Made available in DSpace on 2016-04-25T20:21:23Z (GMT). No. of bitstreams: 1 Carolina Moura Barroso Ramos.pdf: 720064 bytes, checksum: 2b0e7908527915f792eebd1050ee5c8a (MD5) Previous issue date: 2015-04-07 / This study aims at identifying and interpreting the variety of literary types found in Lima Barreto s prose. We understand the typification process in the building of a character is related to two diffferent and articulated sources, in one side there is the living world, from which it can be taken; in the other side, there are the literary traditions, in which the types go round and tranform themselves, getting new contents. Nonetheless, the perspective of this study is to analyze the typesin the literary universe of a unique author that, as far as we know, built a critical vision of the brazilian society in the chaotic age of republican transition, in the beginning of the 20th century. We start from the idea that in the literary picturing of a realistic character the typification of characters and the narrative situations repeats itself and doesn t depend on a flat or round nature. Therefore, the literary typeis not seen as a superficial simplification, but as a try to elaborate a previous notion, an almost concept, which has the role to elucidate the historical and social situations represented in the narratives. We understand that the critical content of Lima Barreto s literature can be considered consistent and a work of quality due to the typification. And this is one of the reasons for his critical fortune that got him a place as a Brazilian 20th century literature canone. From the methodological point of view, this study is far from the perspective of bringing up the typical characters in a substantial way and chooses to analyze them in their articulations during the narrative process; so the type doesn t exist alone, but as the result of intercrossed relationships in which they are in: the bovarist and quixotic characters that are in Lima Barreto s literature, show up in a contradictory game against the conformist characters, the smart, the naive, the positivist, the skeptic that surround them. In this way, we try to situate ourselves in the inner narratives perspective, eventhough, in order to to do so we have searched for the reality of the living world in Rio de Janeiro and the belle époque biographical, historical and sociology s elements to understand the analyzed narratives picturing. In Lima Barreto s literature s corpus we analyse four short stories ( Na janela , Miss Edith e seu tio , O filho da Gabriela , O homem que sabia javanês ) and the novel O triste fim de Policarpo Quaresma ; but, in order to do so, we have gone through his chronicles as in his other works of fiction, elements that allow na intercrossed analysis of Lima Barreto s typicological universe / Este trabalho tem por objetivo identificar e interpretar os diversos tipos encontrados na prosa limabarretiana. Entendemos que o processo de tipificação na construção de personagens remete a duas fontes distintas e articuladas, de um lado o mundo da vida, do qual pode ser extraído, de outro, as tradições literárias nas quais eles circulam e se transformam, ganhando novos conteúdos. No entanto, a perspectiva desse trabalho é a de analisar os tipos no universo literário de um único autor que, no nosso entender, constituiu uma visão crítica da sociedade brasileira na época conturbada da transição republicana, no princípio do século XX. Partimos do pressuposto que na figuração literária de caráter realista a tipificação de personagens e de situações narrativas é recorrente e independe da natureza plana ou esférica das personagens. Portanto, o tipo não é visto como uma simplificação grosseira, mas como a tentativa de elaborar uma pré-noção, um quase conceito, que tem o papel de elucidar situações históricas e sociais figuradas nas narrativas. Entendemos que o conteúdo crítico da literatura de Lima Barreto ganhou consistência e qualidade por meio da tipificação. E essa é uma das razões da fortuna crítica do autor, que garantiu a ele um lugar no cânone da literatura brasileira do século XX. Do ponto de vista metodológico, esse trabalho, afasta-se da perspectiva de abordar as personagens típicas de forma substancializada e opta por analisá-las em suas articulações no processo narrativo. Isto é, o tipo não tem existência em si mesmo, mas como uma resultante na teia de relações em que se insere: as personagens bovaristas ou quixotescas, presentes na literatura de Lima Barreto, constituem-se no jogo contraditório que travam com os conformistas, os smarts, os ingênuos, os positivistas, os céticos que estão em seu entorno. Nesse sentido, buscamos nos situar na perspectiva da análise interna das narrativas, mesmo que para isso tenhamos buscado na realidade do mundo da vida no Rio de Janeiro da belle époque elementos biográficos, históricos e sociológicos para entender as figurações narrativas analisadas. No corpus da literatura de Lima Barreto examinamos detidamente quatro contos ( Na janela , Miss Edith e seu tio , O filho da Gabriela , O homem que sabia javanês ) e o romance Triste fim de Policarpo Quaresma. Mas, para o exame dessas narrativas buscamos tanto nas crônicas como em outras obras ficcionais elementos que permitiram uma análise cruzada do universo tipológico de Lima Barreto

