscriptions and have let researchers think that some inscriptions came from what it tourned out to be the wrong places. In order to draw up the itineraries of F. Ximenez and to determine the sites of origin of the inscriptions it has been essential to consult the ancient and recent archeological maps, along with a field visit in the country in order to follow his steps, shedding light on the case of his more unclear journeys. This new reading of the manuscripts of F. Ximenez and the comparison with the works of the contemporary travellers have also allowed to recreate the stemmata of the manuscript tradition of inscriptions. The aim has been to analyse the transmission of information between the antiquarians of that time and give back to all of the parties involved what was due to each one of them. These comparisons have led us to analyse the reasons and the interests of F. Ximenez with regard to the ancient inscriptions. What's his main interest concerning the epigraphs? What kind of data does he gather from them and what kind of information does he try to deduce from them? How does he take the tracings? These approaches have allowed to place F. Ximenez within the antiquarians of his time, but in order to do this it has been essential to study the reception which some of them have made of the manuscripts of F. Ximenez. What was the opinion of those scholars on F. Ximenez? How did they use the data he has gathered? We have attempted to answer these as well as other questions in this thesis.

To step into a character and a world of the past, the actor must not discard the present, but seek to find connections and links between the worlds. I was cast in the Orlando Shakespeare Theater production of Sense and Sensibility, a Jon Jory adaptation of Jane Austen’s novel, in the role of Lucy Steele. This was an equity production, and it ran February 6th – March 17th, 2013, in the Orlando Shakespeare Theater’s Margeson Theater. Lucy is a female character from England in a period often referred to as the Regency era. As a woman from today’s United States of America, first I explored how Lucy’s words and actions fit into the society of her time, and second I explored how I, a contemporary actor, could organically step into her shoes. One of the greatest tools I had to help me address these questions was the playwright himself, Jon Jory. He was at the Orlando Shakespeare Theater for the 2012 Harriett Lake Festival of New Plays, during which he gave a keynote address and taught a master class in acting, in which I participated. Furthermore, I had the unique opportunity to personally interview him regarding Sense and Sensibility and his connection to the world of Austen and her characters. Along with applying this insight, I applied tools from his acting master class to my work on his Sense and Sensibility text. This special access to the playwright greatly influenced the work and served as a key into Lucy’s world. In addition to working with the playwright, I further researched Austen and her work, because Lucy and her world originate there. I explored various resources about England’s Regency era society and the role of women in this society. By comparing the world and people of the play to the current cultural and political landscape with which I am most familiar, I found iii fundamental links between people living in different times and places, breaking down walls between Lucy’s world and my own. Finally, this performance thesis project utilized the practical acting, voice, and movement skills, which I cultivated in my studio work as an MFA acting candidate at the University of Central Florida. It was a wonderful opportunity as an aspiring young actor to participate in an equity production and work with professional actors. I exercised my stage dialects training by using a standard British dialect, and I applied what I learned in my theatre styles acting class and in various movement classes to develop the behavior and physicality of my character. In order to preserve the new information gained from this study, I chronicled my explorations and discoveries throughout the rehearsal and production process. Through my work with the playwright Jon Jory, my research on Jane Austen and the Regency era, and my application of what I learned in the studio, I strove to create a model process for an actor to utilize when stepping into a role and a world of the past.

