Orientador: Luis Carlos Cagliari / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-19T12:54:00Z (GMT). No. of bitstreams: 1 Leme_MariaLuisadeAlmeida_M.pdf: 8518394 bytes, checksum: 1c98113bf77ebe3bef2922cc6736fa0e (MD5) Previous issue date: 1994 / Resumo: A comunidade tirolesa-trentina de Piracicaba (SP) é constituída por dois bairros, que pertencem à Fazenda de Santa Olímpia e à Fazenda de Santana, mais os habitantes da fazenda Negri. É uma comunidade formada por descendentes de imigrantes que vieram do Tirol austríaco (hoje, parte da Região do Trento Itália) no fim do século passado (1877). Da origem até hoje já se formaram cinco gerações. Por terem se mantido unidos, conservaram as tradições do pais de origem. São católicos e para eles, a religião é uma atividade indispensável no dia-a-dia. Da comunidade já saíram muitos religiosos, padres e até bispos. Os costumes culinários e, sobreturo, as festas tradicionais representam outro aspecto da cultura de origem que se manteve bem preservado. Hoje, a comunidade apresenta três dialetos em uso: o dialeto trentino (italiano), falado pelos velhos e entendo também pelos mais novos: o dialeto caipira, representando a variedade de português da região: e uma variante do dialeto caipira, rotulada de misturada, que se caracteriza por ser o dialeto caipira com enorme quantidade de palavras de origem trentina e principalmente, com forte influência fonológica do dialeto trentino, alterando o sistema do português. Este estudo apresenta a história desta comunidade, destaca usos e costumes e mostra a importância da religião. O objetivo principal, porém, é o levantamento da situação linguística, estudando o aspecto fonológico, em particular. A situação de bilinguismo e de variação dialetal é detalhada no seu aspecto fonológico. Fatores sociolinguísticos são contemplados, à medida que possam esclarecer os usos da linguagem na comunidade / Abstract: Not informed. / Mestrado / Mestre em Linguística

Includes bibliographical references / Philip Glass is best known for his role in the establishment of the 1960s minimalist movement, which was characterised by an extensive reduction of musical means. Since the mid-1970s, the composer has adopted a richer, more complex musical language, and distanced himself from the minimalist label. Academic scholarship on the composer's more recent compositions is severely limited, with the result that he is often still viewed as a minimalist. This dissertation's focus is on a more recent work by Glass, the Tirol Concerto for Piano and Orchestra (2000), and thus seeks to contribute to our knowledge of the composer's more recent stylistic development and the extent to which it is minimalist. The research approach entails compositional analyses of the concerto's second movement from both literary and theoretical perspectives. The movement's conception, its background and factors that had an influence on its compositional content are explored through literature studies. This is followed by theoretical investigations of its musical characteristics through the application of functional harmonic analysis and neo-Riemannian theory. Findings from the research provide evidence that the composition's title stems from the 'Tyrolean character' that was requested by its commissioners. However, relations between the movement and the film The Truman show (1998) challenge the composer's affirmations of a Tyrolean folk-song basis. Musically, the movement consists of a simple, repetitive structural and harmonic framework that undergoes superficial variations through melodic, textural and rhythmic changes. Transformational coherence within a functional structure is an essential component of the movement's harmonic content. This dissertation concludes that the piece contains musical characteristics consistent with all of Glass's stylistic periods, including minimalism, as well as new compositional devices that have not been identified previously. It recommends further study of the composer's more recent output , especially through transformational perspectives, and a reconsideration of the ontology and appropriateness of stylistic labels such as minimalism.

Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

Die Arbeit besteht aus 17 Einzelstudien, die in engem Zusammenhang mit den vom Verfasser bearbeiteten Editionsbänden der ‚Acta Cusana‘ entstanden. Basierend auf den Materialien und Kommentaren der Edition analysieren sie vielfältige Probleme der spätmittelalterlichen Lebenswelt und erschließen oft kaum bekannte Quellenbestände. Ein zentrales Anliegen verbindet die Studien: Es geht vor allem darum, die in der Forschung oft entrückte Figur des historischen Cusanus in die Kontexte seiner Lebenswelt zurückzuführen. Übersteigerte Exzeptionalität und vielfach behauptete Lebensfremdheit des genialen Denkers verstellten oft den Blick auf das Typische und zeitbedingt Repräsentative an den cusanischen Lebensbildern. Die Studien stellen sich damit oft gegen tief verwurzelte Forschungstraditionen, die bis weit ins 19. Jh. zurückreichen und Nikolaus von Kues als einen in seiner kirchenpolitischen und administrativen Praxis intellektuell unterforderten und gleichzeitig menschlich überforderten Kardinal und Bischof erscheinen lassen, dessen überstrenge und rücksichtslos unrealistische Reformvorstellungen aus dem Rahmen der eigenen Zeit fielen. Der chronologische Schwerpunkt der Studien liegt in den Brixner Jahren des Nikolaus von Kues (1452–1458), wobei Rückblenden in die früheren Lebensjahre stärkeres Gewicht zukommt als Vorgriffen auf die späteren römischen Jahre. Die Diözese Brixen unter Nikolaus von Kues darf als Musterfall einer spätmittelalterlichen geistlichen Landesherrschaft gelten. Der vielerorts spürbare Überlebenskampf gegenüber den weltlichen Nachbarn zeigt sich hier in besonderer Schärfe. Dabei verfolgte Cusanus keineswegs das unrealistische Ziel, den Grafen von Tirol aus dessen ererbten Machtpositionen zu drängen, sondern strebte vielmehr eine starke Verflechtung der geistlichen und weltlichen Herrschaftsbereiche an, die das bislang gängige Bild von der konfrontativen Arrondierung und Einkapselung geistlicher Territorien an der Schwelle zur Neuzeit in Frage stellt. / The volume consists of 17 individual studies, produced in close connection with the edition volumes of the 'Acta Cusana' edited by the author. Based on the materials and commentaries of the edition, they analyze diverse problems of late medieval life and explore often barely known sources. The studies are united by a central concern: above all, the aim is to return the figure of the historical Cusanus, who has often appeared remote in research, to the contexts of his lifeworld. The exaggerated exceptionalism and frequently claimed alienation from life of the brilliant thinker often obscured the view of what was typical and representative of the time in the Cusanian life portraits. The studies thus often challenge deeply rooted research traditions that reach far back into the 19th century and make Nicholas of Cusa appear as a cardinal and bishop who was intellectually underchallenged in his church political and administrative practice and at the same time overtaxed as a human being, whose excessive and ruthlessly unrealistic ideas of reform fell outside the framework of his own time. The chronological focus of the studies lies in the Brixen years of Nicholas of Cusa (1452-1458), whereby flashbacks to the earlier years of his life are given greater weight than forwards to the later Roman years. The diocese of Brixen under Nicholas of Cusa can be regarded as a model case of late medieval ecclesiastical dominion. The struggle for survival against the secular neighbors, which was noticeable in many places, is particularly evident here. Cusanus was by no means pursuing the unrealistic goal of forcing the Count of Tyrol out of his inherited position of power, but rather strived for a strong interweaving of the ecclesiastical and secular domains, which calls into question the previously common image of the confrontational consolidation and encapsulation of ecclesiastical territories on the threshold of the modern era.