Los curacas de Cajamarca son el objeto de este estudio basado íntegramente en documentación de archivos de los siglos XVI y XVII, en su gran mayoría inédita, complementada con estudios contemporáneos que le dan el marco teórico necesario para contextualizar el tema. La tesis se presenta estructurada en dos capítulos. En el primero se analiza el contexto de Cajamarca en el siglo XVI y se presentan algunas consideraciones acerca de los curacas como autoridades nativas que existieron antes, durante y después de los Incas, y en cada momento sufrieron transformaciones en su sistema de poder para adaptarse a las condiciones que se fueron presentando a través del tiempo. Los cambios que sufrió la institución curacal durante el periodo colonial, fueron muy importantes, porque en muchos casos afectaron su propio sistema de poder, sus símbolos de mando, los rituales, etc. Sin embargo los curacas supieron adaptarse y aceptar e incluso aprovechar los recursos que el nuevo esquema de poder les brindaba. Los siguientes puntos del primer capítulo tienen que ver con las estructuras que los españoles establecieron en el Perú para la administración de la población andina, como son la encomienda, el tributo y el sistema de reducciones. En el segundo capítulo se aborda el tema de las transformaciones sufridas por el régimen de los curacas bajo el sistema colonial, a través del estudio de tres casos que ilustran diferentes situaciones de cambio que las autoridades andinas tuvieron que afrontar: Los curacas nominados, Los curacas y el sistema jurídico y Oportunidades y límites del sistema colonial: curacas y empresa. Los casos están documentados en expedientes del siglo XVI y XVII, obtenidos tanto en el Archivo General de Indias, como en el archivo Departamental de Cajamarca. / Tesis

Los curacas de Cajamarca son el objeto de este estudio basado íntegramente en documentación de archivos de los siglos XVI y XVII, en su gran mayoría inédita, complementada con estudios contemporáneos que le dan el marco teórico necesario para contextualizar el tema. La tesis se presenta estructurada en dos capítulos. En el primero se analiza el contexto de Cajamarca en el siglo XVI y se presentan algunas consideraciones acerca de los curacas como autoridades nativas que existieron antes, durante y después de los Incas, y en cada momento sufrieron transformaciones en su sistema de poder para adaptarse a las condiciones que se fueron presentando a través del tiempo. Los cambios que sufrió la institución curacal durante el periodo colonial, fueron muy importantes, porque en muchos casos afectaron su propio sistema de poder, sus símbolos de mando, los rituales, etc. Sin embargo los curacas supieron adaptarse y aceptar e incluso aprovechar los recursos que el nuevo esquema de poder les brindaba. Los siguientes puntos del primer capítulo tienen que ver con las estructuras que los españoles establecieron en el Perú para la administración de la población andina, como son la encomienda, el tributo y el sistema de reducciones. En el segundo capítulo se aborda el tema de las transformaciones sufridas por el régimen de los curacas bajo el sistema colonial, a través del estudio de tres casos que ilustran diferentes situaciones de cambio que las autoridades andinas tuvieron que afrontar: Los curacas nominados, Los curacas y el sistema jurídico y Oportunidades y límites del sistema colonial: curacas y empresa. Los casos están documentados en expedientes del siglo XVI y XVII, obtenidos tanto en el Archivo General de Indias, como en el archivo Departamental de Cajamarca. / Tesis