A Vida Paulista semanário ilustrado de humorismo, crítica e arte foi publicada na cidade de São Paulo entre 1903 e 1905. Naquela época, a indústria gráfica estava em expansão e o jornalismo se convertia em empreendimento lucrativo, acompanhando o desenvolvimento urbano e comercial das principais cidades do país. Na capital paulista, desde a última década do século XIX, a imprensa periódica proliferava e assumia funções diversas. A Vida Paulista delimitou o seu escopo pelo trinômio humorismo, crítica e arte, mas abordou assuntos vários e defendeu um programa fundado no bom-senso dos comentários e na independência da opinião. Os diretores do semanário pretendiam fazer dele um caleidoscópio do viver multiforme e cosmopolita da capital artística do Brasil. No alvorecer do século XX, o estado de São Paulo e sua capital passavam por grandes transformações e foram palcos de tramas diversas, das quais a Vida Paulista foi testemunha e agente. No presente trabalho, pretendemos apresentar o semanário ilustrado fundado por Arlindo Leal e Peregrino de Castro, disponibilizá-lo em versão digital para futuras pesquisas e oferecer caminhos sem qualquer ambição de esgotar as infinitas possibilidades de leitura da Vida Paulista como fonte de conhecimento sobre o passado. Nosso objetivo é nutrir a revista de alguns pressupostos necessários à sua utilização como documento histórico, restituindo-lhe parte da inteligibilidade que o tempo e o esquecimento removeram. / Vida Paulista illustrated weekly magazine of humor, criticism and art was published in São Paulo (city) between 1903 and 1905. By that time, graphic industry was expanding and journalism was converting into a profitable enterprise, following the urban and commercial development of the main cities of Brazil. At São Paulos capital, since the last decade of nineteenth century, the periodical press proliferated and assumed various functions. Vida Paulista delimited its own scope by the trinomial humor, criticism and art, even though it addressed several issues and defended a program based on a good judgment of their reviews and independence of opinion. The heads of the magazine intended to make it a kaleidoscope of the multiform and cosmopolitan way of living of Brazils artistic capital. At the beginning of the twentieth century, the state of São Paulo and its capital went through major transformations and worked as stage for several plots, of which Vida Paulista was witness and agent. In this work, we seek to present the illustrated weekly magazine founded by Arlindo Leal and Peregrino de Castro, make it available in digital form for future researches and offer ways with no ambition to deplete the unlimited possibilities to read Vida Paulista as a source of knowledge about the past. Our goal is to foster the magazine with some assumptions that are needed for its utilization as historical document, restoring part of the intelligibility that time and oblivion has removed from it.

Made available in DSpace on 2016-04-26T14:55:18Z (GMT). No. of bitstreams: 1 Carolina Moura Barroso Ramos.pdf: 720064 bytes, checksum: 2b0e7908527915f792eebd1050ee5c8a (MD5) Previous issue date: 2015-04-07 / This study aims at identifying and interpreting the variety of literary types found in Lima Barreto s prose. We understand the typification process in the building of a character is related to two diffferent and articulated sources, in one side there is the living world, from which it can be taken; in the other side, there are the literary traditions, in which the types go round and tranform themselves, getting new contents. Nonetheless, the perspective of this study is to analyze the typesin the literary universe of a unique author that, as far as we know, built a critical vision of the brazilian society in the chaotic age of republican transition, in the beginning of the 20th century. We start from the idea that in the literary picturing of a realistic character the typification of characters and the narrative situations repeats itself and doesn t depend on a flat or round nature. Therefore, the literary typeis not seen as a superficial simplification, but as a try to elaborate a previous notion, an almost concept, which has the role to elucidate the historical and social situations represented in the narratives. We understand that the critical content of Lima Barreto s literature can be considered consistent and a work of quality due to the typification. And this is one of the reasons for his critical fortune that got him a place as a Brazilian 20th century literature canone. From the methodological point of view, this study is far from the perspective of bringing up the typical characters in a substantial way and chooses to analyze them in their articulations during the narrative process; so the type doesn t exist alone, but as the result of intercrossed relationships in which they are in: the bovarist and quixotic characters that are in Lima Barreto s literature, show up in a contradictory game against the conformist characters, the smart, the naive, the positivist, the skeptic that surround them. In this way, we try to situate ourselves in the inner narratives perspective, eventhough, in order to to do so we have searched for the reality of the living world in Rio de Janeiro and the belle époque biographical, historical and sociology s elements to understand