The graduation thesis tells the story of three unmarried women from the half of the 19th to the half of the 20th century. The society and the everyday life of described era are introduced against the background of their lives. The introduction to the theme, focus and critical evaluation of used literature is followed by the chapter on the beginnings of women emancipation in Bohemia. Next chapter is focused on the girls{\crq} education in 19th century; it resumes its development from the reforms of Maria Teresa to the entrée of the Czech women to the university. Forth chapter studies the life of the main characters{\crq} (the Gabriel sisters{\crq}) father, Josef Ambrož Gabriel, who was an important Czech patriot. Fifth and sixth chapters give the view of the important landmarks in the Gabriel sisters{\crq} lives {--} from their birth, choice of occupation, professional demand to death. Chapter no. 7 mentions the socially important relatives and friendships which the sisters had, it also considers their opinion on men and their relationships to them, it also deals with their interest in arts, especially theatre which was an integral part of the social life. The following two chapters also show the reality of the sisters{\crq} everyday lives especially considering their opinions and ideas of health and fashion. The conclusion, which summarizes the mission of three unmarried ladies during the time of three authoritarianisms, is followed by the list of used recourses and the presentation of enclosures.

Orientador: Gilmar Barreto / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação / Made available in DSpace on 2018-08-16T19:13:35Z (GMT). No. of bitstreams: 1 Battaglin_PauloDavid_M.pdf: 2149596 bytes, checksum: 7ad384e8c5ffd973c7a414f11c872b8f (MD5) Previous issue date: 2010 / Resumo: Este trabalho mostra a evolução do conhecimento sobre a Eletricidade e suas aplicações, que com o passar dos séculos foram denominadas de Engenharia Elétrica. As contribuições desta pesquisa evidenciam os fatos principais que revelam os benefícios desta evolução para a sociedade humana, que tem aprendido a utilizar os fenômenos da Eletricidade na natureza. A Eletricidade está em estado latente na natureza e o seu potencial tem sido descoberto e desenvolvido pelos seres humanos através dos milênios. A sua utilização nos primórdios pelas civilizações antigas, o desenvolvimento do conhecimento sobre ela e suas aplicações elementares, bem como a descoberta da inter-relação integrada das várias formas de Eletricidade como a Eletrostática, a Corrente elétrica e o Eletromagnetismo constituem fundamentos da Engenharia Elétrica atual. A medição de grandezas elétricas é um processo fundamental na obtenção de conhecimento. Todavia, estamos apenas iniciando a compreensão deste processo que envolve a interface de medida, conforme explicita o resumo da história dos medidores elétricos a ser apresentada. A divulgação deste processo de acúmulo de conhecimento tem o objetivo de transmitir aspectos fundamentais sobre a Engenharia Elétrica na Universidade e na sociedade em geral / Abstract: This project presents the knowledge evolution concerning the Electricity and its applications, as well as it shows evidences they were called Electrical Engineering as time is up through the centuries. The collaboration of this research is the disclosure of some key realities that point out the evolution's benefits to human society, who has learnt through the applications of Electricity phenomena of nature Electricity has been latent in nature and human beings have discovered and developed its potential through millenniums. Electricity utilization by ancient civilizations in the beginnings, its knowledge development and its basic applications, the make into a whole interconnection among Electricity's shapes such as Electrostatics, Electrical current and Electromagnetism establish the existing Electrical Engineering's fundamentals. The measurement of electrical quantities is a key process for getting knowledge of them. However, we have just begun this process comprehension within a measurement interface, as it is presented ahead in electrical instruments history summary. The well endowed disclosure of this accumulated knowledge has a target to transmit key views on Electrical Engineering in University and to reach the local society / Mestrado / Automação / Mestre em Engenharia Elétrica

Esta tese de doutorado foi construída a partir da visão estratégica da atuação de relações públicas como agente planejador e disseminador da comunicação organizacional. Esse pensamento foi construído por argumentos calcados em entrevistas, revisão bibliográfica e o acompanhamento institucional de organizações que divulgam a seus públicos os princípios organizacionais, alicerçados em pontos fundamentais: na elaboração dos textos de missão, visão e filosofia segundo os autores da administração e como esse textos são divulgados; no desenvolvimento dos preceitos de eqüidade, transparência, responsabilidade corporativa e prestação de contas a sociedade que regulam a governança corporativa; na comunicação institucional como prática de expressão da organização; da revisão bibliográfica, estudos, conceitos e teorias das relações públicas; e na própria vivência do autor como gestor da comunicação organizacional. / This doctorate theory was built based on the strategic vision of the performance of the public relation as a planner and disseminator agent of the organizational communication. This thought was executed stepped on interviews, bibliographical revision and the institutional attendance of organizations that publishes to their publics the organizational principles, reinforced by five fundamental points: the elaboration of the mission, vision and philosophy texts according to the administrations authors; in the development of the precepts of equity, transparency, corporate responsibility and rendering of accounts to the society that regulate the corporate governance; in the institutional communication as an expression practice of the organization starting from the Reference Revue and in the studies, concepts, theory of the public relation.

