Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. Elle confronte l’interprète à ses propres limites ainsi qu’à celles de son instrument, et favorise la rencontre avec l’altérité d’une écriture dépourvue de gestes familiers. La transcription constitue l’un des moyens privilégiés de compréhension du répertoire transcrit, de l’instrument de destination, et du rapport de l’interprète à son instrument. La transcription du répertoire de clavecin français pour harpe sera envisagée tout d’abord sous un angle historique, puis à travers les interrogations de nature esthétique que suscite l’antagonisme entre idiomatisme et fidélité, enfin la question des limites et impossibilités sera interrogée selon une approche technique et pratique. / The original harp repertoire is rather limited. It seems there are two efficient ways to help its increase : contemporary creation on the one hand, and transcription on the other. This study questions the relation between early music and a current way of transcribing for harp the eighteenth century french harpischord repertoire. Transcription is here considered as an unwritten practice that comes close to interpretation, and like interpretation and translation, it faces fundamental issues which seem paradoxical : spirit and letter, idiomatism and fidelity. Transcription forces the performer to face his own limits as well as his intrument’s, and it favours the encounter with the otherness of a writing that is free of any familiar gesture. Transcription is one of the best ways to comprehend the transcribed repertoire, the instrument the piece is being transcribed for, and the relationship the performer has with his instrument. The transcription for harp of the eighteenth century french harpischord repertoire will be examined first under a historic angle, then, with esthetic concerns raised by the paradox between idiomatism and fidelity, and finally, the issue of the limits and impossibilities will be studied from a technical and practical approach.

Percorrendo um pensamento em que a ontologia, assistida pela fenomenologia, fornece inteligibilidade suficiente para a elaboração de uma ética existencialista, este trabalho pretende demonstrar como a acepção sartriana acerca da subjetividade é indissociável, para ser devidamente compreendida, do fenômeno por ele intitulado como má-fé. Essa demonstração busca evidenciar ainda como a empreitada sartriana em descrever a realidade humana como ser-Para-si, cuja existência precede a essência exaustivamente analisada na obra de que mais nos servimos (O Ser o Nada) opera uma reconfiguração no significado das noções comumente empregadas nas tentativas filosóficas de explicar a subjetividade, a saber: cogito, Eu, indivíduo, pessoa, identidade, si e sujeito. Assim, investigamos em que medida a noção particularmente sartriana de subjetividade necessariamente comporta o fenômeno da má-fé, numa consonância tal que a compreensão de ambos é reciprocamente iluminada. E se assim é, por fim, averiguamos a possibilidade (ou não) da existência autêntica, avesso da má-fé, para concluirmos com a imperiosidade do impasse que aí se instala. / Tracing the thought in which ontology, supplied by phenomenology, offers enough intelligibility for the construction of an existentialist ethics though not entering there this work aims to demonstrate how Sartrean sense of subjectivity is inseparable, to be full understood, from the phenomenon he entitles as bad-faith. This demonstration aims also to make evident how Sartre´s efforts to describe human reality as being-For-itself, whose existence precedes its essence exhaustingly analyzed in the work we based ourselves most (Being and Nothingness) functions a reconfiguration in the meaning of notions commonly used in the philosophical attempts to explain subjectivity, that is, cogito, I, individual, person, identity, self and subject. This way, we investigate to what extent Sartrean particularly notion of subjectivity necessarily holds the phenomenon of bad-faith, in such a consonance that mutually elucidates the understanding of each other. And if that is so, we finally inquired the possibility (or not) of the authentic existence, the reverse of bad-faith, to conclude with the predominance of the impasse that settles down there.