the analyzed narratives picturing. In Lima Barreto s literature s corpus we analyse four short stories ( Na janela , Miss Edith e seu tio , O filho da Gabriela , O homem que sabia javanês ) and the novel O triste fim de Policarpo Quaresma ; but, in order to do so, we have gone through his chronicles as in his other works of fiction, elements that allow na intercrossed analysis of Lima Barreto s typicological universe / Este trabalho tem por objetivo identificar e interpretar os diversos tipos encontrados na prosa limabarretiana. Entendemos que o processo de tipificação na construção de personagens remete a duas fontes distintas e articuladas, de um lado o mundo da vida, do qual pode ser extraído, de outro, as tradições literárias nas quais eles circulam e se transformam, ganhando novos conteúdos. No entanto, a perspectiva desse trabalho é a de analisar os tipos no universo literário de um único autor que, no nosso entender, constituiu uma visão crítica da sociedade brasileira na época conturbada da transição republicana, no princípio do século XX. Partimos do pressuposto que na figuração literária de caráter realista a tipificação de personagens e de situações narrativas é recorrente e independe da natureza plana ou esférica das personagens. Portanto, o tipo não é visto como uma simplificação grosseira, mas como a tentativa de elaborar uma pré-noção, um quase conceito, que tem o papel de elucidar situações históricas e sociais figuradas nas narrativas. Entendemos que o conteúdo crítico da literatura de Lima Barreto ganhou consistência e qualidade por meio da tipificação. E essa é uma das razões da fortuna crítica do autor, que garantiu a ele um lugar no cânone da literatura brasileira do século XX. Do ponto de vista metodológico, esse trabalho, afasta-se da perspectiva de abordar as personagens típicas de forma substancializada e opta por analisá-las em suas articulações no processo narrativo. Isto é, o tipo não tem existência em si mesmo, mas como uma resultante na teia de relações em que se insere: as personagens bovaristas ou quixotescas, presentes na literatura de Lima Barreto, constituem-se no jogo contraditório que travam com os conformistas, os smarts, os ingênuos, os positivistas, os céticos que estão em seu entorno. Nesse sentido, buscamos nos situar na perspectiva da análise interna das narrativas, mesmo que para isso tenhamos buscado na realidade do mundo da vida no Rio de Janeiro da belle époque elementos biográficos, históricos e sociológicos para entender as figurações narrativas analisadas. No corpus da literatura de Lima Barreto examinamos detidamente quatro contos ( Na janela , Miss Edith e seu tio , O filho da Gabriela , O homem que sabia javanês ) e o romance Triste fim de Policarpo Quaresma. Mas, para o exame dessas narrativas buscamos tanto nas crônicas como em outras obras ficcionais elementos que permitiram uma análise cruzada do universo tipológico de Lima Barreto

This thesis examines the cultural, geographical, and material influences on vernacular architecture by evaluating the works of one pioneer stone mason during the early development of western South Dakota between 1879 and 1911. The focus on the life of one man reveals the settlement and the commerical development of the city of Belle Fourche. His story illustrates how influences affected decisions that people like him made about their work. This thesis contributes to what little has been written about the architecture of the area.The thesis reviews the history and development of an area north of the Black Hills of South Dakota, the various stone working methods found in John Scotney's work, and the(including a commercial block and a residence on the National Register of Historic Places). John Scotney's work is unique in its use and treatment of indigenous sandstone, and, his designs are, for the time, simple, and well crafted. / Department of Architecture

A Paris, en 1895, deux architectes, Raymond Barbaud et Édouard Bauhain s’associaient. Après une activité commune qui dura jusque vers 1910, ils se séparèrent et poursuivirent chacun de leur côté une tout aussi riche activité jusqu’à la fin des années 1920. En suivant les parcours croisés de ces deux architectes, c’est un double portrait qui est dressé, des origines provinciales, en passant par la formation et les débuts professionnels, les engagements, les carrières communes et individuelles.L’activité de Raymond Barbaud et Édouard Bauhain a pris place dans un contexte géographique double voire triple, avec des œuvres parisiennes, charentaises et bordelaises, pour l’essentiel issues de commandes passées par une clientèle constituée de bourgeois parisiens, ou notables ruraux, d’industriels ou de professions libérales, et structurée par des réseaux économiques, politiques ou culturels. Majoritairement constituée d’édifices privés, la production architecturale de Barbaud et Bauhain comprend aussi bien des typologies traditionnelles que des innovations programmatiques. Ils y font la démonstration de leur maîtrise des modèles historiques autant que de leur connaissance de la production contemporaine.L’œuvre de Barbaud et Bauhain révèle toute la richesse de la palette entre matérialité et esthétique. N’écartant pas les aspects constructifs, entre techniques éprouvées et nouveaux systèmes, ils recherchèrent en permanence l’expression