Como um dos compositores mais profícuos do século XX no contexto mundial, Heitor Villa-Lobos (1887-1959) produziu uma coletânea de obras que primam pela variedade de linguagens e uso de um ecletismo que tornou-se a regra em sua obra. Entretanto, mesmo em meio a tanta pluralidade, podemos notar uma macrodivisão em sua obra que separa as obras baseadas em padrões tonais clássico-românticos em diálogo com suas apropriações da música popular urbana daquelas de experimentação e caráter modernista. Dentro do primeiro grupo temos como epítome a série Bachianas Brasileiras; do segundo, a série Choros que marcou a entrada de Villa-Lobos no cenário de compositores célebres internacionalmente. Historicamente, a obra villalobiana de cunho modernista foi taxada por muitos músicos e biógrafos como irracional, caótica, selvagem, não sendo enfrentada, até recentemente, pelas ferramentas de análise de música pós-tonal utilizadas pelos teóricos para lidar com a música de seus contemporâneos. A falta da análise atuando em conjunto com os juízos de valor supracitados impediu a geração de uma tradição crítica a respeito da música de Villa-Lobos nas primeiras décadas após sua morte. Recentemente, trabalhos analíticos sobre o \'Villa-Lobos Modernista\' tem sido escritos no Brasil e em outras partes do mundo. Contudo, a grande maioria desses escritos que se baseiam em ferramentas tradicionais (teoria dos conjuntos, estudo de simetrias, análise textural) tem trazido uma visão pouco elucidativa a respeito dos processos de composição, da historicidade da música villalobiana, e de procedimentos gerais para a obtenção da sonoridade modernista pelo compositor em um número significativo de obras. Tais resultados testemunham a própria insuficiência de recursos analíticos rígidos aplicados à dinâmica particular da obra de Villa-Lobos. Nesse contexto, o presente trabalho propõe aprofundar o entendimento da escrita modernista de Villa-Lobos tendo como chave heurística os conceitos de Interação e Bricolagem - o último no sentido antropológico - na manipulação das escolhas harmônicas, na procura por um gesto composicional comum nas peças analisadas. Para tal, diversos métodos analíticos foram combinados, numa espécie de metanálise que procura abarcar às principais percepções da análise. Dentro da série Choros foram escolhidos os Choros nº2,3,5,10 e a primeira parte do Choros Bis, pela clareza com que os tópicos fundamentais dessa tese são apresentados nessas representações analíticas. Outras obras foram analisadas transversalmente e servirão para a generalização de alguns procedimentos encontrados nas análises das principais obras. / As one of the most prolific composers of the twentieth century in the global context , Heitor Villa- Lobos (1887-1959) produced a collection of works that searchs for varietyusing an eclecticism that has become the norm in his work . However, even in the midst of such plurality , we can notice a macrodivision in his work that separates works based on classic - romantic tonal patterns in dialogue with its appropriations of urban popular music from those of modernist experimentation and character. Within the first group we have the epitome of the Bachianas Brasileiras series, the second , the Choros series, which marked the entrance of Villa-Lobos in the internationally renowned composers scenario . Historically, villalobian works of modernist intention was branded by many musicians and biographers as irrational , chaotic , wild , not being faced , until recently , by the analytical tools used by theorists to deal with the music of his contemporaries. The lack of analytical studies acting together with those judgments prevented the generation of a critical tradition about the music of Villa -Lobos in the first decades after his death. Recently, analytical works on the \'Modernist Villa -Lobos \' have been written in Brazil and other parts of the world . However , most of these writings that are based on traditional tools (set theory , the study of symmetries , textural analysis ) has brought a less informative overview about the processes of composition, the historicity of villalobian music, and the general procedures that the composer developed to obtain his characteristic modernist sound in a significant number of works. These results testify to the very failure of rigid analytic methods applied to the particular dynamic of the work of Villa- Lobos . In this context , this paper proposes to deepen the understanding of the Villa- Lobos modernist writing, having as heuristic key,the concept of interaction and bricolage - the latter in the antropological sense - in the manipulation of the harmonic choices, in the search for a common compositional gesture in the analyzed parts . To this end , several analytical methods were combined in a sort of meta-analysis that tries to cover the main insights of this thesis. Within the Choros series, the Choros No. 2,3,5,10 and the first part of the Choros Bis were chosen , for the clarity with which the fundamental topics of this thesis are presented in those analytical representations. Other pieces were analyzed across and are used in this work for the generalization of some procedures found in the analyzes of the major works.