El punto de partida del estudio son los textos polémicos publicados en Cataluña entre 1621 y 1640, compuestos por juristas catalanes a propósito de una serie de conflictos que prepararon el terreno a la revuelta catalana de 1640. A partir de un estudio de sus fuentes doctrinales trata de precisarse el peso que tenía la tradición de pensamiento pactista de origen medieval así como las novedades conceptuales introducidas por influencia en Cataluña de corrientes contemporáneas. Se analiza así el origen y desenvolvimiento de los conceptos axiales del pensamiento político previo a 1640: el concepto de jurisdicción y la problemática de la transferencia, prescripción y abdicación de la jurisdicción o las regalías; el concepto de la soberanía corporativa o compartida; la idea de la soberanía popular originaria; y la reafirmación de la soberanía absoluta del príncipe. Asimismo, se muestra la incidencia de estos conceptos en la legitimación de las principales instituciones que configuraban el régimen político de Cataluña: la realeza, la Audiencia Real, las Cortes y la Diputación. / The study takes as starting point the polemical texts published in Catalonia from 1621 to 1640, written by Catalan jurists who took part in the series of conflicts leading to the Catalan revolt of 1640. By way of an analysis of their doctrinal sources the study attempts to measure the force the medieval «pactist» tradition continued to have up to the 17th century, as well as the conceptual novelties introduced following the influence in Catalonia of contemporary currents of European political thought. The analysis focuses on the origin and development of the main concepts of political thought before 1640: the concept of jurisdiction and the issues of transference, prescription and abdication of jurisdiction or «regalia»; the concept of «corporate» or shared sovereignty; the idea of the original popular sovereignty; and the reassertion of the absolute sovereignty of the prince. At the same time, the study shows the impact these concepts had on the legitimazation of the main institutions that integrated the Catalan political regime: royalty, the Audiencia Reial, the Corts and the Diputació.

La presente tesis está basada en el estudio del juicio a una hechicera (María de Córdova). Juicio llevado a cabo por el Tribunal del Santo Oficio de Lima entre 1655 y 1660. Este documento está ubicado en el Archivo Histórico Nacional de Madrid (AHN). La técnica que emplearemos para el estudio del caso será un aspecto de la micro historia, es decir, haremos uso de ella como marco teórico referencial para reconstruir el imaginario colectivo de Lima de mediados del siglo XVII. Del expediente encontrado, podemos hallar un hilo conductor en la mentalidad de la época que nos llevará a vislumbrar los usos y costumbres de un sector de la población en Lima virreinal. Nuestro propósito es dar una mirada retrospectiva al mundo oculto de la hechicería en este determinado periodo de tiempo; ver la influencia de la iglesia dentro del imaginario y el poder que ésta representa frente al pueblo a través de algunos procesos judiciales; ello nos llevará a observar la vida en las Cárceles Secretas en el transcurso temporal de nuestra investigación y a plantearnos la reproducción de ciertos elementos de largo alcance. / Tesis

Orientador : Profª. Drª. Silvana R. Scarinci / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 25/02/2016 / Inclui referências : f. 103-106 / Resumo: O presente trabalho trata sobre a vida, obra e voz do famoso cantor do início do Período Barroco Francesco Rasi. Conhecido por ter personificado o personagem de Orfeu na ópera homônima de Claudio Monteverdi, a figura desse cantor, apesar de célebre em sua época, encontra-se em nossos dias desprovida do merecido realce. Rasi, que também foi poeta, instrumentista e compositor teve significativa contribuição para o desenvolvimento e estabelecimento da música criada na Itália no início da primeira metade do século XVII. Membro da Camerata Florentina esteve envolvido na execução das produções florentinas e mantovanas de diversos dos mais proeminentes autores da época, como, Cini, Belli, Peri, Monteverdi, Gagliano e Chiabrera. Suas composições se encontram entre os primeiros exemplos da monodia no mundo. Sua trajetória