Made available in DSpace on 2016-04-28T19:34:36Z (GMT). No. of bitstreams: 1 Edson Luiz da Silveira.pdf: 4146700 bytes, checksum: e22565e09608fc4176c3f0a72888fc18 (MD5) Previous issue date: 2009-05-21 / Secretaria da Educação do Estado de São Paulo / The dissertation has as its subject a historic-historiographic study about the Portuguese Language in Brazil in the XVIII century, in a document of textual gender letter. This document is known as Chilean Letters and Tomás Antônio Gonzaga, an arcadist poet, is supposed to be its author. According to the theoretic-methodologic orientations proposed by Koerner (1995, 1996), for the Linguistic Historiographic, we will examine the linguistic marks which form the Chilean Letters, using the context principles, stability and the theoretical adaptation. By considering the Chilean Letters in the gender letter, our support is Bazerman, who considers the textual genders as linguistic movements historically created by social groups, according to their needs in communication in the socio-interational process, which involves a net of speakers in a established community. The Chilean Letters, as we infer from the analysis, have the social role of being a communication channel between two speakers in a specific historical moment. In this sense, we can say that the Letters, because of being a satire, are also an accusation against the behavior of a politician. Tomás Antônio Gonzaga uses a pseudonym in the Chilean Letters, Critilo, and talks to another arcadist poet, Cláudio Manuel da Costa, whose pseudonym is Dorotheo, accusing the political activities and tricks of the boaster Minésio, who is the governor of Minas Gerais. According to the linguistic conceptions found in the Letters context, we can say that, in the XVIII century, there was the conception that the language should reflect the same logic of the thought, which comes from some classical philosophers, like Aristoteles. For History itself, not only the official event, the one created by facts of diplomacy and martial expression of a nation, but also, the peripherical events, which are not official, have got since the XX century, the historian´s attention. So, the aspects influenced by the language are the goal of the experts ´s investigation. The analysis of the Letters was done and we got some results; they are: - because of being a mixed work, the Chilean Letters show us a combination of two genders: letter and satire - The Chilean Letters, written in rhyme and in a poetic language, allow the author/poet some freedom, concerned to the Portuguese language spoken in the XVIII century, and make him use same logic of the thought / A Dissertação tem como tema um estudo histórico-historiográfico da Língua Portuguesa em uso no Brasil no século XVIII, em um documento de gênero textual carta. Este documento é conhecido por Cartas Chilenas e sua autoria é atribuída ao poeta árcade, Tomás Antônio Gonzaga. Seguindo as orientações teórico-metodológicas propostas por Koerner (1995, 1996), para a Historiografia Lingüística, a Dissertação examina as marcas lingüísticas constitutivas das Cartas Chilenas, utilizando os princípios da contextualização, da imanência e da adequação teórica. Por incluirmos as Cartas Chilenas no gênero carta, apoiamo-nos em Bazerman, para quem os gêneros textuais são construtos lingüísticos historicamente criados por grupos sociais, dependendo de suas necessidades de comunicação no processo sócio-interacional, que envolve a rede de falantes numa determinada comunidade lingüística. As Cartas Chilenas, conforme depreendemos da análise, cumprem o papel social de estabelecer um determinado canal de comunicação entre dois falantes num momento histórico definido. Neste sentido, queremos dizer que As Cartas, por circunscreverem a sátira, cumprem também o papel de denúncia, que funciona como uma espécie de reprovação sobre o comportamento de uma figura política. Tomás Antônio Gonzaga utiliza, nas Cartas Chilenas, pseudônimo de Critilo e se dirige ao destinatário de nome Dorotheo, que é atribuído a outro poeta árcade, Cláudio Manuel da Costa, denunciando as peripécias políticas e histriônicas do fanfarrão Minésio, que vem a ser o governador de Minas Gerais. Do ponto de vista das concepções lingüísticas presentes no contexto em que as Cartas foram elaboradas, podemos dizer que, no século XVIII, havia a idéia de que a língua deveria refletir a mesma lógica do pensamento, ideal que remonta à época clássica de pensadores como, por exemplo, Aristóteles. Para a História, não mais é imprescindível o evento oficial somente, aqueles fomentados por fatos da diplomacia e da expressão bélica de uma nação; também os eventos periféricos, extraoficiais ganham, na nova concepção de História que se estabelece a partir do século XX, a atenção do historiador. Assim, os aspectos permeados pela língua tornam-se alvo da investigação dos especialistas. Feita a análise das Cartas, chegamos a alguns resultados; são eles: - por ser uma obra mista, As Cartas Chilenas apresentam a mistura de dois gêneros: carta e sátira. - as Cartas Chilenas, escritas em versos e em uma linguagem poética, permitem ao autor/poeta certa liberdade em relação à língua portuguesa no século XVIII o que a faz desviar da orientação da época de língua com a mesma lógica do pensamento