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / nÃo hà / Considerando que a filosofia levanta problemas e trabalha, por vezes, ancorada no cam-po das possibilidades, torna-se necessÃrio o uso coerente de qualquer metodologia ou dialÃtica que vise a efetivaÃÃo das hipÃteses postuladas. Para SÃren Kierkegaard (1813-1855) nÃo à diferente. Desse modo, este trabalho tem como princÃpio fundamental mostrar que seu empreendimento fora capaz de estabelecer um diÃlogo franco com a tradiÃÃo filosÃfica e levantar categorias que possam pensar tanto as questÃes mais Ãntimas do indivÃduo, bem como as da realidade que o circunda. Para tanto, com base, predominantemente, no perÃodo de 1841 a 1846 (obras de Kierkegaard essencialmente estÃticas), lanÃaremos mÃo de conceitos fundamentais como Ironia, tempo (instante) e autenticidade/seriedade, entendendo estes como eixo do que aqui chamaremos de tornar-se indivÃduo. Diante deste desafio, como ponto de partida, encontramos nas obras O Conceito de Ironia (1841), Ou-Ou - Um fragmento de vida (1843), O Conceito de AngÃstia (1844) uma proximidade conceitual que permite adentrarmos na relaÃÃo do indivÃduo com tempo, cuja seriedade Ã, por conseguinte, a consequÃncia existencial, o resultado estimado e, portanto, a condiÃÃo de seu engajamento diante do mundo e de si mesmo. O uso pontual dos Discursos edificantes para ocasiÃes supostas (1845) nos permitirà entender a obra de Kierkegaard de maneira mais global, principalmente se intercaladas com Migalhas FilosÃficas (1844) e PÃs-escrito Ãs Migalhas FilosÃficas (1846), obras sem as quais este Ãltimo empreendimento nÃo seria possÃvel.

Este trabalho compara as duas gravações realizadas pelo pianista András Schiff em 1984 e 2011, respectivamente, do Cravo Bem-Temperado de J. S. Bach, e discute as entrevistas concedidas pelo pianista à imprensa especializada, nas quais ele expõe sua abordagem com relação à interpretação da música de J. S. Bach. O objetivo do trabalho é corroborar a hipótese de que o pianista adota, na sua gravação mais recente, uma abordagem mais próxima ao estilo de performance da música barroca denominado estilo retórico, conforme proposto por Haynes (2007) e Golomb (2004; 2008). Conclui-se, através da análise das gravações e das entrevistas supracitadas, que Schiff adota princípios do estilo retórico na sua execução, além de reconhecer implicitamente, nas suas entrevistas, a relevância dos princípios retóricos para a execução da música de Bach. Também são discutidos os argumentos do pianista a favor do uso do piano como instrumento apropriado para a execução da música de Bach e da rejeição do uso do pedal de sustentação deste instrumento, e a relação de Schiff com o movimento da Performance Historicamente Informada. / This paper compares the two recordings made by the pianist András Schiff in 1984 and 2011, respectively, of the First Book of The Well-Tempered Clavier by J. S. Bach, and discusses the interviews granted by the pianist to the specialized press where he exposes his approach to the interpretation of Bach's music. The paper aims to support the hypothesis that the pianist adopts in his latest recording an approach called Rhetorical Style by Haynes (2007) and Golomb (2004; 2008) which, according to the authors, is closer to the Baroque Music performance style. By analyzing the aforementioned recordings and interviews, it is concluded that Schiff adopts principles of the Rhetorical Style in his performance, and also implicitly acknowledges in his interviews the relevance of rhetorical principles for the execution of Bach's music. Also discussed are the pianist's arguments in favor of using the piano as an appropriate instrument for the execution of Bach's music and against the use of the instrument' sustain pedal, in addition to Schiff's relationship with the Historically Informed Performance movement.