esthétique propre à satisfaire le caractère de chaque programme. La décoration intérieure est traitée selon l’éclectisme stylistique domestique propre à la période, tout en incluant les dispositifs du confort moderne. Enfin, leur collaboration avec les sculpteurs se révèle exemplaire tant dans l’ornementation que dans la statuaire. / In Paris, in 1895, two architects, Raymond Barbaud and Edouard Bauhain became partnered. After a joint activity until around 1910, they separated and each one pursued a rich activity until the late 1920s. Through the crossed paths of these two architects, a double portrait is taking shape, from their provincial origins, to their common and individual careers, passing by their training, their professional debut and their commitments. The activity of Raymond Barbaud and Edouard Bauhain took place in a double or even a triple geographic context, with works in Paris, in the Charente county and in Bordeaux, mostly for a clientele of Parisian bourgeois, rural notables, industrialists or independent workers, a clientele structured by economic, political or cultural networks. Mostly constituted of private buildings, the architectural production of Barbaud and Bauhain includes both traditional typologies and programmatic innovations. The architects demonstrate their mastery of historical models as well as their knowledge of contemporary production. The work of Barbaud and Bauhain reveals a rich architectural palette between materiality and aesthetics. Not neglecting the constructive aspects, between tried and tested techniques and new systems, they constantly sought the aesthetic expression able to satisfy the character of each program. The interior decoration is treated according to the domestic stylistic eclecticism typical of the period, while including the features of modern comfort. Finally, their collaboration with the sculptors is exemplary in the field of ornamentation and of statuary.

Cette étude esquisse les narratives concurrentes au sein de l’espace médiatique français par rapport à la perception des guerres balkaniques de 1912-1913 (guerre de civilisations contre guerre d’intérêts économiques, de libération/unification nationale, nouvelle croisade, guerre juste, contre guerre illégitime, guerre de conquête, nouvelle expédition colonialiste, discours pacifistes contre rhétoriques militaristes, approches nationalistes contre solutions fédéralistes). Elle participe également à un essai de schématisation de différents facteurs, paramètres et de leurs interactions (affinités personnelles, sensibilités idéologiques, intérêts économiques, considérations géopolitiques, couverture médiatique, représentations de Soi et de l’Autre, de l’Ici et de l’Ailleurs, du Passé, du Présent et du Futur) façonnant la perception d’un conflit par une société observatrice phénoménalement extérieure à son déroulement. Elle nous informe aussi sur les pratiques journalistiques et les goûts du public médiatique avec l’importance croissante des correspondants de guerre dans la médiatisation de la guerre et l’exigence d’une couverture sensationnelle, directe et omnisciente des événements. Elle explore également la place des Balkaniques, des Balkans et de l’histoire de cet espace dans l’imaginaire français de la Belle Époque et l’invitation des guerres balkaniques dans la vie politique, économique et socioculturelle française, à la veille de la Grande Guerre. Enfin, elle s’interroge sur le rôle des propagandes des belligérants dans la transformation de la presse en un champ de batailles médiatiques et représentationnelles, entre les acteurs directement impliqués dans le conflit et les observateurs extérieurs, s’exprimant dans l’espace médiatique français, avec comme enjeu majeur, la définition d’une entité politique et axiologique européenne. / This study outlines the competitive narratives of the 1912-1913 Balkan wars inside the French media landscape (national liberation/unification wars, new crusade, just war, versus illegitimate conquest war, new colonialist expedition, pacifist settlement versus militarist rhetoric, nationalist approaches versus federalist proposals). It is also a schematization essay of the different factors-parameters and their interactions, (personal affinities, ideological orientations, economical interests, geopolitical considerations, media coverage, representation of the Self and the Other, the Here and Elsewhere, the Past, the Present and the Future) intervening in one’s conflict perception on behalf of a phenomenally external society to its unfolding. It also informs us about journalistic practices and the media’s public tastes stretching the rising importance of war reporters and the demand for a sensational, direct and omniscient news coverage. It also explores the place of Balkan people, Balkans’ history and geography, in the imagination of French Belle Époque, as well as the way Balkan wars had been invited within French political, economical and socio-cultural life at the eve of the Great War. Finally, it questions the role of belligerents’ propagandas in the newspapers’ transformation at a media and representational battlefield between the actors directly concerned by the conflict and the external observers expressing themselves in French media, having as major stake the definition of a political and axiological European entity.