é analisada do ponto de vista pessoal, profissional e por fim vocal. Para tanto, buscamos reunir dados biográficos a seu respeito que juntamente com os relatos obtidos sobre sua carreira como cantor, possibilitaram a construção de um quadro maior sobre formação da figura do primeiro cantor de ópera da história e de como este atuou auxiliando na formação do gênero operístico. Uma análise da técnica vocal e dos ideais do canto barroco, da afinação utilizada pelos músicos naqueles dias e nas localidades onde ele atuou, em conjunto com as obras por ele executadas e compostas, também é feito no sentido de esclarecer qual seria sua classificação vocal transportada para os dias de hoje. Palavras Chave: Francesco Rasi. Canto Barroco. Voz. Ópera. Monteverdi / Abstract: The present work is about the life, works and voice of the famous singer from the beginning of the Baroque Period, Francesco Rasi. Mostly known for having personified the character of Orpheus in Monteverdi's homonymous opera, this singer, although famous on his days, is now quite forgotten. Rasi, who was also a poet, a composer and an instrument player, had a significant contribution for the development and establishment of the music created in Italy on the beginning of the first half of the XVII century. Member of the Florentine Camerata he was involved in the execution of the Florentine and mantuan productions of many of the most important authors of that time like Cini, Belli, Peri, Monteverdi, Gagliano and Chiabrera. His compositions are among the first examples of the monody in the world. His trajectory is analyzed from the personal, professional and vocal point of view. In order to do so we gathered biographic data about him that, along with descriptions of his carrier as a singer, made possible the construction of a larger picture regarding the formation of the figure of the first opera singer and how he helped the formation of the operatic gender. A analysis of the vocal technique and ideals of the baroque singing, of the tuning used by the musicians of those days and localities where he performed, in conjunction with the pieces performed and composed by him, is also accomplished in this work in order to clarify what would be his vocal type transported to the one we use today. Key Words: Francesco Rasi. Baroque Singing. Voice. Opera. Monteverdi.

Submitted by Felipe Lapenda (felipe.lapenda@ufpe.br) on 2015-03-09T14:13:44Z No. of bitstreams: 2 Dissertação Leandro de Sousa.pdf: 1460353 bytes, checksum: dd51dc98cb979bff80327a40d6754121 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-09T14:13:44Z (GMT). No. of bitstreams: 2 Dissertação Leandro de Sousa.pdf: 1460353 bytes, checksum: dd51dc98cb979bff80327a40d6754121 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-08-28 / Desde o início da expansão marítima portuguesa, e a interligação entre os continentes, o mundo Atlântico surge como um espaço de trocas e experiências ente a Europa, a África e a América. Questões econômicas, políticas, culturais e religiosas fazem parte da circularidade de experiências Atlânticas. E é nesse contexto que indivíduos se apropriam dessas experiências e agem de acordo com seus interesses. É o que aconteceu com muitos personagens vindos da Europa, sobretudo Portugal, e conseguem ascender socialmente num jogo de poderes a qual a flexibilidade régia e a cultura política da mercê proporcionaram. Através de documentos entre a colônia e o reino de Portugal, acrescentando relatos de cronistas militares e religiosos, analisamos o governo em Angola de João Fernandes Vieira, homem do século XVII, saído da Ilha da Madeira, adquire prestigio e poder na luta contra os holandeses em Pernambuco, e leva seus aprendizados, suas experiências, para o seu governo em Angola, a qual administra a situação de acordo com seus interesses no tráfico de escravos, para abastecer de mão de obra os seus engenhos de açúcar em Pernambuco e na Paraíba.