Trata-se de uma pesquisa que aborda o psicanalista na relação com o seu ser. Uma vez que a psicanálise não é um mero conjunto de técnicas aprendidas e aplicadas, a dificuldade do seu ofício se torna complexa e singular e, sobretudo, ao psicanalista, coloca-se o problema da sua presença. Dessa forma, Freud logo percebeu a própria influência que os processos psíquicos do analista produziam em uma análise, de modo que, para ele, seria necessário que o analista se encontrasse em uma determinada posição subjetiva. Posição que seria, dentre outras coisas, o efeito de uma análise pessoal. Esta, para ele, deveria servir para o ser do analista desaparecer, isto é, opacidade e assepsia psíquica. E como uma espécie de posição oficial para se referir à posição do analista, ergueu-se o princípio de abstinência e seus correlatos: neutralidade e frieza. A partir daí, pode-se sustentar que a maioria das recomendações técnicas freudianas estava pautada na tentativa de corrigir ou impedir a inevitável contaminação da sua posição pelo seu ser. Todavia, não há escolha, pois a princípio, o espaço analítico engloba inevitavelmente dois seres, ainda que, a cada um, seja designado ocupar uma posição. Por sua vez, a comunidade analítica encontrou dois grandes destinos paradigmáticos para o analista na relação com o seu ser. Por um lado, operar via contratransferência e, por outro, via desejo do analista. No entanto, como metodologia, procurou-se no atravessamento de paradigmas, as condições para abordar o tema por outras perspectivas e a partir de outras noções. Entendeu-se ser necessário dar um passo para trás. Pode-se perceber que Sándor Ferenczi, precursor da contratransferência, experimentou a psicanálise tentando render uma autenticidade para a relação analítica. Por sua vez, apesar de Jacques Lacan ter enveredado por um caminho diverso para ele a contratransferência designa os efeitos da transferência que atingem o desejo do analista , igualmente à Ferenczi, pode-se sustentar que ele também buscava uma autenticidade no analista. Dessa forma, notou-se que um com o outro ou contra o outro, juntos não deixaram de questionar a autenticidade do e no analista e o seu papel determinante no tratamento. Ambos são as referências teóricas dessa pesquisa. Portanto, para aquém das multiplicidades e polissemias do arranjo psicanalítico, o objetivo principal desta tese é discutir que a própria clínica psicanalítica constituída pelo seu método, sua técnica e sua teoria que lhes são próprias pode encontrar na noção de autenticidade, uma medida possível das suas vias para se pensar a irredutível tensão entre a posição do analista e o seu ser. Dessa forma, foi possível perceber que a referida noção pode se converter em uma condição para o analista, bem como, em um importante operador clínico enquanto perspectiva favorável para os efeitos do trabalho analítico / This research focuses the analyst in the relationship with his being. Since psychoanalysis is not a simple set of learned and applied techniques, the difficulty of their craft becomes complex and unique and especially to the psychoanalyst, we pose the problem of their presence. Thus, Freud realized the very influence that the psychics process of the analyst could produce in an analysis, so that, for him, it would be necessary that the analyst found himself in a particular subject position. Position that would be, among others, the effect of a personal analysis. This, for him, should serve to the analysts being disappear, ie, opacity and psychic asepsis. And as a kind of official position to refer to the analyst\'s position, it was raised the principle of abstinence and its correlates: neutrality and coldness. From there, it can be argued that most of Freud\'s technical recommendations was guided in an attempt to correct or prevent the inevitable contamination of his position by his being. However, there is no choice, because first of all, the analytic space includes inevitably two beings, even though to witch one is designated to occupy a position. In turn, the analytical community founded two great paradigmatic destinations for the analyst in the relationship with his being. On the one hand, operate via countertransference and on the other, via the analyst\'s desire. However, as a methodology, it was searched by the crossing of paradigms, the conditions to approache the subject by other perspectives and from other notions. It was considered necessary to take a step back. One can see that Sándor Ferenczi, precursor of countertransference, experienced psychoanalysis trying to give an authenticity to the analytic relationship. On the other hand, although Jacques Lacan has gone in a different path - for him the countertransference designates the transferences effects that reach the analyst\'s desire like Ferenczi, we can argue that he also searches an authenticity in the analyst. Thus, it was noted