Em meio aos debates (tão profícuos e numerosos quanto beligerantes) sobre os rumos da composição musical em meados do século XX, o questionamento sobre a natureza da relação a ser estabelecida com o passado (com a história da música) foi um tema privilegiado. Desde então sua pertinência crescente, na atrofia de uma prática social (e de uma linguagem comumente compartilhada) na música erudita, faz com que esse debate transcenda o contexto inicial da música de vanguarda das décadas de 1950 e 1960 e possa ser visto como um problema de base para a criação musical em nosso tempo. No enfrentamento em larga escala dessas questões, destacam-se as trajetórias de dois compositores, tanto em seu pensamento como em sua obra musical: Henri Pousseur (1929- 2009) e Willy Corrêa de Oliveira (nascido em 1938). A premissa dessa discussão, a saber, a oposição à tabula rasa da arte do passado (simbolizada aqui pela imagem das \"tábuas\" que não foram privadas de suas inscrições, \"tabulae scriptae\"), é enfrentada inicialmente pela contextualização das discussões sobre a abordagem da música erudita como linguagem em meados do século XX (e em torno da música contemporânea), para em seguida expandirmos esse universo com apontamentos de uma interpretação semiótica dessa linguagem e de sua relação com o modo de produção capitalista. Pousseur e Willy chegam paralelamente a conclusões similares, na apreciação da situação crítica da música contemporânea na sociedade atual como decorrente de uma crise generalizada das relações humanas, o que conduz a uma situação metalingüística: na ausência de uma linguagem comum, funcional, universalizante, a atividade do compositor se volta para a reflexão sobre a própria linguagem, no questionamento das premissas do processo de criação. As obras de Willy e Pousseur, de maneiras distintas (e autônomas, desenrolando-se paralelamente), registram um reflexo desse pensamento no recurso constante às mais diversas formas de operação metalingüística direta, na recuperação de materiais e procedimentos do passado (sob novas roupagens) na composição musical. Em capítulos separados, sucessivos, propomos uma apreciação panorâmica de cada uma dessas trajetórias para apontar a pertinência da operação metalingüística em suas obras de maneira geral, detalhando-a eventualmente em análises de algumas obras-chave. Antes de refletir sobre os pontos em comum e as diferenças mais marcantes entre essas duas trajetórias, insere-se ainda um testemunho de uma adesão a suas propostas, com a análise de composições de minha própria autoria / Among the debates (that were as useful and plentiful as they were belligerent) about the paths of musical composition in the middle of the 20th century, the question of which kind of relation was to be established with the past (with the history of music) was a favoured one. Since then its growing pertinence, alongside the atrophy of common practice (and of a thoroughly shared musical language) in contemporary music, makes this discussion surmount its original context (within avantgarde music of the 1950s and 60s) and become a fundamental problem for the creation of music in our time. In the large-scale confrontation of these questions, the paths of two composers stand out, in their musical thought inasmuch as in their compositions: Henri Pousseur (1929-2009) and Willy Corrêa de Oliveira (born in 1938). The premise of this discussion, the denial of the tabula rasa of the art of the past (represented here by the image of the \"table\" whose writings haven\'t been erased, \"tabulae scriptae\"), is faced with the contextualization of the debates on music as language in the middle of the 20th century (and around the contemporary music medium). This context is expanded pointing out to semiotics and to the relations of musical language and capitalist means of production. Henri Pousseur and Willy Oliveira come to the similar conclusions, approaching the critical situation of contemporary music in hodiernal society as a result of a generalized crisis on human relations. This leads to a consideration of the present state of musical practice as a metalanguage: in the absence of a common universal language, the composer\'s work turns to the reflexion on language itself and on the nature of the creative process. The musical works of Willy Corrêa and Henri Pousseur (independently, and in different ways) show a reflex of this thought in the frequent use of various kinds of metalinguistic procedures in composition, in their recuperation of materials and procedures of the past (in new treatments). In separate chapters, we propose a panoramic view of each of their musical paths, approaching their use of metalinguistics in their works in general, and also analyzing some of their compositions in detail. Before discussing the common points and the striking differences between their paths, one more chapter includes a testimony of an adherence to these principles, with analysis of musical compositions of my own.