Cette étude aborde la conception de l'espace tunisien depuis l'Occident au croisement des notions territoriales Africa et Tunis, à travers la représentation cartographique à l'époque moderne du XVIe siècle au XVIIIe siècle, d'après des sources issues principalement des collections de la Bibliothèque nationale de France. Cette étude a pour ambition de proposer un travail d'investigation de l'image cartographique de l'espace tunisien en privilégiant deux approches : une approche structurale historiographique et une approche quantitative. L'objectif principal de la présente étude est de détecter les grandes phases historiques dans la représentation de l'espace tunisien, à partir d'un corpus assez dense. Je propose d'individualiser trois groupes d'images cartographiques caractérisées par des déformations similaires, qui me paraissent correspondre à des étapes importantes de l'évolution cartographique moderne ou encore à de grandes ruptures dans sa construction. Ces étapes correspondent à chaque fois à de nouveaux récits de voyages et par la suite à une évolution du regard. L'ensemble des cartes est représentatif non pas de l'édition cartographique mais de l'évolution des techniques et des connaissances géographiques. Les « cartes-modèles » ou encore les « cartes-mères » que j'identifie dans un premier temps, sont ensuite l'objet d'une expérimentation à partir de méthodes quantitatives. Cette approche, qui porte sur les déformations des surfaces, vise à une comparaison entre deux surfaces : une surface-source supposée « exacte » et une surface-image correspondant aux exemples historiques analysés. / This study deals with the concept of the Tunisian space, seen from the West as an intersection of the territorial concepts of Africa and Tunis, throughout the cartographical representation of the modern period, from the 16th to the 18th century. The study is essentially based on cartographic material from the collections of the French National Library. This thesis aims to investigate the cartographic representation of the Tunisian space through two main approaches: the first one is historiographical and structural at heart while the second is quantitative. The main objective of this present study is to detect the essential historical steps in the cartographic representation, from wide sources. So far, I suggest identifying three groups of cartographic images, which are characterized by similar deformations. These images correspond with important stages of the modern cartographical image or even major breaks in its construction, connected with new travel accounts and an evolving representation. Ali maps are not only representative of the cartographical edition but also of the development of technology and geographical knowledge. The « model-maps » along with « mother­maps », once identified, are subsequently subjected to experiments, through a quantitative approach. This approach, which centers on surfaces deformations, is meant to establish a comparison between two types of surfaces: one, the source-surface, which is presumed to be accurate and the other, the image-surface, which corresponds with the historical examples we consider.

El tema d'aquesta tesi és el factor de la festa en l'articulació de pràctiques musicals a Barcelona en un context que s'estén des del segle XV al XVIII. Concretament, se centra en les anomenades "Entrades Reials", unes celebracions públiques que s'esdevenien en la primera visita del monarca en motiu del seu jurament dels privilegis de la ciutat. L'elecció d'aquest objecte es justifica en primer lloc pel seu potencial per a connectar amb formes de pensament que incideixen en el debat més genèric sobre els processos d'atribució de significacions a la música. Aquestes celebracions esdevenien una important manifestació cultural col·lectiva en les que s'utilitzaven pràctiques musicals comuns a les altres festes més regulars i que conformaven el sistema general festiu: l'acompanyament del seguici per conjunts de trompetes i tabals, les intervencions musicals en el marc de les representacions realitzades al portal de la ciutat i basades en el teatre sacre medieval, les desfilades dels gremis i confraries, que participaven amb les músiques i els balls dels "entremesos" del Corpus, així com els balls privats als palaus o públics als carrers i places que durant les jornades posteriors completava el conjunt de les activitats. / The subject of this work is the factor of the celebration in the joint of musical practices in Barcelona in a context that extends from century XV to the XVIII. Concretely, it is centered in the denominated "Real Entrances", public celebrations that occurred in the first visit of the monarch in reason for the oath of the privileges of the city. The election of this object is justified by its potential to connect with thought forms that affect the most generic debate the processes of attribution of meanings to music. These celebrations were an important collective cultural manifestation in which common musical practices to the other more regular celebrations were used and than they conformed the festive general system: the support of the courtship by sets of trumpets and drums, the musical interventions within the framework of the representations made to the vestibule of the city and cradles in the religious medieval theater, the parades of the unions and brotherhoods, that participated with music and the dances of the "entremeses" of the Corpus, as well as the dances deprived in the palaces or public in the streets and seats that during the later days the set of the activities completed.