that this one with or against the other one, together they did not stopped to question the authenticity of and in the analyst and its decisive role in the treatment. Both authors are the theoretical references of this research. So, before the multiplicities and polysemies of the psychoanalytic arrangement, the main objective of this thesis is to discuss that the psychoanalytic clinic itself - formed by his own method, technique and theory - can find in the notion of authenticity, a possible measure of their paths to think about the irreducible tension between the position of the analyst and his being. Thus, it was possible to realize that this concept may become a condition for the analysts position as well an important clinical operator while a favorable perspective for the effects of the analytic work

Por muitos anos, Günter Grass, quando questionado em entrevistas sobre a possibilidade de escrever uma autobiografa, sempre respondia que o que deveria ser dito sobre sua vida estava registrado, em certa medida, em sua obra ficcional e, portanto, uma autobiografia não era necessária. Em 2006, Grass publicou a autobiografia, Beim Häuten der Zwiebel. O lançamento foi cercado de polêmicas discussões nos meios literário e midiático, principalmente devido à revelação de que o autor havia feito parte da Waffen-SS. Ponto central das análises publicadas a respeito da obra, a confissão suscitou questionamentos de caráter ético e principalmente discussões sobre a revalidação da obra do autor que sempre foi considerado a voz da consciência alemã. Segundo parte das críticas, o fato de Grass por tanto tempo ter escondido do público seu passado e tardiamente tê-lo revelado de forma pouco precisa determina as estratégias escolhidas para a elaboração de seu texto: uma narrativa ambígua, pouco objetiva ou pouco esclarecedora sobre sua participação real na Segunda Guerra Mundial. Essa avaliação será o ponto central da discussão, pois a partir dela se dá a caracterização de que a narrativa autobiográfica de Grass, em alguns momentos, poderia ser avaliada como ficcional, o que questiona a classificação genérica do texto. Este trabalho se propõe a analisar de forma detida como é construído o texto autobiográfico e como o autor problematiza as particularidades de sua escrita, sobretudo a partir do trânsito entre o factual e o ficcional, que gera a ambiguidade do texto e coloca o leitor em dúvida quanto ao caráter da obra. Para isso, serão discutidos conceitos fundamentais como autobiografia, ficção e autenticidade. Além disso, apresentaremos como o escritor trabalha ao longo de sua obra ficcional a utilização do eu autobiográfico em obras fundamentais para a construção do que viria a ser sua autobiografia, além da utilização de sua obra ficcional como horizonte de seu texto autobiográfico. / For many years, when asked in interviews about the possibility of writing an autobiography, Günter Grass used to answer that everything in his life that was worth making a register of was somehow already in his fictional work, therefore an autobiography was not necessary. In 2006, he published his autobiographical volume Beim Häuten der Zwiebel. This release was surrounded by literary and mediatic discussion, mainly due to the revelation that the author had been a member of the Waffen-SS. Central point in the published analyses on the book, this confession raised questioning of ethical nature and, above all, debates on a new validation of the authors anthology, which before was considered as the voice of the German consciousness. According to part of the critique, the fact that the writer kept his past hidden for so long from his readers and only disclosed it publically so late determines the strategies chosen by him for the whole elaboration of his narrative: an ambiguous narration, neither objective nor clear on the authors participation in World War II. This evaluation will be the focus of the discussion, for it is therefrom that one can characterize that Grass autobiographical narration, in certain moments, could be examined as fictional, which puts in question the general categorization of the text. The present thesis objective is to analyze, specifically, in which manner Günter Grass autobiographical text is constructed and how he problematizes the particularities of his writing style, especially from the transition between factual and fictional, which generates the ambiguity of the text and allows for the reader to have doubts relative to the nature of such text. To do so, the thesis will discuss some fundamental concepts such as autobiography, fiction and authenticity. Besides, we will present how the author utilizes the autobiographical I in his fictional books as something fundamental towards the latter construction of the autobiography itself, as well as the utilization of his fictional anthology as the horizon of his autobiographical text.