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In 1958 the German philosopher Hannah Arendt released The Human condition, a book in which she famously discusses the terms of life on earth. Amongst her many important contributions to the field of political thinking that this book contains, her understanding of the two concepts natality and plurality perhaps make up the most groundbreaking and influential ones. Natality, for Arendt, is what constitutes man’s capacity to begin. The new beginning which every newborn born into the human world inherently entails is closely related to the human condition of plurality. This essay aims at understanding how Arendts analysis of the human conditions of natality and plurality together shapes the collective life of humans. With comments from feminist philosopher Adriana Cavarero who proposes a critique of Arendt’s understanding of natality as being far too abstract, and political thinker Chantal Mouffe, who critiques Arendt for having an unrealistic understanding of the common world as devoid of antagonistic conflict. The essay also discusses the critique against modernity which Arendt forms against the background of her understanding of the modern era as a time where the human conditions are being neglected.

L’objectif de cette thèse est d’analyser les modes d’émergence de la voix chez cinq écrivains québécois ayant initié, durant les années 1940-1970, leur parcours littéraire à travers la pratique de la poésie. Cette thèse puise à même les ressources de la poétique telle qu’alimentée par les penseurs contemporains (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) et utilise certains outils d’analyse que fournissent la psychanalyse, la sociocritique, la linguistique et la philosophie. Aussi, certains documents personnels exhumés de divers fonds d’archives des cinq auteurs (lettres, journal, notes, brouillons) concourent à éclairer les modes d’émergence à l’oeuvre dans les premiers poèmes, afin de démontrer comment les écrits à venir se trouvent entièrement préfigurés dans ces textes initiaux. Il s’agit, en somme, de montrer comment ces poètes furent aux prises avec certaines problématiques communes, notamment le grand défi de fonder une parole authentique au sein d’une communauté poétique si longtemps réservée aux élites. Ayant tous amorcé un processus d’écriture à la moitié du XXe siècle, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Giguère et Anne Hébert n’en demeurent pas moins déterminés par la culture qui les a formés; leurs oeuvres respectives sont, par conséquent, fondamentalement ancrées dans une quête d’élucidation de soi et de l’autre qui ne saurait s’élaborer qu’en suivant les chemins les plus intimes, et dont je tenterai, à travers une lecture personnelle de leurs premiers textes, de rendre toute la portée. / The purpose of this thesis is to analyse the rising modes of the voice in five Quebec writer’s work; these authors have started to write between 1940 and 1970, and their artistic path led them all to express themselves, in the first place, through poetry. This thesis digs into the resources of recent poetic studies (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) and uses certain tools given by parallel academic disciplines such as psychoanalysis, sociocriticism, linguistic and philosophy. Also, certain personal documents extracted from private and public archive founds (letters, notes, drafts, journal) contribute to throw light on the emergence’s modes in action in the first poems of the chosen writers, in addition to demonstrate how the writings to come may see themselves foreshadowed in the initial work. Therefore, this thesis will try to demonstrate how these five poets battling with similar poetic issues (in particular with the great challenge that consists of creating an authentic language in a society where only elites could have access to culture and education) will initiate their creative process in Quebec province in the middle of the XXth century. Despite all their efforts to move forward, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Gguère and Anne Hébert will remain partially shaped by the popular culture that has raised them, giving birth to poems that are deeply influenced by their inner quest and could only arise through a deeply intimate journey, of which I will try to show the impressive range, using my knowledge of their first texts.