Publicado na França em 1984, o romance L\'Amant de Marguerite Duras foi muito bem recebido pelo público e pela crítica. Com uma tiragem de mais de três milhões de exemplares, L\'Amant obteve o Prêmio Goncourt e foi traduzido para quarenta línguas. No Brasil, a primeira tradução, realizada por Aulyde Soares Rodrigues foi publicada em 1985. Mais de vinte anos depois, em 2007, surgiu uma nova tradução de autoria de Denise Bottmann. Baseada nas análises desses dois textos, esta dissertação propõe-se a caracterizar os comportamentos das tradutoras diante especificidades da escrita durassiana e verificar se os textos produzidos preservam os traços essenciais identificados no texto original. Para orientar as análises e comentários, buscou-se apoio na poética do traduzir de Henri Meschonnic uma teorização que nos permite uma leitura do texto em prosa que, ultrapassando o semântico, atinja por meio do ritmo e da prosódia uma verdadeira poética. / Published in France, in 1984, the novel L\'Amant was very welcome both by public and critics. With a three million copies issue, L\'Amant won the Goncourt Prize and was translated to forty languages. In Brazil, the first translation, by Aulyde Soares Rodrigues, was published in 1985. More than twenty years later, in 2007, appeared a new translation, by Denise Bottmann. Based upon the analysis of both texts, this study intends to identify the approach of those translators to the Durasian writing and check if the texts that werw done keep the essential traits of the original text. In order to orientate the analysis and commentaries, was sought basis on poetry of translating, by Henri Meschonnic a theorization that provide us a reading of the text in prose which, passing beyond the semantics, gets by means of rhythm and prosody, to a real poetics.

Em 1980 é publicada no Porto a revista Nova Renascença, um periódico de publicação trimestral que terá duração até o ano de 1999. Um dos principais objetivos da revista, continuamente exposto em seus editoriais e manifestos, bem como em alguns de seus textos de crítica literária, estava em reelaborar uma identidade nacional, que aliando tradição e modernidade, fez da língua portuguesa sua expressão mítica. Sabemos que os mitos em suas narrativas simbólicas configuram diversos tipos de saberes e de usos, dos mais criativos aos mais retóricos, tornando-se, sempre, uma expressão perigosa. Partindo, portanto, desse pressuposto, buscamos, neste trabalho, apresentar alguns dos diferentes sentidos que a proposta mitopoética da língua e da Pátria assumem na revista, sempre tendo como horizonte o contexto sócio-histórico do atual debate sobre o retorno do mito e a pós-modernidade. / In 1980, the Nova Renascença magazine was first published, in Portos city, lasting untill 1999. One of its main goals, continuously displayed in its editorials and manifestos, as well as in some of its texts of literary critics, was to re-elaborate Portugals identity, which by uniting tradition and modernity, made, out of the Portuguese language, its mythical expression. We know that myths while expressed in symbolical terms serve different functions and uses, from most creatives to most rhetorical, becoming always a dangerous expression. Taking, therefore, from this assumption, we seek, in this work, to present some of the different meanings that the mythic-poetic proposal of the language and the Nation assume in the magazine, having always its global context, in which occurs the actual debate between the return of the myth and post-modernity, as horizon.

The National Library of Canada houses 3.5 meters of textual documents related to the celebrated Quebecois composer, Jacques Hétu (1938-2010). Among the working documents and biographical material donated in 1997 to the Jacques Hétu Fonds are autograph compositional documents relating to Hétu’s Suite pour guitare, Op. 41, written in 1986 (10 folios of sketch material and the composer’s fair copy). After deciphering, transcribing, and ascertaining the chronology of the sketches, an examination of the documents yields a new understanding of Hétu’s compositional process for Op. 41 (including the discovery of an unpublished movement entitled “Prelude II”) and the work’s form and structure. In addition, unpublished writings and correspondence by the composer are explored regarding Hétu’s life, musical style and his reception in Quebec. The study differs notably from traditional sketch studies in its adoption of a theoretical framework and methodology borrowed from critique génétique, or genetic criticism, a French movement of literary criticism originating in the 1970s. As opposed to traditional approaches to “genetic” documents, critique génétique dismisses the notion of a singular definitive text in favor of textual plurality by elevating the status of variants produced during the creative process (i.e. rough drafts or discarded versions). The advantage of a “genetic” approach is that it allows for the preclusion of fundamental theoretical problems associated with the use of a composer’s sketches to analyze a musical work. The extent to which the approach of critique génétique can be applied to music sketch is examined along with the consequences of adopting such a theoretical framework (including those regarding performance, editorial practice, and the ontology of completions of fragmentary works). / Graduate