Esse trabalho tem como objeto o estudo das variações de densidade e seu diálogo com direcionalidade nos processos de composição musical estabelecendo indicações para análise interpretativa. Uma vez que problematizamos os conceitos de densidade e direcionalidade, buscamos estabelecer leituras dessas variáveis tanto quanto ao seu comportamento harmônico, rítmico, contrapontístico, timbrístico, transformações de intensidade, seja vertical ou horizontalmente, quanto à trama psicológico-dramática nas relações entre texto e música, assim como no uso do silêncio. O pensamento metodológico está apoiado tanto no Referencial Silva Ramos de Análise de obras corais (2003), que deu origem as nossas reflexões sobre densidade e direcionalidade, quanto em outras referências, igualmente estruturais, que são: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) e Schenker (1996, 2000). Ao tratar diretamente do significado destes parâmetros na estrutura musical, buscamos responder a principal pergunta deste trabalho: como tais variáveis e seus entrelaçamentos podem contribuir para uma análise voltada para construção de possíveis futuras performances. Divide-se em três capítulos, no primeiro constituímos três premissas de densidade: i) densidade vertical, a partir da análise das obras de Berry (1976), ii) densidade horizontal, com base nos fundamentos composicionais de Schoenberg (2012), iii) densidade dramática, fundamentada a partir de Ramos (2003). Realizamos a análise do madrigal Moro Lasso de Carlo Gesualdo para compreender o significado da densidade na estrutura musical e a sua contribuição para uma análise voltada para performance. No segundo capítulo, desenvolvemos as ideias de direcionalidade como um movimento transformador, destacando a direcionalidade melódica e harmônica, caracterizando também na ausência desta, a adirecionalidade. Percebemos na revisão bibliográfica e análise comparativa conceitual, a importância do conflito e do contraste para a caracterização e/ou intensificação da direcionalidade. Por fim, na análise interpretativa da obra Salmo 22 de Claudia Alvarenga, apontamos para as variações de densidade, em toda sua abrangência, como um possível elemento formador dos conflitos, contrastes e estranhamentos influenciadores de direcionalidade. / This work has as its object the study of density variations and its dialogue with directionality in the processes of musical composition, establishing indications for interpretative analysis. Once we have problematized the concepts of density and directionality, we seek to establish readings of these variables as well as their harmonic, rhythmic, contrapuntal, timbre, and intensity transformations, either vertically or horizontally, as well as the psychological-dramatic plot in the relationships between text and music, as well as in the use of silence. Methodological thinking is supported both in the Silva Ramos Reference Framework for Choral Works (2003), which gave rise to our reflections on density and directionality, as well as in other, equally structural, references that are: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) and Schenker (1996, 2000). When dealing directly with the meaning of these parameters in the musical structure, we try to answer the main question of this work: how these variables and their interlacings can contribute to an analysis directed to the construction of possible future performances. It is divided into three chapters, in the first one we establish three density assumptions: (i) horizontal density, based on the compositional foundations of Schoenberg (2012), (ii) the density of the vertical density, from the analysis of Berry\'s works (1976), (iii) density based on Ramos (2003). We performed the analysis of the madrigal Moro Lasso by Carlo Gesualdo to understand the meaning of density in the musical structure and its contribution to a performance - oriented analysis. In the second chapter, we develop the ideas of directionality as a transforming movement, highlighting the melodic and harmonic directionality, also characterizing in the absence of this, the adirecionalidade. We noticed in the bibliographic review and conceptual comparative analysis, the importance of conflict and contrast for the characterization and / or intensification of directionality. Finally, in the interpretative analysis of Claudia Alvarenga\'s Psalm 22, we point to the density variations, in all their scope, as a possible element forming the conflicts, contrasts and strangeness that influence directionality.