[pt] Na primeira década do século XX, o Rio de Janeiro viveu uma fase de eufórica transformação. A então capital da República ganhou avenidas e edifícios suntuosos no afã de se tornar uma cidade cartão-postal. Nesse contexto, fazia-se necessário também regenerar a metrópole de tradições que denotavam a presença incômoda de uma vasta parcela de sua população. Tal conflito se estendia sobre o carnaval, quando folguedos considerados bárbaros destoavam do padrão estético dos préstitos das grandes sociedades, cuja inspiração eram as mascaradas do carnaval europeu. Nesta dissertação, analisamos as representações dos grupos carnavalescos populares da Belle Époque carioca através de uma pesquisa em fonte primária nos principais diários da cidade no período que compreende os primeiros anos do século XX. Por meio dessas representações, é possível estabelecer como uma dimensão de ambigüidade emerge das mediações da cultura popular engendradas pela imprensa, bem como os discursos que legitimam as manifestações carnavalescas de cordões, ranchos e outros grupos. / [en] In the first decade of the 20th Century, Rio de Janeiro lived through a phase of euphoric transformation. The then capital of the Republic gained avenues and magnificent buildings in the desire to become a postcard city. In this context, it was also necessary to regenerate the metropolis from the traditions that disclosed the inconvenient presence of a vast part of its population. Such conflict was extended to the carnival, as the gaieties considered barbaric conflicted with the esthetic patterns of the multitudes of the grandes sociedades, groups inspired by the masquerades of the European Carnival. In this dissertation, the representations of the popular groups of the carnival of the Carioca Belle Époque will be analyzed through the research on the primary source of the city´s main daily newspapers within the first years of the 20th Century. Via these representations, it is possible to establish how a dimension of ambiguity emerges from the mediation of the popular culture produced by the press, as well as the discourses that legitimates the manifestation of the cordões, ranchos and other groups in the Carnival.

Les romans durassiens confrontent tout lecteur à deux évidences intuitives et contradictoires : il y a à la fois un style et des styles de Marguerite Duras. Peut-on dès lors déceler sous une apparente hétérogénéité une unité qui permettrait de reconnaître un « style d’auteur » ? La difficulté vient assurément du fait que le style de Marguerite Duras ne cesse d’évoluer, invitant par là à lire son itinéraire de création comme dirigé vers les textes de fin. Position tenable mais naïve, dans la mesure où toute sa génération a effectué ce trajet d’une langue travaillée, largement héritée du roman de la seconde moitié du XIXe siècle, à une langue prétendument non travaillée, parfois décalée par rapport à une norme stylistique. Notre démarche consiste à interroger l’illusion téléologique en mettant d’abord à plat les configurations langagières récurrentes dans la langue romanesque. On montre que la contradiction de la diversité sous l’unité du style durassien est largement levée par la reconnaissance de patrons stylistiques : la « belle langue » et le modèle vocal. Ces catégories épilinguistiques et épistylistiques, toujours actives dans l’imaginaire de l’écrivain, ainsi que leur corollaire, le gauchissement, sont à la fois opposables, concurrentes, complémentaires, et aimantent l’ensemble de la production romanesque. Est alors interrogée la notion même d’idiolecte afin de mesurer si les récurrences observées relèvent d’une pratique générique. Plus largement, il convient de mener plusieurs confrontations qui engagent le genre, l’époque, l’histoire, afin de mesurer la part prise par Marguerite Duras à la reconfiguration du champ littéraire de la seconde moitié du XXe siècle. / Durassian novels confront the reader with two intuitively obvious but contradictory features : Duras has simultaneously both a style and multiple styles. Is it possible then to detect beneath this apparent heterogeneity a unity which would allow one to recognize a single « authorial style » ? The difficulty arises from the fact that Duras’ style never ceased to evolve, thereby inviting us to read her creative itinerary as being directed towards her final texts. This may be a tenable position, but it is also naive, given that her entire generation made the same journey from acrafted language, largely inherited from the novel of the second half of the nineteenth century, to a supposedly uncrafted language. Our approach is to question this teleological illusion by initially reconsidering from first principles the linguistic configurations that recur in the language of the novel. We show that the contradiction of diversity beneath the unity of the Durassian style is largely removed by the recognition of certain stylistic patterns :the « belle langue» and the vocal model. These epistylistic categories, and their corollary, distortion, are simultaneously opposable, competing, complementary, and magnetize the entire novelistic production. Questioned next is the very notion of idiolect, in order to determine whether the observed recurrences are the traces of a generic practice. More broadly, it is necessary to carry out multiple comparisons involving genre, period, history, in order toevaluate the part played by Duras in the reconfiguration of the literary field in the second half of the twentieth century.