A tese busca compreender os processos de definição e constituição, no século XX, em Santa Catarina, de dois campos profissionais e de conhecimento - o campo historiográfico e o campo arquivístico ?, bem como suas interações. A primeira parte focaliza a historiografia sobre Santa Catarina, problematizando as tensões entre a ?nova geração? (muito identificada ao meio universitário) e os representantes da ?história tradicional? (em geral, associados ao Instituto Histórico e Geográfico de Santas Catarina ? IHGSC), abordando as condições e locais de produção de trabalhos de caráter histórico, bem como as formas de sua disseminação. A segunda parte estuda as tentativas de estabelecer, para os arquivos em Santa Catarina, uma política, uma legislação comum e uma rede de intercâmbios, sobretudo a partir da década de 1980. Estuda-se o papel do Arquivo Público do Estado de Santa Catarina e, a partir dos anos 1970, a legislação sobre arquivos municipais. A terceira parte focaliza mais detidamente quatro instituições arquivísticas municipais - os arquivos de Blumenau, Joinville, Itajaí e Florianópolis -, salientando-se, em sua trajetória, a relação com procedimentos de instituição de memórias, de elaboração e legitimação de narrativas históricas, de racionalização administrativa e de garantia de acesso aos documentos como condição do exercício da cidadania. / This thesis aims an understanding of the process of definition and constitution of two professional and knowledge fields - the historiographic field and the archivistic field - as well as their reciprocal interactions, in Twentieth Century Santa Catarina. Part I focus on the historiography on Santa Catarina, discussing the tensions between the ?new generation? (strongly identified to the University environment) and the representatives of the ?traditional history? (usually associated to the Santa Catarina Institute for History and Geography - Instituto Histórico e Geográfico de Santa Catarina - IHGSC), investigating the places and conditions in which works of historical nature were produced, as well as their dissemination. Part II investigates the atempts to build policy, common legislation and collaborative networks for the archives of Santa Catarina, especially after the 1980\'s. There are also studies on the role of the State Archives of Santa Catarina (Arquivo Público do Estado de Santa Catarina) and, after the 1970\'s, on the legislation on City Archives. Part III has a closer focus on four City Archives - Blumenau, Joinville, Itajaí and Florianópolis Archives-, highlighting their relation with the ways memory is produced, with the elaboration and validation of historical narratives, with administrative efficiency and with the warranty of access to documents as a condition for effective citizenship.

Este trabalho consiste na análise de três peças que se utilizam da citação musical de maneiras distintas. Ele é, portanto, um estudo a respeito da utilização da citação musical na linguagem musical erudita e suas implicações a partir do século XX. Nossa estratégia consistiu inicialmente em definirmos melhor nosso campo de estudos por meio da observação das especificidades da citação na linguagem musical. A partir daí, são propostos três tipos de citação que serão avaliados nas três peças principais que compõe este trabalho, a citação alusiva, a citação temática, e a citação em colagens. Alguns exemplos musicais que se enquadrariam nos respectivos tipos de citação são elencados com o objetivo de ilustra-los. A seguir, damos continuidade ao trabalho através da investigação da situação da música ocidental a partir do século XX, destacando a forma como o recurso à citação musical se insere neste contexto. Então, partimos para a análise das peças. A primeira peça se chama Phorion, do compositor Lukas Foss, e é um exemplo de utilização da citação em colagens; a segunda é a peça Dream-Images do ciclo Makrokosmos de George Crumb, que contém uma citação alusiva; e a última é o Prelúdio para piano de Willy Corrêa de Oliveira que se utiliza da citação temática. Desta maneira, pretendemos mostrar não apenas algumas formas de utilização da citação musical a partir do século XX, mas sua relevância no contexto artístico atual. / The present work consists of the analysis of three pieces that make use of musical quotations in different ways. It is therefore a study regarding the use of musical quotation in classical music language and its implications from the twentieth century on. Firstly we define our field of study through an examination of the characteristics of quotation in musical language. At this point, we propose three types of musical quotation that will be evaluated in the three main pieces analyzed in this work, allusive quotation, thematic quotation and quotation in collages. Some examples of music that would fit in these types of quotation are listed in order to illustrate them. Next, we continue the work through the investigation of Western music situation from the twentieth century on, emphasizing how the use of musical quotation is related with this context. After that, we proceed to the analysis of the pieces. The first piece is called Phorion, by the composer Lukas Foss, and is an example of the use of quotation in collages, the second piece is called Dream Images from the cycle Makrokosmos by George Crumb, which contains an allusive quotation, and the last piece is the Piano Prelude by Willy Correa de Oliveira who uses the thematic quotation. Our primary goal is not just showing a few uses of musical quotation from the twentieth century on, but to assess its relevance in the present artistic scenery.