Le XVIIe siècle a vu l'avènement de la domination des marines anglaise et française. La France et l’Angleterre se sont disputées le contrôle des voies maritimes en Méditerranée qui était alors le coeur stratégique du commerce mondial et de l'approvisionnement, mais également le théâtre de conflits entre les différentes flottes. Il est en effet nécessaire pour contrôler la Méditerranée d'intervenir dans les affaires intérieures des États du bassin méditerranéen, et c'est pour atteindre ce but que les Européens cherchèrent à consolider leurs relations avec l'empire ottoman, qui contrôlait les Régences d’Afrique du Nord, et bien évidemment celles aussi qu’ils entretenaient avec Tripoli. Les relations franco-tripolitaines se sont établies grâce à une activité diplomatique intense, renforcée par les multiples communications entre les deux pays surtout à l’époque de Youssef Pacha où le gouvernement français a joué un rôle important dans la vie politique et économique à Tripoli. La France considérait cette action diplomatique comme un moyen efficace pour maintenir la sécurité de ses navires au large des côtes de cet État, qui était l'un des plus puissants de la Méditerranée durant cette période. Tripoli constituait aussi pour la France un pont pour les échanges commerciaux. Le règne de Youssef Pacha est aussi marqué par un élément qui a valorisé Tripoli aux yeux de la France : la progression des découvertes géographiques en Afrique. La France et l’Angleterre étaient, là aussi, en compétition pour pénétrer à l’intérieur du continent noir à partir de Tripoli. De plus, Tripoli joua un rôle important au cours des conflits entre la France et l’Angleterre, en particulier au moment de l’expédition d’Égypte et pendant les guerres napoléoniennes. Tous ces facteurs ont contribué à la création d'un niveau élevé de relations diplomatiques et économiques entre les deux pays qui se sont construites grâce à un esprit de coopération et en dépit de nombreuses difficultés. / In the 17th century, the seas were dominated by the English and French navies. Just like the English, the French fought to control the Mediterranean sea-routes which represented major strategic world trading routes and they were also the scene of many battles between the different maritime fleets. Quite naturally, in order to control the Mediterranean, a certain level of intervention in the internal affairs of the Mediterranean States was necessary. This led Europeans to seek to strengthen their relations with the Ottoman Empire that controlled the North African Regencies and also Tripoli at the time. Franco-Tripolitanian relations were founded on intense diplomatic efforts and quasi-permanent communication between the two countries, particularly during the reign of Youssef Pacha (most commonly Yusuf Karamanli) and the Tripoli Regency, when the French government played a decisive role in the political situation and economic development of the region. By focusing its activities on diplomatic relations, France considered its incursion as a tool for a Modern state to justify and maintain a fleet off the coast of this state that was, at the time, one of the most powerful in the Mediterranean region. For France, Tripoli was also a gateway for trading activities. Youssef Pacha’s reign was also marked by an element that gave even greater value to Tripoli for the French: the progress made in geographical exploration and discoveries in Africa. Here again, France and England were competing in their exploration of the Dark Continent from Tripoli down. Tripoli also played a key role during the political crises between France and England, particularly during the Napoleonic wars. All the above elements contributed to the creation of high-level diplomatic and economic relations that were built on cooperation, despite certain problems that arose during the period.

Esse trabalho tem como objeto o estudo das variações de densidade e seu diálogo com direcionalidade nos processos de composição musical estabelecendo indicações para análise interpretativa. Uma vez que problematizamos os conceitos de densidade e direcionalidade, buscamos estabelecer leituras dessas variáveis tanto quanto ao seu comportamento harmônico, rítmico, contrapontístico, timbrístico, transformações de intensidade, seja vertical ou horizontalmente, quanto à trama psicológico-dramática nas relações entre texto e música, assim como no uso do silêncio. O pensamento metodológico está apoiado tanto no Referencial Silva Ramos de Análise de obras corais (2003), que deu origem as nossas reflexões sobre densidade e direcionalidade, quanto em outras referências, igualmente estruturais, que são: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) e Schenker (1996, 2000). Ao tratar diretamente do significado destes parâmetros na estrutura musical, buscamos responder a principal pergunta deste trabalho: como tais variáveis e seus entrelaçamentos podem contribuir para uma análise voltada para construção de possíveis futuras performances. Divide-se em três capítulos, no primeiro constituímos três premissas de densidade: i) densidade vertical, a partir da análise das obras de Berry (1976), ii) densidade horizontal, com base nos fundamentos composicionais de Schoenberg (2012), iii) densidade dramática, fundamentada a partir de Ramos (2003). Realizamos a análise do madrigal Moro Lasso de Carlo Gesualdo para compreender o significado da densidade na estrutura musical e a sua contribuição para uma análise voltada para performance. No segundo capítulo, desenvolvemos as ideias de direcionalidade como um movimento transformador, destacando a direcionalidade melódica e harmônica, caracterizando também na ausência desta, a adirecionalidade. Percebemos na revisão bibliográfica e análise comparativa conceitual, a importância do conflito e do contraste para a caracterização e/ou intensificação da direcionalidade. Por fim, na análise interpretativa da obra Salmo 22 de Claudia Alvarenga, apontamos para as variações de densidade, em