Orientador: Helena Jank / Dissertação (mestrado) Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-21T19:09:46Z (GMT). No. of bitstreams: 1 Persone_Pedro_M.pdf: 4757970 bytes, checksum: cfa873f5f13e094d9ecee9989f7920b2 (MD5) Previous issue date: 1996 / Résumé: Ce travail présente une eonnexion entre les CEuvres "non mesurées" et Ia rhétorique. Ces CEuvressont divisées en deux catégories: les Préludes qui sont des oeuvres d'éeriture non mesurée et de performanee non mesurée, et les oeuvres d'éeriture mesurée et de performance non mesurée (Plaintes, Tombeaux, Lamenti, ete.). Les Préludes étaient des oeuvres eomposées pour initier un groupement de piêees comme les Suites. En prineipe, il a avaient Ia fonetion de vérifier I'instrument, réglage et accordage. Avee I'épanouissement de Ia musique française au XVII ême siêele, les préludes ont gagnés de I'importance et sont devenus - à partir du moment qu'ils n'ont pas de forme rigide ¿ um refuge pour Ia fantaisie des compositeur. Pourtant, rien de ce qui a été éerit, n'a laissé de porter un "message". Etant ce "message" toujours présent, et Ia rhétorique étant un des pilier de Ia eulture de I'époque, Ia connexion entre les deux a été inévitable. Les Plaintes, Tombeaux et Lamenti, étaient des piêces de style représentatif. Comme il était fréquent à I'époque, les oeuvres représentatives étaient éerites de maniêre traditionnelle, mais étaient interprétées "senza battuta", e'est à dire sans observer aueune mesure. Ainsi, de telles interprétations étaient eonduites par les lois de Ia rhétorique. C'est notre proposition de montrer eomment faire Ia connexion entre ces deux arts / Resumo: Este trabalho apresenta uma conexão entre as obras "non mesurés" e a retórica. As obras "non mesurés" são divididas em duas categorias: os Prelúdios que são obras de escrita não mensurada e de performance não mensurada e obras de escrita mensurada de performance não mensurada (Plainte, Tombeaux, Lamenti, etc.). Os Prelúdios eram obras compostas para iniciar um agrupamento de peças, tais como as suites. A princípio tinha a função de verificar o instrumento- afinação e regulagem. Com o desabrochar da música francesa no século XVII os prelúdios foram crescendo em importância se tornaram - por não possuírem uma forma rígida - um porto seguro para a fantasia dos compositores. Entretanto nada do que foi escrito deixava de ter uma "mensagem". Por estar essa "mensagem sempre presente e por ser a retórica um dos pilares da cultura daquele período, a conexão entre as duas foi inevitável. Os Plaintes, Tombeaux e Lamenti, eram peças do estilo representativo. Como era comum na época, obras representativas eram escritas da maneira tradicional, mas eram interpretadas "senza battuta", isto é sem observar nenhuma mensuração, ou compasso. Assim, o que regia tais interpretações eram as leis da retórica. Esta é a nossa proposta, mostrar como fazer a conexão entre estas duas artes / Abstract: This work presents a connection between unmeasured works and rhetoric. The unmeasured works are divided into two classes: Preludes - which are unmeasured written works and unmeasured performance, and unmeasured performance of unmeasured written works (Plaintes, Tombeaux, Lamenti, etc.). The Preludeswere works composed to start a group of pieces, as the suites. At the beginning their function was to verify the instrument - tuning and regulation. With the blooming of French music during the XVII century, the Preludes improved in concem and became - 'cause they don't have a strict form - a safe refuge for the composers' fantasies. Nevertheless ali the composed works had story to tell. As the story was always present and the rhetoric was one of the culture sustainers of that time, the connection between both was unavoidable. The Plaintes, Tombeaux e Lamenti were works of "Genere Rappresentativo". Frequently the representative works, at the time, were written in a traditional manner but they were played "senza batuta", that's to say, without any mensuration or compasso So, it was the rhetoric what guided those performances. My proposal is to bring up the connection between these two arts - music and rhetoric / Mestrado / Titulação