L’étude des derniers travaux de Jules Massenet (1842-1912), conçus pendant les cinq dernières années de savie, dans le contexte artistique et philosophique de la Belle-Époque, veut mettre en évidence les traces d'uneévolution du langage musical du compositeur. Dans les trois sections de notre recherche nous proposons uneanalyse dramaturgique et musicale d’un corpus constitué des cinq oeuvres ultimes, dont on considère Bacchus(1909) comme un opéra de transition fondamentale dans le dernier revirement stylistique du compositeur,représenté par les deux diptyques : Don Quichotte/Panurge et Roma/Cléopâtre. En outre, à traversl’observation systématique des langages comique et tragique présents dans ces ouvrages, et une comparaisoncontinue avec la production antécédente du compositeur on propose une définition de cet extrême renouveaude l’écriture de Massenet. Une écriture qui s’avère complexe au moment de l’analyse à cause de sonextraordinaire éclectisme – un heureux équilibre entre érudition et modernité –, bien inséré dans un contextestylistique expressif et en même temps dépouillé. Notre étude – menée à travers l’analyse des manuscritsautographes et des partitions imprimées, ainsi que d’une vaste bibliographie comprenant monographies,dissertations, correspondances, articles, documents de mise en scène – couvrira différents aspects du styledernier du compositeur : conception historique et littéraire, analyse narratologique comparée des livrets,pertinence dramatique du style musical, conception mélodique, emploi des harmonies et des formes musicales,constantes et innovations dans l’orchestration. / The study of the works of Jules Massenet (1842-1912) created in the last five years of his life, during the artisticand philosophical context of the Belle-Époque, wants to highlight the traces of the evolution of musicallanguage of the composer. In the three sections of our research we propose a dramaturgical and musical analysisof a selection including five last works, which are considered Bacchus (1909) as a key transitional work in thelatest stylistic shift the composer, represented by the two diptychs: Don Quichotte/Panurge andRoma/Cléopâtre. Also, through the systematic observation of comic and tragic languages of these works andtheir continuous comparison among the composer’s antecedent production, we propose a definition of thisextreme evolution of Massenet writing. A writing that is complex to analyse because of its extraordinaryeclecticism – an effective balance between tradition and modernity – although inserted into an expressive andessential stylistic context. Our study – carried out through the analysis of original manuscripts and printedscores, as well as an extensive bibliography including monographs, essays, correspondence, articles, stagingdocuments – will cover different aspects of the composer's late style: historical design and literary narratologycomparative analysis of librettos, dramatic appropriateness of musical style, melodic design, use of harmoniesand musical forms, constants and innovations in orchestration.

This master thesis describes the measurement of the π0 reconstruction efficiency correc- tion using τ-pair events from the Belle II experiment. The review part of the thesis begins with an overview of the Standard Model and the Belle II experiment, its detector system and the simulation software. This is followed by the description the τ-pair events and the method used for measuring the π0 reconstruction efficiency correction. The central part focuses on the event selection and the extraction of the signal yields. The results present the measured values of the average and momentum dependent π0 reconstruction efficiency correction, an improved π0 selection optimized for τ-lepton analyses, and a dedicated study on photon timing selection requirements. 1