My dissertation, Writing and Ethics in The Southern Cone: Literature between the Singular and The Specific, reads a series of examples from the last dictatorship and the current post-dictatorship period in the Southern Cone--novels and essays from Argentina, Chile, and Paraguay (including works by Augusto Roa Bastos, Roberto Bolaño and Horacio Verbitsky), and a critical debate between artists and intellectuals in Chile (Nelly Richard and Willy Thayer). My goal is to expose their ways of conceiving how communities and individuals are structured by language that organizes subjects according to logics of belonging and rejection according to political values and practices. I take as my point of departure the work of philosopher Peter Hallward on individuation and the formation of groups and communities, from his book Absolutely Postcolonial: Writing Between the Singular and the Specific (2002). I read my textual examples through the terms developed by Hallward, the Singular, the Specified, and the Specific. The Singular describes a way of imagining community identity as a self-creating and self-reinforcing unity where the only members are those who are innate to the singular concept that self-defines it. The Specified refers to a method by which subjects individuated themselves over and against a particular cause or people and thus define themselves by means of this difference. Lastly, the Specific describes a community that is radically indifferent to difference, arguing instead for a form of membership where any subject belongs. My dissertation shows how these three concepts are present in the historical and cultural ideas used by a contemporary generation of thinkers and artists to define the effects of the cultures of dictatorship and post-dictatorship in the Southern Cone. Understanding these concepts helps to elucidate how the cultural discourses during this period were structured and executed in relation to communitarian formation. In short, by reading my Southern Cone case studies through the optic of logics of individuation, I am able to produce a new way of seeing how the region’s intellectuals read the intersections of history, culture, politics, and community in the wake of Latin American dictatorships. / text

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-06-28Bitstream added on 2014-06-13T20:44:22Z : No. of bitstreams: 1 ulbanere_a_me_ia.pdf: 2169241 bytes, checksum: 6831d68b53ef115571d0696868229fd2 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos. / This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track.

Made available in DSpace on 2015-12-10T14:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-17. Added 1 bitstream(s) on 2015-12-10T14:28:17Z : No. of bitstreams: 1 000853765.pdf: 25092409 bytes, checksum: ee596de96c69d0ccf11637fbb7b983f0 (MD5) / Procuramos neste trabalho discutir aspectos da notação para percussão que se conectam a uma busca pelo novo na música de Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), signatários do Manifesto Música Nova, em 1963. Acreditamos que, de acordo com as propostas contidas no Manifesto, nestas partituras encontraremos tentativas de uma renovação da estética musical determinadas por um pensamento vanguardístico de experimentação, podendo ser examinadas a partir da utilização de novos grafismos que representam recursos de indeterminação, improvisação, explorações timbrísticas e também incorporando elementos das linguagens poéticas, teatrais e das artes visuais. O foco da pesquisa serão as obras Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) e Memos (Willy Corrêa de Oliveira, 1977). Ao discutir as características da notação para percussão nestas peças, identificamos o posicionamento das vanguardas dos anos sessenta em sua busca pelo novo, que também pretendemos avaliar através da tentativa destes três compositores de incorporar instrumentos de percussão típicos brasileiros em sua música de caráter experimental, no caso: o berimbau, a cuíca e o agogô, verificando o problema da escrita para estes instrumentos / This work aims to discuss aspects of percussion notation that were connected to a search for novelty in the music of the Brazilian composers Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), who signed the Manifesto Música Nova, in 1963. We believe that, according to the proposals contained in the Manifesto, in these scores we can find evidence of an attempt to renew musical aesthetics determined by the experimentalavant-gardethought, which can be examined on the basis of thecreation of new graphics, representing procedures of indeterminacy,improvisation, timbristic explorations and the incorporation of elements of poetic, theatrical and visual languages. The focus of the research is the Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) and Memos (Willy Corrêa de Oliveira, 1977). In discussing the notation characteristics for percussion in these parts, we identified the positioning of the sixties avant-garde in its search for novelty that we also intend to evaluate through a trial of these three composers to incorporate typical Brazilian percussion instruments in their experimental music, in this case: the berimbau, the cuíca and the agogô, checking the notation problem for these instruments

This thesis "An Isolated Island: West Berlin under Willy Brandt (1961- 1966). The city behind the Berlin Wall" concentrates on West Berlin between 1961 and 1966 and on the political initiatives of Willy Brandt as a Governing Mayor of the city. The city, which became immediately after World War II a central point of Cold War tensions between the East and the West, remained after the first Berlin Crisis the last gap in the Iron Curtain, where the two worlds - the East and the West - met face to face. After the construction of the Berlin wall the city experienced a shock, which it overcame very fast, and benefited from the subsequent changes thanks to extraordinary work of the Mayor Willy Brandt. His new political style and new communicative approach to politics transformed the situation in the city and led to rapid modernization and development. He was able to secure moral, political and above all financial support for the city for a long time period, which enabled to turn the city into a "showcase of democracy in the middle of the communist sea". Such a success in West Berlin elevated Willy Brandt into the highest political posts in Federal Republic of Germany.

This thesis examines selected political speeches with regard to word-formation and its processes, namely from the grammatical, semantic, and pragmatic points of view. The analyzed political speeches are the Otto von Bismarck's speech delivered on 20 July 1870, the Adolf Hitler's speech delivered on 1 September 1939, the Willy Brandt's speech delivered on 10 November 1989, and the Angela Merkel's speech from 14 December 2015. This is an interdisciplinary thesis which deals with politics, history, and linguistics. The thesis examines four different periods, namely Bismarck's era, Nazism, the Federal Republic of Germany between 1949 and 1990, and the contemporary Federal Republic of Germany. These periods are analyzed from the political, historical, and socio-cultural points of view. Subsequently, the selected political speeches are analyzed with respect to word- formation, its processes, and the period in which they were delivered. The individual results are then compared and certain conclusions are drawn from the comparison. The aim of this thesis is to highlight the importance of word-formation and its processes which are significant for political speeches from the 19th century onwards. This thesis shows and analyzes the motives, purposes, aims, and consequences of their usage in particular...