Abstract ALWAYS ALREADY IMPRISONED: THE PANOPTIC POWER OF CAPITALISM IN AMERICAN LITERATURE, 1900-1940 By Andrew Blair Spencer, Ph.D. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. Virginia Commonwealth University, 2019 Director: Dr. Richard Fine, Professor, Department of English By applying the theories of control that Michel Foucault outlines in Discipline and Punish to the capitalist system, I argue that capitalism functions in much the same was as Jeremy Bentham’s Panopticon in that it perpetually imprisons individuals who live under its purview. As I see it, capitalism works on two different tracks to exploit the human condition in order to keep those living under its purview perpetually trapped within an endless cycle of working to acquire commodities, both for our personal survival and our personal indulgence. Advertising assumes the role of Foucauldian discourse in this model. In the United States, advertising became a commercial force in the mid-nineteenth century; by the beginning of the twentieth century, it was a fully-fledged profession that worked to fuel the bourgeoning commercial culture that was beginning to manifest itself in all areas of American life. By creating needs and desires in the minds of consumers, advertisers were able to dictate consumer behavior, thereby further locking Americans into the capitalist Panopticon. This theoretical base becomes the foundation upon which I build my explication of fourteen representative American novels written during the period 1900-1940. I offer in-depth discussions of individual novels, paying particular attention to the ways in which authors interrogate the capitalist system in light of the image of the United States as a land of opportunity. The selection of works includes both male and female authors, as well as white and African-American writers. Characters range from very poor to exorbitantly wealthy, and include multiple examples of middle-class life, too; the collection of works I have chosen includes both native-born and immigrant populations, as well. This wide range of socio-economic backgrounds, races, and nationalities provides a comprehensive picture of how all-encompassing the capitalist Panopticon is in American society.

This dissertation examines how the United Auto Workers (UAW) incorporated the applied social sciences behind the emerging postwar field of human relations to navigate the postwar terrain of labor relations and manage its membership. Like his counterparts in management, union president Walter Reuther was drawn to human relations' scientific approach to solving the human conflicts that beset large bureaucratic organizations. It traces the history and politics surrounding this psychological research, which includes the areas of group dynamics, counseling, opinion polling, personality profiling, motivational research, and attitude formation, and shows how these concepts were at the heart of the union's most ambitious reforms that overhauled membership education and leadership training programs, staff and organizer training, as well as its political action and public relations initiatives. The UAW's use of social science framed how the union met a range of large-scale challenges, from labor relations, to the Cold War and threat of automation. On the one hand, the union's use of applied psychology illustrates a unique willingness to innovate and modernize to address new problems and recapture the union's dynamism of the 1930s. While these innovative reforms did not always succeed, such experimentation with organizational science was unique among a labor movement that was largely isolated from these trends. On the other hand, however, the top-down nature of these reforms exerted social control that clashed with the union's democratic traditions. Applied psychology played a key role in Reuther's rise to political power and was subsequently at the center of Reuther's efforts to control and repress union democracy. These science-based reforms were rarely introduced without political controversy. The methods of applied psychology could be used to promote and repress union democracy and this dissertation shows how Walter Reuther used applied psychology towards both ends. Moreover, this dissertation examines the cultural context that prompted union leaders to pioneer organized labor's use of the applied social science as an organizational tool. Walter Reuther's willingness to embrace the newest scientific methods stemmed from his technocratic faith in society's ability to engineer pathways to material prosperity and socially-engineer ways to democratize that prosperity. Reuther was part of liberal reform community that included a number of progressive social psychologists who believed that the tools of applied social science were essential to maintaining a stable and rational, albeit highly managed, democratic society that could fend off the forces of reaction and fascism. Applied psychology emerged as a tool for many in the postwar era looking to effectively manage the complexity of communication in vast bureaucratic organizations. But for leaders of democratic organizations like Walter Reuther, this tool had to be handled with care so as not to erode the core values that first gave the union strength and legitimacy. The history of how the UAW balanced this task provides a revealing glimpse into how a grassroots organization weighed its democratic values against its desire to effectively participate among the powerbrokers that increasingly shaped America's political and economic future. Moreover, it highlights the class politics that framed postwar scientific research and illustrates the complex ways that applied social science influenced power relations and democracy in postwar American society.