L’objectif de cette thèse est d’analyser les modes d’émergence de la voix chez cinq écrivains québécois ayant initié, durant les années 1940-1970, leur parcours littéraire à travers la pratique de la poésie. Cette thèse puise à même les ressources de la poétique telle qu’alimentée par les penseurs contemporains (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) et utilise certains outils d’analyse que fournissent la psychanalyse, la sociocritique, la linguistique et la philosophie. Aussi, certains documents personnels exhumés de divers fonds d’archives des cinq auteurs (lettres, journal, notes, brouillons) concourent à éclairer les modes d’émergence à l’oeuvre dans les premiers poèmes, afin de démontrer comment les écrits à venir se trouvent entièrement préfigurés dans ces textes initiaux. Il s’agit, en somme, de montrer comment ces poètes furent aux prises avec certaines problématiques communes, notamment le grand défi de fonder une parole authentique au sein d’une communauté poétique si longtemps réservée aux élites. Ayant tous amorcé un processus d’écriture à la moitié du XXe siècle, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Giguère et Anne Hébert n’en demeurent pas moins déterminés par la culture qui les a formés; leurs oeuvres respectives sont, par conséquent, fondamentalement ancrées dans une quête d’élucidation de soi et de l’autre qui ne saurait s’élaborer qu’en suivant les chemins les plus intimes, et dont je tenterai, à travers une lecture personnelle de leurs premiers textes, de rendre toute la portée. / The purpose of this thesis is to analyse the rising modes of the voice in five Quebec writer’s work; these authors have started to write between 1940 and 1970, and their artistic path led them all to express themselves, in the first place, through poetry. This thesis digs into the resources of recent poetic studies (Agamben, Blanchot, Didi-Huberman, Lyotard, Rey, Anzieu) and uses certain tools given by parallel academic disciplines such as psychoanalysis, sociocriticism, linguistic and philosophy. Also, certain personal documents extracted from private and public archive founds (letters, notes, drafts, journal) contribute to throw light on the emergence’s modes in action in the first poems of the chosen writers, in addition to demonstrate how the writings to come may see themselves foreshadowed in the initial work. Therefore, this thesis will try to demonstrate how these five poets battling with similar poetic issues (in particular with the great challenge that consists of creating an authentic language in a society where only elites could have access to culture and education) will initiate their creative process in Quebec province in the middle of the XXth century. Despite all their efforts to move forward, Gaston Miron, Alexis Lefrançois, Claude Gauvreau, Roland Gguère and Anne Hébert will remain partially shaped by the popular culture that has raised them, giving birth to poems that are deeply influenced by their inner quest and could only arise through a deeply intimate journey, of which I will try to show the impressive range, using my knowledge of their first texts.

This diploma thesis is focused on period of Prague Spring 1968 and it also marginally follows its development in the following years 1969 and 1970. The thesis deals with the district of České Budějovice and studies all the key events of the year 1968 in this district and especially in its capital town. Regional events are researched and compared in the context of the whole Czechoslovakian Republic. Besides the description of the important events, the thesis is also focused on the everyday life of the town?s inhabitants in the time of the Soviet occupation. During the author?s research the records from the State Regional Archives Třeboň (the fund of South Bohemian Regional Committee of Communist Party of Czechoslovakia ? JKV KSČ) and the State District Archives České Budějovice (the fund of Town?s National Committee České Budějovice ? MěNV České Budějovice - and the chronicles) were used. The author of this thesis also worked with the period and contemporary newspapers as well as six eyewitnesses of the described events. The knowledge learned from the archive records is completed with the pieces of information from the literature. Attention in this diploma thesis is paid especially to the politics of JKV KSČ and MěNV České Budějovice in the time of the Prague Spring reforms, organizations such as KAN and K 231, daily newspaper Jihočeská pravda after the abolition of censorship, occupation of České Budějovice and other towns in the district by the Soviet forces, victims of the occupation and the events that occurred in the autumn of 1968, especially the incidents that happened during the Great October Socialist Revolution celebration.

The subject of this thesis is to analyze the perception of a naked female body in French society of the 2nd half of the 19th century. The work focuses on discovering, highlighting and interpreting the theme of female nudity in artistic works of this period, which provoked strong reactions and influenced contemporary culture. The first part is consecrated to the position of women in the 2nd half of the 19th century society on historical, social and cultural backgrounds and its changes in the ambience of the first wave of the women's movement. The attention is brought to some significant representatives of early feminism and to the goals and innovations these personalities were aiming to achieve. The second part of the thesis describes and analyzes selected works of art on the theme of female nudity. First, it deals with the works of academic painters who were the bearers of traditional artistic ideals and academic rules for displaying naked female body. Their artistic production is nowadays somewhat underestimated. In art history, however, it plays an important role. Therefore, the value of their work for the study of the perception of a naked female body is not omitted. The interest then turns to the Impressionism, the outstanding 2nd half of the 19th century art movement. In the center of...