O Banco Hipotecário Lar Brasileiro constitui o fio condutor do presente trabalho, que visa reconstruir a trajetória de uma instituição responsável pela existência de numerosos edifícios e conjuntos habitacionais considerados, ainda em dia de hoje, marcos urbanos nas cidades brasileiras e referências em termos de qualidade formal, construtiva e de implantação. Objetivo desta pesquisa é a análise das obras, incluindo a divulgação da listagem de obras realizadas no Estado de São Paulo pelo BHLB ao longo de sua atividade de financiador de moradias, visando promover o reconhecimento, a valorização e a preservação dos imóveis e das áreas que os envolvem, caracterizando-os como parte do patrimônio do País e bens matérias da memória coletiva. / The \"Banco Hipotecario Lar Brasileiro\" is the subject of this work, which seeks to reconstruct the trajectory of an institution responsible for the existence of numerous buildings and housing estates considered, still today, landmarks in Brazilian cities. Objective of this project is to analyze and list the works made in the State of São Paulo by BHLB, to promote the recognition, appreciation and preservation of buildings and the areas that involve, characterizing them as part of the country\'s heritage and as elements of collective memory.

Orientador: Germana Fernandes Barata / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T09:36:49Z (GMT). No. of bitstreams: 1 Gorgulho_Guilherme_M.pdf: 4859511 bytes, checksum: 5fb97b25ed97e089a196b5d00b53ec6e (MD5) Previous issue date: 2013 / Resumo: A endemia de hanseníase que atingiu o Estado de São Paulo nas primeiras décadas do século XX levou o governo paulista a optar pela política pública de internação compulsória dos doentes em asilos-colônia. Inspirada no modelo implantado na Noruega no final do século XIX, essa estratégia não foi resultado de consenso científico, mas de decisões do grupo político que galgou o poder a partir de 1930. Com poucas vozes dissonantes no meio acadêmico, a política isolacionista perseverou por cerca de quatro décadas em São Paulo com o apoio fundamental da imprensa e da sociedade. Esta pesquisa analisou como a imprensa paulista retratou o problema da endemia e a situação dos doentes internados compulsoriamente e como os jornais contribuíram para reforçar a manutenção da política sanitária. A hipótese que se coloca é a de que a mídia impressa se engajou na defesa dos interesses do governo estadual, apesar dos descontentamentos entre pacientes e das vozes divergentes dos cientistas. O estudo selecionou 199 textos dos jornais O Estado de S.Paulo, Folha da Noite, Folha da Manhã e Folha de S.Paulo, entre 1933 e 1967. Os métodos empregados foram análise de conteúdo quantitativa e qualitativa e entrevistas semiestruturadas. Ao longo do período estudado, 37% dos textos apoiaram a política de isolamento compulsório, enquanto apenas 16% foram contrários e 47% foram considerados neutros. Nas décadas de 1930 e 1940, a posição foi majoritariamente pró-internação obrigatória; nas décadas de 1950 e 1960, houve uma mudança de postura e os jornais começaram a publicar textos criticando a política profilática paulista. Defendendo a crença de que São Paulo cumpria no Brasil um papel de "grande potência", os jornais paulistas se mostraram comprometidos com as medidas de controle social que queriam excluir a parcela doente da sociedade. Até os anos 1950, as críticas ao modelo não tiveram espaço nos veículos de São Paulo, tendo sido publicadas principalmente na imprensa do Rio de Janeiro. A defesa da internação compulsória ou a omissão sobre os problemas vividos pelos doentes, principalmente na Era Vargas, ajudou a manter o status quo do sanitarismo de São Paulo. O apoio dos jornais à política de isolamento contribuiu para que o degredo dos doentes em São Paulo fosse extinto apenas em 1967, com cinco anos de atraso em relação à decisão federal / Abstract: The endemic leprosy that hit São Paulo state in the early decades of the twentieth century led the state government to opt for public policy of compulsory segregation of patients in asylums colonies. Inspired by the model implemented in Norway in the late nineteenth century, this strategy was not the result of scientific consensus, but the decisions of the political group that came to power in 1930. With few dissenting voices in academia, the isolationist policy persevered for about four decades in São Paulo with major support from the media and society. This research examined how the press portrayed the problem of São Paulo and the endemic situation of patients admitted compulsorily. It also examined how the newspapers contributed to strengthen the maintenance of health policy. The hypothesis is that the print media engaged in defending the interests of the state government, despite the dissatisfaction among patients and divergent voices of scientists. The study selected 199 texts of the newspapers O Estado de S.Paulo, Folha da Noite, Folha da Manhã and Folha de S.Paulo, between 1933 and 1967. The methods used were quantitative and qualitative analysis of content and semi-structured interviews. Throughout the study period, 37 percent of the texts supported the policy of compulsory isolation, while only 16 percent were opposed and 47 percent were neutral. In the 1930s and 1940s, the position was overwhelmingly pro-compulsory hospitalization. In the 1950s and 1960s, there was a change of posture and the newspapers began to publish texts criticizing the prophylactic policy from São Paulo state. The measures of social control wanted to exclude the diseased portion of society. The São Paulo newspapers were compromised with these measures arguing the belief that São Paulo fulfilled a role of "great power" in Brazil. Until the 1950s criticism to the model did not have space in these newspapers, having been published mainly in the press of Rio de Janeiro. The defense of compulsory segregation or the omission about the problems experienced by patients, mainly in the Vargas era, helped to maintain the status quo of health policy in São Paulo. With the support of the newspapers to the policy of compulsory segregation, this model of prophylaxis would be abolished in São Paulo only in 1967, with five years of delay compared to the federal decision / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