The Bible teaches that God is the Creator of this world and all that is in it. It teaches us further that God’s creation was perfect. Lucifer, or Satan, corrupted perfection and ultimate goodness in creation by wanting to become like God. This resulted in the introduction of evil in God’s creation. Satan enticed Eve with a similar proposition in Genesis 3. Eve introduced the idea to her husband and they both agreed to the satanic lie: to become their own god – resulting in disobedience and every kind of evil that is found in the world up to the present. Evil is a real problem in this world. At the root of every kind of suffering, lies evil. Evil abounds, for man has rejected his nature as a created, limited, finite being, and tries to be what he could never be – divine. This was man’s original sin: he wanted to be god. Man often repeats this sin to this day. The Apocalypse presents to the reader God’s plan of salvation to redeem humanity back to its state of ‘goodness.’ Further, the Apocalypse teaches that God is Sovereign and that He is in control of His design. The book presents hope in the midst of suffering for the believer. At the same time, another message of judgement upon the evil inhabitants of the earth, the cosmos and evil is presented. God is holy and all that He stands for is good. Evil contradicts God’s nature and has to be destroyed for good to triumph. It is for this reason that we need to survey Rev. 17:1-19:10, for here we will witness the self-destruction of evil which is God’s design. We will also witness the triumph of good as evil is destroyed. The Apocalypse of John presents to the reader God’s design of allowing evil to run its course. Much emphasis is placed upon the Christ-event of Jesus’ sacrificial atonement as the “Lamb of God.” This event allows mankind a way out of following the path of wanting to be his own master and god. It shows to man his utter helplessness and hopelessness in saving himself from evil’s grip. It is only those that recognize their state of human depravity and their inability to save themselves, who find a release from evil’s grip through Christ’s atoning work alone. Only then will believers experience their true humanity – in God. Revelation 17 and 18 presents evil in two spheres. Firstly, evil is personified as a prostitute who seduces people away from God into idolatry. Idolatry is witnessed in organized religion and even unorganized religion (e.g. Marxism, atheism, science, etc.). Any argument for redemption from a problem, and an argument for salvation from these problems, ultimately leads to a belief system or religion. This will mean that all persons are religious, for they subscribe to some form of belief system which liberates them from something that they would deem oppressive - whether it includes a personal deity or not. Our argument is that every belief outside of the Christ revealed in the Scriptures, is idolatry. Idolatry finds its root in the Beast, or the Anti-Christ, symbolized by the prostitute’s prominent position on the beast (Chapter 17). She is described as “sitting” on the beast, signifying her unity with the beast and her representation of the beast on earth as his ambassador. The beast is identified as the great persecuting power that rules by brute force and is the supreme enemy of Christ and the Church. In chapter 13, the beast’s influence is discussed. To ascertain the identity of the beast, John writes, “This calls for wisdom. If anyone has insight, let him calculate the number of the beast, for it is man’s number. His number is 666” (v.18). We are of the opinion that the Book of Revelation has to be understood from an Old Testament perspective, for it is quoted extensively and its prophetic symbolism often repeated. The only instances that the number “666” is used in the Old Testament, is found in 1 Kings 10:14 and 2 Chronicles 9:13, both describing the weight of gold that Solomon received annually. We read in 1 Kings 11 of Solomon’s downfall where he took for himself “… seven hundred wives of royal birth and three hundred concubines” (v.3). These marriages helped him to develop commercial ties with the rest of the world, which soon resulted in Solomon following after many gods. Solomon’s alliances, through commercial security, led him away from God. Now his trust was placed in worldly alliances and not on God for prosperity. Secondly, those links soon led him into idolatry. John uses Solomon’s downfall to help his readers identify the beast. This beast of chapter 13 is further described in chapter 17 as the one who leads the inhabitants of the earth into idolatry through the prostitute. In chapter 18, the beast is portrayed as the one who seduces people into commercialism, through the prostitute. The seducing of humanity into idolatry and commercialism is still the beast of modern times. This beast prevents man from acknowledging God and entering into a relationship with Him. It is this beast of Idolatry and Commercialism that Revelation reveals as the seducers of mankind, pointing them away from the living God. Revelation 17-18 outlines the final judgement and destruction of the beast’s evil system. The Apocalypse describes God’s complete eradication of the evil beast and his accomplices, ushering in a new heaven and a new earth, with a once again, perfect humanity to fellowship with Him for all eternity. Revelation 17:1 to 19:10 outlines how God goes about in ridding His creation of evil. It teaches evil’s self-destruction - which is God’s design. It further describes the lost-ness of those that indulge in evil, little realizing that they are also responsible for evil’s demise – which