O presente trabalho tem como objetivo a análise e registro das construções históricas e contribuições culturais de uma colônia de imigrantes ainda desconhecida do meio acadêmico, com base no atual contexto de recuperação do patrimônio cultural. Considerando que este contexto constitui parte de um fenômeno contemporâneo de retomada da historicidade nas cidades e na arquitetura, com ênfase no pluralismo e diversidade cultural, a problemática do patrimônio bucovino reflete conflitos e questões bastante emblemáticas de nosso tempo. A noção de autenticidade das construções históricas torna-se essencial na preservação do patrimônio, diante da proliferação de réplicas e reconstruções e a preservação espetacularizada das mesmas, em que o restauro é atrelado ao consumo de massa do turismo cultural. A colônia alemã-bucovina no Paraná, cuja arquitetura peculiar contém importantes características para melhor se compreender a história, cultura e etnia da região, encontra-se em iminente extinção e é objeto de estudo representativo desta problemática. As cidades-gêmeas de Rio Negro (PR) e Mafra (SC) constituem-se como a única colônia oficial deste povo no Brasil, e os descendentes bucovinos vêm se organizando e retomando sua cultura e história, registrando suas memórias, adotando símbolos e eventos festivos. Sua arquitetura centenária, bastante representativa desta região, ainda é pouco identificada e valorizada, contando com apenas um exemplar restaurado e protegido legalmente. Através de registros fotográficos e levantamentos técnicos in loco, entrevistas e pesquisa documental e bibliográfica, procurou-se fazer um estudo da arquitetura bucovina, fornecendo suporte para uma possível conservação futura que mantenha íntegra sua autenticidade. / The following research intends to analyze and register the historic buildings and cultural contributions of a settlement of immigrants yet relatively unknown in the academic milieu, based on the present context of recuperation of cultural heritage. Considering that this context is part of a contemporary phenomenon where the historicity of cities and architecture is regaining importance, with emphasis on pluralism and cultural diversity, the problematics of the Bukovinian heritage reflects emblematic conflicts and questions of our time. The notion of authenticity of historic buildings becomes essential in the preservation of our cultural heritage, in face of the multiplication of replicas and reconstructions, and the gradually widespread notion of spectacularized conservation, where restoration is linked to the mass consumption of cultural tourism. The german-bukovinian colony in the State of Paraná, whose peculiar architecture withholds important characteristics to better comprehend this region?s history, culture and ethnicity, is in imminent extinction and are an illustrative case study of this problem. The twin cities of Rio Negro (State of Paraná) and Mafra (State of Santa Catarina) constitute the sole settlement of these people in Brazil, where the descendents of bukovinians have been organizing themselves and revitalizing their culture and history, registering their memory, adopting symbols and festive events. Their centenary architecture, very representative of this region, is still insufficiently identified and valued, of which only one specimen has been restored and is legally protected. By means of photographic documentation and technical surveys on site, interviews and documental and bibliographic research, a study of bukovinian architecture in Brazil was achieved, supplying a solid basis for a possible future intervention on these sites, where its authenticity can be kept intact.

This thesis examines how select participants came to be involved in DiY punk culture, what they do in it, and how, if they do, they exit from the culture. Underpinning this will be an ethnographic examination of how the ethics of punk informs their views of remaining authentic and what they consider to be a sell out and betrayal of these values. I illustrate how such ethics have evolved and how they inform the daily practice of two chosen DiY punk communities in Leeds and Bradford. I show how these communities reciprocally relate to each other. I ask such questions as what do the participants get out of what is often experienced as hard work and toil, particularly where it is fraught with a series of dilemmas bound up in politics, ethics, identity and integrity. I offer a grounded theory of how and what ways those involved in DiY punk authenticate themselves in their actions. This will demonstrate how and, more importantly, why DiY punks distinguish their ethical version of punk over and above what are taken as less favourable forms of punk. What happens if previous passionately held DiY beliefs are surrendered? Severe consequences follow should a participant sell out. I present an account of these and suggest that what they involve is not the clear-cut question that is sometimes assumed, either sincerely or selfrighteously.