Notre thèse prend le parti d’analyser l’automobilisme dans l’Occident rural durant le XXe siècle. Elle s’appuie sur une étude croisant le département du Rhône en France et la région de Québec au Canada. La documentation est constituée, outre une abondante bibliographie bilingue, de sources gouvernementales issues de fonds d’archives départementaux pour le département Rhône, et, pour la région de Québec, de sources nationales. Celles-ci sont complétées par des périodiques, des revues spécialisées, des sources statistiques et de l’iconographie. La démonstration tente d'éclairer les enjeux, présents dans l'historiographie mais jusqu'ici implicites, de l’adoption de la vitesse automobile et de ses conséquences dans l’espace rural. En croisant les territoires, il s’agit de mettre en évidence comment un objet industriel produit en ville – l’automobile et ses déclinaisons – modifie le paysage rural et l’exploitation agricole, les mentalités et les pratiques de mobilité.Ce travail montre que les mutations imposées par l’automobilisme sont, quoique moins visibles parfois, bien plus nombreuses et complexes au sein du monde rural qu'elles peuvent l'être dans l’espace urbain. Il présente également la rapidité avec laquelle les populations rurales ont adopté ce mode de transport : la question de l’antiautomobilisme rural est largement repensée et une attention est portée aux impacts socioculturels de la mécanisation agricole. Enfin, les développements étayent la représentation admise que la vitesse automobile s’inscrit dans un système logique et cohérent qui révolutionne à la fois les modes de déplacement, l’appréhension du territoire, les pratiques sociétales et, enfin, les mentalités. / Our thesis analyzes automobilism in the rural West during the twentieth century. It is based on a study crossing the Rhône region in France and Quebec area in Canada. Our documentation relies on archives for the Rhône region and national sources for Quebec area. These are supplemented by periodicals, reviews, statistical sources and iconography. Our demonstration wishes to answer to the question of the adoption of speed and its consequences in rural areas. By crossing territories, it highlights how an object produced by industrial city – the automobile and its variations – changes the rural andagricultural landscape, attitudes and practices of mobility. This work show that mutations about automobilism are much more numerous and complex in the rural than in urban areas. It also highlights the relative speed with which rural people have adopted this mode of transport: rural anti-automobilism is reevaluated and sociocultural impacts of mechanization are underlined. Finally, it posits the idea that the car speed is part of a logical and coherent system that is revolutionizing the mode of travel, but also and especially the space occupied and attitudes.

The thesis deals with scientific expeditions to the Tibetan plateau carried out by Chinese scientists from the 1950s. The whole thesis is framed by two models of the spread of Western science to an unknown land. Is it or is it not the spread of Western science into Tibet the form of colonial control? We will use these two models to answer this question. The thesis tracks the interests and the meaning of expeditions to China and Chinese science. It deals with the development of Chinese Academy of Sciences, which organized the Chinese expeditions. It also describes and summarizes the work and results of Chinese scientists which were presented at the international conference on Tibet in 1980, and examines their contributions to the Chinese and Western science. Part of the thesis deals with the reflection of otherness in the published interviews with participants which we use as primary sources for the thesis. Keywords: Chinese science, Chinese Academy of Sciences, China-Tibet relations, Tibetan plateau, geology, alternity.