L’histoire de la construction administrative de la France aux XVIIe et XVIIIe siècles est celle de la mise en place d’un appareil d’État avec, dans les provinces les plus récemment intégrées, le maintien d’une assemblée des représentants des trois ordres, qui gère une partie des affaires du pays notamment la collecte de l’impôt. Séparée de sa partie espagnole depuis 1512, la Basse-Navarre a elle-aussi conservé, au moment de son union avec le royaume de France en 1620, son assemblée d’États et, surtout, son titre de « royaume ». Notre premier travail a consisté à retranscrire la mémoire des délibérations annuelles de l’assemblée navarraise, depuis le début du règne personnel de Louis XIV jusqu’à la Révolution. Puis, l’étude quantitative et qualitative des textes a mis en lumière un dialogue particulier entre Versailles et la lointaine province. Face aux Bourbons, les représentants navarrais défendent leurs coutumes, leur particularisme, mais aussi leur mainmise particulière sur les affaires de la province. / The history of the administrative construction of France in the XVII and XVIII centuries is the history of the establishment of the political machinery of state and, in those provinces most recently integrated, the upholding of an assembly of representatives of 3 orders who managed a part of the countries affairs, specifically that of tax collection. Separated from its Spanish states in 1512, the Basse-Navarre also conserved, at the moment of its union with the kingdom of France in 1620, its state assembly and above all its title of realm. Our initial work consisted of retranscribing the record of yearly deliberations of the navarraise assembly, from the beginning of the personal reign of Louis XIV until the Revolution. Following this, the quantitative and qualitative study of the texts shed light on the particular dialogue between Versailles and the outer lying province. In the face of the Bourbons, the navarrais representatives defended their customs, their distinctiveness and also their dominance over the affairs of the province.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-07-01T17:56:00Z No. of bitstreams: 1 Precioso, Daniel-Tese-2014.pdf: 2609576 bytes, checksum: e7ee5a477b36b702e64f49b9916e3bf7 (MD5) / Made available in DSpace on 2014-07-01T17:56:00Z (GMT). No. of bitstreams: 1 Precioso, Daniel-Tese-2014.pdf: 2609576 bytes, checksum: e7ee5a477b36b702e64f49b9916e3bf7 (MD5) Previous issue date: 2014 / Esta tese apresenta um estudo de arquiconfrarias e ordens terceiras fundadas por pardos e crioulos, forros ou livres, na Capitania de Minas Gerais – sobretudo, em Vila Rica e Mariana – durante a segunda metade do século XVIII. A pesquisa concilia o exame da dinâmica institucional dessas corporações com uma análise das carreiras e redes sociais tecidas pelos seus membros. Destaca-se que o estabelecimento das associações estudadas não reflete apenas o desejo de aprimoramento da vida religiosa e a devoção de seus fundadores, mas também a tentativa de aquisição de privilégios religiosos, isenções jurisdicionais e status social. Além disso, relaciona-se o surgimento das instituições analisadas com a promoção de ações de caridade e assistência social. / This thesis is a study of Archonfraternities and Third orders created by pardos and creoles, freed or free men, in the Captaincy of Minas Gerais – most importantly, in Vila Rica and Mariana – during the second half of the XVIII century. The research reconciles the exam of the institutional dynamics of those corporations with an analysis of the careers and social networks woven by their members. This study emphasizes that establishment of the studied associations doesn’t reflect only the desire to perfect the religious life and the devotion of their founders, but also the attempt to acquire religious privileges, exemptions of authorities and social recognition. Furthermore, this study links the appearance of the institutions analyzed with the promotion of charity actions and social assistance.