[ES] Esta tesis estudia el cortometraje pionero del cine hablado español El Orador (1928) de Ramón Gómez de la Serna, dentro de la industria primigenia del cine sonoro a través del productor Feliciano Manuel Vitores y la Hispano de Forest Fonofilms. La incógnita que se abre sobre esta obra de arte "desconocida" ha llevado a buscar los pormenores de la cinta y su resonancia viva con el presente. La tesis ha comprendido un análisis del discurso fílmico revisando las condiciones y casuísticas que rodearon el texto, el contexto y su performance posterior, analizando la obra El Orador a través de la literatura del autor, en su vinculación política-social, tecnológica y cinematográfica con la España de los años 20 del s. XX. Este trabajo sitúa la genealogía de la conferencia dramatizada en el año 1928, demostrando cómo El Orador es la primera performance cinematográfica documentada en nuestro país. La tesis marca un punto de partida desde El Orador hasta la actualidad trazando una línea de puntos discontinua que abarca casi cien años, configurando un mosaico tipológico de "especies de oralidad" que, en palabras de Miguel Molina Alarcón, continúa la estela heredada de la conferencia como género artístico. El estudio verifica la herencia, supervivencia y rastros singulares de la metaoratoria ramoniana en los artistas escénicos de posvanguardia. El trabajo se estructura en cinco capítulos. El primero describe aspectos generales del autor relacionados con su corto y biografía. El segundo aborda el texto de El Orador, con ensayos afines a la estética de su discurso, su trayectoria de conferenciante, la novela Cinelandia y los guiones que ideó para cine. El tercero aborda la confección del film y su historia dentro de la industria del cine paleosonoro, en su conexión con los demás cortos de la empresa Cinefón rodados por F. M Vitores. El cuarto capítulo narra la presentación del film como performance y su resonancia con las artes escénicas actuales, proponiendo un collage de artistas oradores. En el último presento el proyecto de cine ensayo R. cinco aproximaciones al cortometraje. Los anexos contienen varias compilaciones; imágenes del Archivo Vitores, recopilación de textos inéditos sobre cine escritos por el artista, y sus bocetos manuscritos sobre cine. El tipo de investigación ha sido mixta: constatativa, comparativa y de enlace, esto es, se ha confirmado la hipótesis de partida a través de nuevos datos obtenidos y se ha configurado a partir del material principal una propuesta creativa personal, aplicando la corriente práctica de arte-investigación. Los resultados logrados han sido, por un lado situar El Orador en su marco temporal superando su visión anecdótica y revalorizándola. La presunción del papel histórico de El Orador ha confirmado ser positiva, demostrando ser un hito de su tiempo y del nuestro. El trabajo ha permitido interpretar la nueva oralidad en el arte contemporáneo desde las características humorísticas que prefiguró el escritor, abordando la actual escena performativa. Finalmente la realización de la película experimental R. ha supuesto un diálogo entre tiempos cinematográficos distintos y una propuesta de creación híbrida inspirada por la misma libertad de Ramón. La claves críticas y estéticas que se encuentran en la película permiten observarla hoy como un modelo ejemplar de posicionamiento político, intelectual y creativo. / [CA] Aquesta tesi estudia el curtmetratge pioner del cinema parlat espanyol El Orador [L'Orador] (1928) de Ramón Gómez de la Serna, dins de la indústria primigènia del cinema sonor a través del productor Feliciano Manuel Vitores i la Hispano de Forest Fonofilms. La incògnita que s'obre sobre aquesta obra d'art "desconeguda" ha portat a buscar els detalls de la cinta i la seua ressonància viva amb el present. La tesi ha comprés una anàlisi del discurs fílmic revisant les condicions i casuístiques que van envoltar el text, el context i el seu performance posterior, analitzant l'obra El Orador [L'Orador] mitjançant la literatura de l'autor, en la seua vinculació políticasocial, tecnològica i cinematogràfica amb l'Espanya dels anys vint del s. XX. Aquest treball situa la genealogia de la conferència dramatitzada l'any 1928, demostrant com El Orador [L'Orador] és la primera performance cinematogràfica documentada al nostre país. La tesi marca un punt de partida des de El Orador [L'Orador] fins a l'actualitat traçant una línia de punts discontínua que abasta quasi cent anys, configurant un mosaic tipològic de "espècies d'oralitat" que, en paraules de Miguel Molina Alarcón, continua el deixant heretat de la conferència com a gènere artístic. L'estudi verifica l'herència, supervivència i rastres singulars de la metaoratoria ramoniana en els artistes escènics de postavantguarda. El treball s'estructura en cinc capítols. El primer descriu aspectes generals de l'autor relacionats amb el seu curt i biografia. El segon aborda el text de El Orador [L'Orador], amb assajos afins a l'estètica del seu discurs, la seua trajectòria de conferenciant, la novel·la Cinelandia i els guions que va idear per a cinema. El