This thesis examines the symbiotic relationship between the meanings of tattoos and social norms through a comparative analysis of three distinct periods in twentieth-century American history. I use extensive archival material and an interdisciplinary approach to explain how the meanings of body ink shifted and to identify factors that influenced the public’s perceptions of tattoos as deviant or acceptable. In the 1920s and 1930s, tattooing practices among favored social groups, specifically military personnel, middle- and upper-class white men and women, and circus performers, generally received more positive reactions than those among lower-class and criminal subcultures. In the 1950s and 1960s, body ink became practiced primarily by marginalized individuals, such as criminals, bikers, and sex workers, and the general public’s understandings of tattoos as indicators of deviance and dangerous immorality strengthened. The new clientele and practitioners of the 1970s and 1980s mainly came from a high socio-economic status and reframed their tattooing practices as artistic expressions of individuality. I argue that, although body ink aesthetic by and large supported American values of patriotism, heteronormativity, and racial advantage, tattooing practices among ‘respectable’ groups were more accepted than those by ‘deviant’ subcultures. My research shows that the fluctuations between public rejection and appreciation of tattoos in these periods rested principally on the appearance and function of the inked design and on the position of the tattooed body in the social hierarchy. This thesis demonstrates that tattooing practices created and perpetuated but also destabilized and influenced gender-, race-, and class-based American ideals, and my research exposes the nuanced connections of body ink with deviance and normativity, the malleability of social conventions, and a complex web of power relations constantly in flux. / Graduate / 2018-08-23

La thèse La Violence de genre dans les rapports amoureux en Espagne et au Chili au XXe siècle. Elabora-tion discursive d’un problème social et politique dans le contexte dictatorial et post-dictatorial explore le terreau culturel sur lequel se sont construites, en Espagne et au Chili, les différentes représentations de la violence contre les femmes dans le couple, au XXe siècle. La lutte contre ce problème y a acquis une grande visibilité politique et médiatique ; pourtant, la reconnaissance par les acteurs publics de ce pro-blème n’allait pas de soi dans ces pays de culture patriarcale, où les stéréotypes et les inégalités fon-dées sur le sexe ont été, jusqu’à une date récente, érigés en normes juridiques, politiques, et sociales. Nous postulons que le contexte dictatorial a conduit à une brutalisation des rapports sociaux, notam-ment des rapports de genre. L’omniprésence d’une violence politique genrée et la réarticulation d’un dis-cours de genre traditionnel, ont d’une part, favorisé la restauration d’un ordre de genre qui légitime et invisibilise la violence s’exerçant dans le cadre de relations amoureuses et, d’autre part, interrompu l’effort de conceptualisation de ce phénomène entrepris, dans les deux pays étudiés par des femmes engagées pour l’émancipation féminine. Dans le contexte dictatorial et post-dictatorial, les mouvements féministes analysent la violence de genre comme un problème social et politique, produit d’un système normatif qui a favorisé l’instauration et la naturalisation d’un rapport hiérarchisé de pouvoir et de domina-tion entre hommes et femmes. Nous interrogeons les modalités et temporalités différentes qui s’observent dans les deux pays étudiés. / This thesis explores the cultural underpinnings of the different social representations of gender-based violence in intimate relationships throughout the twentieth century in Spain and Chile. The fight against gender-based violence has become increasingly prominent both politically and in the media in both of these countries. However, recognition of the issue by governmental and public institu-tions was not guaranteed, given the countries’ patriarchal cultures, where stereotypes and gender-based inequalities were, until recently, enshrined in the legal, political, and social systems. We hypothesise that the dictatorships in both countries led to a brutalisation of social relations, in particular gender relations. The pervasiveness of a gendered political violence, and the resurgence of a traditional gender discourse, have both promoted the restoration of a gender order that legitimises and shrouds the violence that can occur within intimate relationships, and also impeded attempts to conceptualise the phenomenon by women committed to female emancipation. In these dictatorial and post-dictatorial contexts, feminist movements analyse gender-based violence as a social and political problem; the product of a normative system that favoured the adoption and normal-isation of a hierarchical relationship of power and domination between men and women. We examine the different temporalities and modalities observed in the two countries.