François-Antoine-Valentin Riccoboni (1707-1772) représente un paradigme de la rencontre des cultures théâtrales italienne et française au XVIIIe siècle, du point de vue des pratiques scéniques, de la dramaturgie, de la poétique et de la théorie du jeu. Son travail d’acteur participe de l’esthétique italienne visant un jeu plus simple et naturel, qui aura plusieurs échos dans la réforme de la pratique scénique française, la critique contemporaine et la théorie du jeu. Son œuvre se développe dans le sillon de la tradition de la Comédie-Italienne de Paris, démontrant la persistance des processus de composition poétique typiques du savoir artistique italien. Danseur et maître de ballet, François expérimente les possibilités du ballet-pantomime au carrefour des influences choreutiques anglaises, foraines, et du jeu pantomimique italien. Son Art du Théâtre (1750) représente la translation de sa pratique scénique dans le domaine théorique et esthétique. Manuel à l’usage des aspirants acteurs, il revendique aussi une théorie fondée exclusivement sur la pratique du plateau. Aussi, définit-il pour la première fois une théorie du jeu qui repose sur les qualités rationnelles et imitatives de l’acteur, laquelle influencera notamment le Diderot du Paradoxe. Divisé en quatre parties, notre travail reconstruit la vie de Riccoboni (I Partie) ; essaie de saisir son jeu scénique en italien à l’impromptu, en français, dans le chant et dans la danse (II Partie) ; analyse son œuvre dramatique (III Partie) ; étudie l’Art du Théâtre (IV Partie). Deux volumes d’annexes rassemblent des documents d’archives inédits, le répertoire raisonné et l’édition des œuvres inédites de François. / François Antoine Valentin Riccoboni (1707-1772) exemplifies the intersection between Italian and French theatrical cultures in the 18th century in terms of staging practices, dramaturgy, poetics, and the theory of acting. Rooted in the Italian aesthetic, his acting aimed to achieve a style that was simpler and more natural and would be echoed in a number of ways in the reform of French stagecraft, contemporary criticism and the theory of acting. His work develops in alignment with the tradition of the Comédie Italienne in Paris, thus demonstrating the longevity of the process of poetic composition characteristic of the Italian artistic expertise. Dancer and ballet master, Riccoboni experiments with the possibilities of the ballet-pantomime at the juncture of influences from English dance, fairgrounds, and Italien pantomime. His Art du Théâtre (1750) proposes the transposition of his stage techniques in the areas of theory and aesthetics. A practical handbook designed for aspiring actors, it claims also to be a theory based solely on stage experience. It articulates, for the first time, a theory of acting based on the rational and imitative qualities of the actor, which will influence notably Diderot in Le Paradoxe. Divided in four parts, this doctoral dissertation retraces Riccoboni’s life (Part I); attempts to understand his stage craft in Italian all’improvviso, in French, in song and dance (Part II); analyzes his dramatic works (Part III); and studies his Art du Théâtre (Part IV). Two volumes of appendices offer previously unpublished archival sources as well as the annotated inventory and edition of previously unpublished texts by Riccoboni. / François Antoine Valentin Riccoboni (1707-1772) rappresenta un paradigma dell’incontro tra la cultura teatrale italiana e francese nel XVIII secolo, dal punto di vista della pratica scenica, della drammaturgia, della poetica e della teoria della recitazione. La sua arte attoriale partecipa dell’estetica italiana, tesa ad una recitazione più semplice e naturale, che avrà delle eco importanti nella riforma della pratica scenica francese, nella critica contemporanea e nella teoria della recitazione. La sua opera si sviluppa nel solco della tradizione della Comédie Italienne di Parigi, dimostrando la persistenza di processi compositivi tipici del sapere artistico italiano. Ballerino e maître de ballet, François sperimenta anche le possibilità del ballet-pantomime all’incrocio delle influenze coreutiche inglesi, foraines, e dell’arte scenica e pantomimica italiana. Il suo Art du Théâtre (1750) rappresenta la traslazione della sua pratica attoriale nel dominio teorico ed estetico. Manuale pratico all’uso degli aspiranti attori, esso rivendica inoltre una teoria fondata esclusivamente sulla pratica del palcoscenico e definisce per la prima volta un processo interpretativo basato sulle qualità razionali e imitative dell’attore, teoria che influenzerà particolarmente il Diderot del Paradoxe. Diviso in quattro parti, il nostro lavoro ricostruisce la vita di Riccoboni (I Parte); cerca di restituirne la pratica scenica nella recitazione all’improvviso, in francese, nel canto e nella danza (II Parte); analizza la sua opera (III Parte); studia l’Art du Théâtre (IV Parte). Due volumi di appendici raccolgono documenti d’archivio inediti, il repertorio ragionato e l’edizione delle opere inedite di François.