tercer aborda la confecció del film i la seua història dins de la indústria del cinema paleosonor, en la seua connexió amb els altres curts de l'empresa Cinefón rodats per F. M Vitores. El quart capítol narra la presentació del film com performance i la seua ressonància amb les arts escèniques actuals, proposant un collage d'artistes oradors. En l'últim presentem el projecte de cinema assaig R. cinc aproximacions al curtmetratge. Els annexos contenen diverses compilacions; imatges de l'Arxiu Vitores, recopilació de textos inèdits sobre cinema escrits per l'artista, i els seus esbossos manuscrits sobre cinema. El tipus d'investigació ha sigut mixta: constatativa, comparativa i d'enllaç, això és, s'ha confirmat la hipòtesi de partida mitjançant les noves dades obtingudes i s'ha configurat a partir del material principal una proposta creativa personal, aplicant la corrent pràctica d'art-investigació. Els resultats reeixits han sigut, d'una banda situar El Orador [L'Orador] en el seu marc temporal superant la seua visió anecdòtica i revaloritzant-la. La presumpció del paper històric de El Orador [L'Orador] ha confirmat ser positiva, demostrant ser una fita del seu temps i del nostre. El treball ha permés interpretar la nova oralitat en l'art contemporani des de les característiques humorístiques que va prefigurar l'escriptor, abordant l'actual escena performativa. Finalment, la realització de la película experimental R. ha suposat un diàleg entre temps cinematogràfics diferents i una proposta de creació híbrida inspirada per la mateixa llibertat de Ramón. Les claus crítiques i estètiques que es troben en la película permeten observar-la hui com un model exemplar de posicionament polític, intelectual i artístic. / [EN] This thesis explores the pioneering short film of Spanish spoken cinema, El Orador (1928), by Ramón Gómez de la Serna, in the context of the nascent international sound cinema industry through producer Feliciano Manuel Vitores and Hispano Forest Fonofilms. The enigmas surrounding this "unknown" work of art led to a study of every detail about the film, and its resonance with the present. The thesis involved an analysis of the filmic discourse, reviewing the environmental factors surrounding the text, its context and subsequent performance; studying the piece through the author’s literary works and through its socio-political, technological and filmographical ties to Spain in the 1920s. This paper sets the genealogy of the performative conference in Spain in 1928, showing El Orador as the first ever film performance documented in our country. The thesis begins its journey with El Orador through the present day, drawing an intermittent timeline that spans almost a hundred years, crafting a typological mosaic of “oral species” that, in the words of Miguel Molina, continues the legacy of the conference as an artistic genre. This study verifies the heritage and endurance of the ramonian meta-oratory among avant-garde performing artists from the 1950s onward. The thesis is structured in five chapters. The first describes geneal aspects of the author related to his short film and biography. The second focuses on the film’s script, compiling ramonian essays with a similar aesthetic, as well as Ramon’s own trajectory as a lecturer, including a study of the novel Cinelandia and other scenarios he planned. The third chapter covers the creation of the film and its history within the paleosonic film industry and its connection with other short films by F. M Vitores for Cinefón. The four chapter narrates the film’s presentation as performance and its resonance in the current performing arts and a collage of contemporary oral artists. The last chapter details project R. five studies of short film feature by the author. The annexes contain several compilations, on the one hand a selection from the Archive Vitores, and on the other Ramon’s writing about film, images of Ramón's manuscripts, brought together for the first time. The type of research has been mixed: factual, comparative and pursuing links, meaning the initial hypotheses has been confirmed through new data uncovered, and a personal creative proposal has been configured from the main material and applying the practical current movement of art-research. The results achieved include, first and foremost, setting El Orador in its proper place in time, going beyond its anecdotal role and reclaiming its true importance. The assumption of El Orador’s historic contribution has proven to be correct, revealing it as a milestone piece of its time and ours. The study allowed an interpretation of the new oral trend in contemporary art from the use of humor so characteristic of the writer. Finally, the experimental film R. allowed a dialogue between different film eras and a proposal of a type of hybrid creation inspired by Ramon’s own freedom. The key critical and aesthetic points found in the film allow us to view it as an exemplary model in its political, intellectual and creative positioning. / Grueso Hierro, A. (2021). El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171483