This research emerges from an observation that Douglas Adams’s Hitch Hiker Series is not merely characterised by light-hearted comedy, but is underpinned by intricate philosophical ideas, especially those of twentieth century Existentialism and the related notion of absurdity. The study also investigates the interlaced functions of Adams’s fantasy and landscapes of alterity. Paradoxically, Adams’s fantastical creatures serve to illuminate the human condition and the follies and monstrosities that lurk at the heart of humanity. Not only does Adams’s fantasy mirror the maladies of twentieth century society, thus serving a satirical function, but it is also a mechanism for constructing meaning in the shape of alternative realities. Concepts related to alterity, such as simulation (Baudrillard), the structure of ‘reality’, dreaming (Descartes) and parallel universes are investigated as building blocks of Adams’s fantastic story space. Furthermore, the ideas of Sartre, Camus and other originators of Existentialism, a philosophy which considers the futility of existence and the compulsion to construct subjective meaning, are elucidated and explored in relation to Adams’s work. Existentialist concepts such as facticity and angst, as well as the Beckettian universe and the Theatre of the Absurd, are also discussed in the light of the Hitch Hiker series. Adams’s extensive satirical comment is also emphasised in this study. Adams’s satire does not merely castigate the evils of twentieth century society such as capitalism and bureaucracy, it also unmasks universal human vices such as pomposity and grandiosity, vices that are rooted in the rejection of objective morality. Although Adams comments on the folly at the heart of society, he also presents the reader with an alternative: the subjective reconstruction of one’s inner world in an attempt to spin individual webs of meaning from the nothingness at the world’s core. This study also investigates the ambiguous concept of madness as a subjective reality born of the necessity to construct meaning, and analyses Adams’s alternative landscapes based on the suggestion that ‘much madness is divinest sense’ (Emily Dickenson, in Ferguson et al., 1996: 1015). / Dissertation (MA)--University of Pretoria, 2008. / English / MA / unrestricted

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

L’histoire biblique de Salomé est un vaste sujet qui passionne artistes et écrivains depuis longtemps. En musique, il semble toutefois plus présent au début du XXe siècle. L’œuvre testamentaire sur le sujet demeure encore aujourd’hui l’opéra de Richard Strauss, créé à Dresde en 1905. Pourtant, maints compositeurs vont également traiter la légende qui met en cause Salomé à la même époque, dont notamment Florent Schmitt, avec son ballet La Tragédie de Salomé et Antoine Mariotte qui s’inspirera, tout comme Strauss, de la pièce théâtrale éponyme d’Oscar Wilde pour écrire son opéra.Considérant la date de création de l’œuvre de Mariotte (1908) et l’existence du ballet de Schmitt composé en 1907, notre objectif est de comprendre pourquoi ces deux compositeurs se sont intéressés quasi simultanément en France à ce même sujet. Pour cela, nous nous concentrerons sur les rapports d’ordres historique, social, esthétique et musical qui uniront Salomé au symbolisme, avant d’orienter notre travail vers d’autres tendances de cette époque, comme l’orientalisme voire l’aspect psychanalytique du sujet, ainsi que vers l’étude des créations et des grandes représentations de l’œuvre.À travers cette approche comparative de La Tragédie de Salomé de Florent Schmitt et de la Salomé d’Antoine Mariotte, suivant leur conception, leur organisation et leur réception, nous pourrons conclure, outre la fascination, à la puissante représentativité de ce sujet dans la France musicale du début du XXe siècle. / The biblical story of Salome is a vast subject that has inspired artists and writers alike for years. In music however, the story was evoked the most at the beginning of the twentieth century. To this day, the work of reference on the subject remains Richard Strauss’s opera composed in Dresden in 1905. And yet, numerous composers of the same era were to use the legend of Salome, namely Florent Schmitt with his ballet ‘The Tragedy of Salome’ and Antoine Mariotte. The latter, like Richard Strauss, sought inspiration for his opera from the play of the same name by Oscar Wilde.Bearing in mind the date of conception of Mariotte’s work (1908) and the existence of Schmitt’s ballet composed in 1907, our aim is to understand why these two composers, both in France, became interested in the same subject at practically the same time. To this end, we will concentrate on historical, social, artistic and musical accounts that link Salome to symbolism. Our work will then explore other trends of the time, such as orientalism and even the psychoanalytical nature of the subject. The final part of our study will deal with the premières and major performances of the work. Through this comparative study of the conception, organisation and reception of ‘The Tragedy of Salome’ by Florent Schmitt and of ‘Salome’ by Antoine Mariotte, we can not only conclude that the subject was a source of great fascination, but also that it had a strong influence on music in France at the beginning of the twentieth century.