This research aims to explain the process that previous researchers have discussed concerning the consumer virtual experience, using three-dimensional (3D) product visualisations, within online retailers. In addition, this research aims to identify the main advantages of using 3D product visualisation in comparison to two-dimensional (2D) static pictures within online retailers. Moreover, using the online Stimulus-Organism-Responses (S-O-R) paradigm, this research aims to model the effect of 3D product visualisation on consumers’ perception and responses towards the online retailer environment. Given that the appearance of the notion of telepresence or presence and their implications on the online retailer, many scholars attempt to build and develop models that can suit these notions online. However, this thesis argues that the notion of 3D telepresence is not the proper terminology to be used within the online retail context and therefore, this research raises the following question “how do consumers perceive 3D product virtualisation (telepresence) compared with 3D product authenticity on online retailers’ websites?” The effects of 3D product visualisation and 2D static pictures have been raised during the past decade to determine which is better for the online consumers. Marketers and information system scholars started wondering about the best device that can generate hedonic and utilitarian values for the consumers. To investigate the main impact of 3D product visualisation and 2D static pictures on hedonic and utilitarian values, this research raises the following questions: How do consumers perceive 3D hedonic values compared with 2D hedonic values on online retailers’ website? How do consumers perceive 3D product visualisation utilitarian values compared with 2D utilitarian values on online retailers’ website? This thesis, based on the previous literature in interactivity and vividness, narrowed down the 3D authenticity antecedents to the control and animated colour constructs. Moreover, to determine the effect of the progressive levels of control and animated colour constructs on the 3D authenticity construct, it raises the following research question: How do different levels of 3D control and animated colours influence 3D authenticity? To determine the effects of the progressive levels of 3D hedonic and utilitarian values on behavioural intention construct, this thesis raises the following research question: How do different levels of 3D hedonic and utilitarian levels influence behavioural intentions? Based on the online S-O-R framework, previous studies investigate the impact of the whole website e-retail environment (many stimuli) on consumers’ responses. Yet, this is the first study that is using one stimulus, namely 3D laptop product visualisation to investigate its impacts on consumers’ perceptions and responses using the online S-OR paradigm. Therefore, this thesis raises the following research question: How do control, animated colours, 3D authenticity, hedonic and utilitarian values affect consumers’ behavioural intention? The results reveal significant differences between 3D telepresence and 3D authenticity constructs. 3D telepresence involves an illusion or a sense of being transported to another place, whereas 3D authenticity refers to the ability to imagine a virtual object as real. The 3D authenticity construct is more significant in simulating an online retailer’s products. The proposed online S-O-R conceptual model achieves acceptable fit and the hypothesised paths are all valid. This research adds to the marketing literature the notion of 3D authenticity and contributes a valid scale to measure that new variable. Moreover, it is the first study that connects and uses the antecedents of 3D authenticity (S), control and animated colours, to investigate their impact on 3D authenticity, hedonic and utilitarian values (O), and the impact of the Organism constructs (O) on behavioural intention (R). Furthermore, the final framework considers the first framework that has studied the impact of one stimulus using the online S-O-R framework on an electronic retailer website environment. Indeed, to the best of the researcher’s knowledge, this is the first study that uses a UK sample to investigate the effects of an authentic 3D product visualisation in an electronic e-retailing industry (i.e., laptops).

The Internet of Things (IoT) comprises a large number of heterogeneous devices. It is forecasted that up to 50 billion devices will be connected to the Internet by 2020. All of them have to be configured. Due to the heterogeneity of devices and the enormous increasing number of devices, manual configuration becomes more and more complex and inefficient. Zero configuration is put forward to solve this problem, which makes device configured automatically without additional manual involvement. Besides that, there are many security threats we want to avoid in the future. These security problems include unauthenticated nodes accessing to IoT data, denial of service, lack of confidentiality, malicious attack from hackers and so on. This paper studies the characteristics of IoT firstly and then highlights the implementation of zero configuration and security to IoT. This paper describes the underlying features of zero configuration and primary requirements of security, as well as finds some related mature technologies, based on that proposes a concise solution – combining the Bonjour and many security approaches for implementation of a secure zero IoT system. In addition, this solution is implemented in a small environment scenario of IoT, a smart home. All the programs are in Java language. Evaluation and conclusion are done in final phase.