toda sua abrangência, como um possível elemento formador dos conflitos, contrastes e estranhamentos influenciadores de direcionalidade. / This work has as its object the study of density variations and its dialogue with directionality in the processes of musical composition, establishing indications for interpretative analysis. Once we have problematized the concepts of density and directionality, we seek to establish readings of these variables as well as their harmonic, rhythmic, contrapuntal, timbre, and intensity transformations, either vertically or horizontally, as well as the psychological-dramatic plot in the relationships between text and music, as well as in the use of silence. Methodological thinking is supported both in the Silva Ramos Reference Framework for Choral Works (2003), which gave rise to our reflections on density and directionality, as well as in other, equally structural, references that are: Wallace Berry (1976), Arnold Schoenberg (1969, 2012), Barenboim (2007, 2009), Riemann (1896), Menezes (2002, 2006) and Schenker (1996, 2000). When dealing directly with the meaning of these parameters in the musical structure, we try to answer the main question of this work: how these variables and their interlacings can contribute to an analysis directed to the construction of possible future performances. It is divided into three chapters, in the first one we establish three density assumptions: (i) horizontal density, based on the compositional foundations of Schoenberg (2012), (ii) the density of the vertical density, from the analysis of Berry\'s works (1976), (iii) density based on Ramos (2003). We performed the analysis of the madrigal Moro Lasso by Carlo Gesualdo to understand the meaning of density in the musical structure and its contribution to a performance - oriented analysis. In the second chapter, we develop the ideas of directionality as a transforming movement, highlighting the melodic and harmonic directionality, also characterizing in the absence of this, the adirecionalidade. We noticed in the bibliographic review and conceptual comparative analysis, the importance of conflict and contrast for the characterization and / or intensification of directionality. Finally, in the interpretative analysis of Claudia Alvarenga\'s Psalm 22, we point to the density variations, in all their scope, as a possible element forming the conflicts, contrasts and strangeness that influence directionality.

Made available in DSpace on 2016-04-27T19:31:56Z (GMT). No. of bitstreams: 1 A GUARDA NACIONAL NA PROVINCIA PARAENSE.pdf: 1836307 bytes, checksum: 3926f2f0bda433321af2e60ab790d4c9 (MD5) Previous issue date: 2005-05-31 / The dissertation "the National Guard in the Paraense Province: representations of a paramilitary army (1831/1840)" intend to reflect some thematics that helped to promote tensions in the Paraense Province. The City the Genesis of the National Guard Legislation Constitution Insubordination and the Defection are thematics that made this dissertation and the object in question. The three chapters that are part of this work have as ultimate object to argue the axles above cited which had provoked debates and fidgets in the Paraense Province of the first half of century XIX.thus to stablish the creation and the development of the corporation in the Province.The National Guard - had turned into a desert and "joyed together" in the Cabano Movement? In compliance with this the present dissertation does not intend to trace a profile concerning the reasons of turning into a desert in this period much less to make a study on the Cabano Movement. The real intend was to perceive tensions and forces formed in the Paraense Province when it s placed in the main thematic ounce displayed. These subjects had been located in the core of an intense society that lived deeply a period of substructure transformations that the Regeny itself tried to put into work / A dissertação A Guarda Nacional na Província Paraense: representações de uma milícia para-militar (1831/1840) procurou refletir sobre algumas temáticas que ajudaram a revelar tensões na Província Paraense. A Cidade a Gênese da Guarda Nacional a Legislação a Constituição a Insubordinação e a Deserção são temáticas que compõem esta dissertação e o objeto em questão. Os três capítulos que fazem parte deste trabalho procuram discutir os eixos acima citados os quais provocaram debates e inquietações na Província Paraense da primeira metade do século XIX de forma a estabelece-se como foi percebida a criação e o desenvolvimento da corporação na Província. Deste modo a problematização se contém em compreender como determinados sujeitos sociais Guardas Nacionais desertaram e adentraram juntos no Movimento Cabano. Em conformidade com isso a presente dissertação não pretende traçar um perfil acerca dos porquês de se desertar neste período muito menos fazer um estudo sobre o Movimento Cabano. Procurou-se antes perceber tensões e relações de força que se formaram na Província Paraense quando se colocava em pauta as temáticas acima expostas. Estes assuntos não se pode esquecer estiveram localizados no seio de uma sociedade que vivenciou um período de intensas transformações infra-estruturais que a própria Regência tentou operacionalizar