<p>By the late nineteenth century childbirth was firmly established in the domestic sphere. However, in the early years of the twentieth century different forms of maternity clinics were established where normal, as well as complicated, deliveries could take place. The aim of this dissertation is to analyse the institutionalisation of maternity care in a local urban context, the role of women in confinement in this process, and its impact on infant mortality. The geographical setting of the thesis is Sundsvall, a town in northern Sweden. The study concentrates on the period spanning from 1900 to 1930, when local communities, rather than federal agencies, were charged with creating and implementing community standards for maternity care.</p><p>In order to lower the mortality rate of illegitimate infants, and to improve delivery conditions for unmarried women, a maternity home was opened in Sundsvall in 1913. Moreover, a maternity ward was established at the local hospital in 1920. In this study it is clear, that when institutional maternity care became available, the transition was rapid and unhesitating. When analysing the local practices it is possible to highlight the central role women played as part of this process. Initially indigent women and women bearing children out of wedlock accepted the institutional alternative, but shortly thereafter married women of means turned to the newly created wards. As a result of this early acceptance, these institutions were soon filled to capacity. </p><p>During the period in question a significant reduction in infant mortality rates can be noticed in the Swedish towns. A reasonable assumption is that the institutionalisation of maternity care improved infants chances of survival. In the study it is suggested that the institutionalised maternity care made an impact on neonatal mortality, as well as on post-neonatal mortality. The study shows that local practices of care played a key role in infant survival.</p><p>This dissertation reveals the value of examining local practices in order to understand the rapid changes of maternity care. Childbirth changed from being a private matter, taking place in one’s home, to be a public concern, taking place in the institutional setting. At the 1937 Parliament (Riksdag) the responsibility for institutionalised maternity care became a public and a State concern, and maternity care became a part of the Swedish welfare system.</p>

This thesis attempts to extend the historical scope of divorce research in Sweden by providing an analysis ofhow the variations in the divorce rate over time and across geographical areas are connected to the economic, normative and institutional restructuring of Swedish society during the period 1915-1974. The thesis finds that the economic reshaping of Sweden into a modern market economy is at the center of the process that has resulted in decreased marital stability during the twentieth century. The shift from a single- to a dual-provider model and an increased integration of both men and women into market processes outside the family have resulted in lowered economic interdependence between spouses, which in turn has decreased the economic constraints to divorce. This conclusion is supported by the empirical finding that indicators of female economic self-sufficiency are associated with increased propensities for divorce, during the entire period under research in this thesis. That changes in the constraints experienced by women have been important is further emphasized by the finding that women have been more prone than men to initiate divorce, and that this gendered pattern of divorce was established already during the early twentieth century in Sweden.The results further indicate that the growth of divorce is connected not only to a shift in the provider model but also to the way sustained economic growth has resulted in a general increase in the resources available to individuals, as proposed by the socio-economic growth hypothesis. During the 1920s and 1930s, high-strata groups, such as lawyers, journalists, engineers and military officers, exhibited a divorce rate on the same level as in the general population of Sweden today. By the early 1960s, however, this positive associa- tion between social class and divorce had changed: by then it was rather couples in working-class occupations who exhibited the highest probability of divorce, which is a pattern that appears to have persisted since then. These findings indicate that a general increase and more even distribution of economic resources betweenboth genders and social classes have facilitated individuals’ possibilities to sustain themselves independent of family ties. This democratization in the access to divorce has meant that growing segments of the populationhave gained the means to act on a demand for divorce.However, another result of the thesis is that it is not possible to limit the analysis to a strictly economic perspective. Rather, economic changes have interacted with and been reinforced by changes in values, as wellas in institutions, during the periods when widespread and rapid behavioral change has occurred. In Sweden, like in most other Western countries, this was primarily the case during the 1940s and a period covering approximately the second half of the 1960s and first half of the 1970s. The studies of the thesis suggest that these two periods of rapid growth in the divorce rate stand out as periods in Swedish history when attitudes also changed more rapidly toward values that can be regarded as permissive, secular and more open to indi- vidual freedom of choice. Trenchantly, these two periods also correspond to the two harvest periods in Social Democratic welfare state policy. In the thesis it is argued that the marked increase in government services and social security at these time points integrated with and reinforced economic restructuring in a way that worked to “de-familializate” individuals by making them less dependent on family ties for social security. Institutional changes of this type have been particularly important for making single life more feasible for women and low- income groups. In the thesis, it is argued that the timings of substantial behavioral change become difficult to understand if the analytical perspective does not explicitly incorporate how such contextual-level changes in values and institutions have integrated with changes in the provider model and the economy during thesedynamic periods of the divorce transition in Sweden.