is God’s design. It culminates with the joy of the righteous over evil’s destruction and their permanently restored fellowship with their Creator. The outworking of God’s design regarding the demise of evil needs to be viewed in the light of the Sovereignty of God (to which the Apocalypse provides an excellent understanding). We will witness the worldly system’s influence on humanity in John’s day, which is not much different to the present, for history has a way of repeating itself. We will discuss how believers are to respond to the influences of Idolatry and Commercialism (CHAPTER 2). Secondly, an exegetical analysis of the pericope chosen will prove the ultimate triumph of God in the destruction of evil, and will also describe the eternality of the believer’s position in Christ (CHAPTER 3). Thirdly, a correct understanding of the sole worship of God is necessary for believers, therefore the theology and content of worship teachings and practices (as witnessed in the songs of Revelation) will be discussed in Chapter 4. Finally, a correct understanding of God, and His role as Creator and Sustainer of creation, will be dealt with under the broad headings of GOD, MAN, SIN, COSMOS (CHAPTER 5). / Prof. J.A. du Rand

O presente trabalho tem por objetivo investigar as possibilidades de aplicação dos principais conceitos da solmização e do contraponto na música inglesa entre os séculos XVI e XVII. Para a realização deste propósito, partindo de uma extensa pesquisa bibliográfica, foram selecionados os tratados de William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) e Christopher Simpson (1667) que foram sistematicamente estudados. Em seguida, selecionaram-se 40 canções compostas pelos autores das preceptivas acima. As peças foram analisadas de forma a verificar se as regras do contraponto e da solmização oferecidas nos tratados possibilitam uma aplicação prática real nos exemplos musicais, e, de forma geral, se os preceitos contidos nos tratados permitem o efetivo aprendizado da solmização e do contraponto. Considerando a escassez de trabalhos em português discorrendo especificamente sobre a solmização e sobre o contraponto na música inglesa, este trabalho oferece uma contribuição relevante para futuros estudos sobre o assunto. / The objective of this study is to investigate the possibilities of the use of the main concepts of solmization and counterpoint in the English music betweeen the XVI and XVII centuries. To this purpose, I carried a comprehensive bibliographical research and then selected and systematically studied the following treatises: William Bathe (c. 1596), Thomas Morley (1597), Thomas Campion (c. 1613), John Playford (1655) and Christopher Simpson (1667). Secondly, I chose and analyzed 40 songs by these authors in order to verify if the rules of counterpoint and solmization presented in the treatises in actual fact enable a practical use in the musical samples and, broadly speaking, if the precepts found in the treatises promote the effective learning of solmization and counterpoint. Taking into consideration the lack of studies in the Portuguese language specifically covering solmization and counterpoint in the English music, this study offers a relevant contribution to future studies on this subject.

El siguiente trabajo analiza la importancia de las mujeres indígenas en el mundo andino y su rol protagónico en el ámbito religioso, específicamente durante la “Extirpación de Idolatrías” en el Virreinato del Perú, a lo largo del siglo XVII. Las autoridades religiosas femeninas de la época lucharon contra la imposición de la religión y cultura católica –traída al continente americano por los españoles– y también por la supervivencia de sus costumbres. Estas mujeres mantuvieron las tradiciones y cultos andinos vivos al readaptar y dinamizar su propia cultura. Esto fue logrado, a su vez, gracias a la apropiación de las mismas estrategias desplegadas por los evangelizadores católicos, como una forma de resistir la nueva dominación y de preservar su mundo y equilibrio el que ya se empezaba a resquebrajar durante la Colonia. / The following paper analyzes the relevance of indigenous women within the Andean world and their lead role in the religious sphere, specifically during the “Extirpation of idolatries” in the Viceroyalty of Peru throughout the XVII century. The female religious authorities of the time fought against the imposition of the catholic religion and culture –brought by the Spanish into the American continent– and also for the survival of their customs. These women kept the Andean traditions and cults alive by re-adapting and energizing their own culture. This was achieved, in turn, thanks to the appropriation of the same strategies deployed by the catholic evangelists, as a way to resist the new domination and to preserve their world and their “Cosmos”, which was already starting to crack during the Colony. / Tesis