Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

This study analyzes Lloyd Alexander's The Prydain Chronicles through a Jungian lens. Previous scholarship on Alexander's works has briefly considered archetypal criticism, but not extensively. Bruno Bettelheim's thoughts are used intermittently throughout the thesis. This study concentrates on Taran's individuation process, the discovery of true selfhood, and his consequent development of a whole psyche.

Although Abstract Art dominated the scene following the Second World War, four artists Bruno Goller, Domenico Gnoli, Konrad Klapheck and Peter Klasen concentrated, quite independently of one another, on the representational. Indeed their contributions may be classified as part of a wave appearing during the twentieth century, “Magical Monumentalism”. Objects from everyday life were taken and then isolated, enlarged, reduced, abstracted and defamiliarized, while still remaining recognisable in their own right. They each selected certain things, which were then variegated within their range of works. Visual moments and shop window scenes in the case of Goller, the gigantically magnified details of everyday life items with Gnoli, Klapheck’s personified machines and Klasen’s closed and impersonal objects. There exists basic criteria unifying the four artists: man defines himself through his own created works. Goller, Gnoli, Klapheck and Klasen negate man for the most part, or make him anonymous as an individual. They employ everyday objects at a time where Abstract Art dominates the scene, thereby monumentalizing them on differing degrees of scale. Yet in spite of the down to earth, rational appearance and superiority, the items used are magical in the sense of the magic of things. The definition of the objects is one of precise, perfect, while simultaneously showing them as open and rational. By means of picture analysis and interpretation, these features are highlighted. Definitions and historical background are also part and parcel of this. An approach to the theme of man, monumentality and the relevance to the present day situation, always bearing in mind the magical aspects of the work, is an integral part of the thesis. Until now these artists were never brought together in such detail.

En la vasta cuentística latinoamericana, es la del mexicano Bruno Estañol una de las pocas que presenta el fenómeno de lo extraño, la caracterización femenina y el tratamiento del cuerpo humano no sólo con un enfoque particular, sino como elementos recurrentes y de gran importancia para el desarrollo y evolución de las tramas y también de los personajes que participan en ellas. Su escritura invita a reflexionar en la manera tan particular en la que los personajes femeninos se comportan, afectando contundentemente el devenir de los acontecimientos en cada uno de los cuentos. Igualmente, el tratamiento que le da el autor a los cinco sentidos del cuerpo humano y su protagonismo en La esposa de Martin Butchell me ha invitado a llevar a cabo este análisis basado en la interrelación que identifico con lo extraño. ¿Es entonces el cuerpo un medio, un instrumento para el desarrollo emocional de los personajes de cada historia, o será más bien un ente que sirve más bien para extraerlos de su realidad y llevarlos a un lugar familiar que no logran reconocer del todo? Mujer, cuerpo y extrañeza; escritura, ciencia y arte, son algunos de los mundos que se fusionan en la vida y obra del escritor de La esposa de Martin Butchell. Este trabajo se concentra entonces en estudiar siete de los cuentos de la mencionada colección: "La esposa de Martin Butchell", "Cundeamor", "Ver de lejos", "Visita a la tumba de Edgar Allan Poe", "Rosalía", "El sacrificio de Ilse" y "La fascinadora de los ojos bicolor". Busco analizar algunos de sus personajes femeninos principales y también identificar la forma en que el tema del cuerpo humano toma una relevancia especial y cómo se incluye un toque de lo siniestro o lo uncanny de maneras muy distintivas en cada uno de esos elementos temáticos.

No description available.

L’opposition entre sociétés humaines et nature, qui pose les fondements ontologiques de la modernité, a provoqué l’insertion de tous les êtres – humains et non-humains – dans une nouvelle phase de l’histoire de la planète : l’Anthropocène. Alors même que l’origine anthropique du défi climatique rend impérative une réflexion sur notre rapport asymétrique à la nature, la culture a déjà commencé à développer une pensée écologique féconde. Dans l’œuvre dystopique de l’écrivain et activiste environnemental mexicain Homero Aridjis, qui nous propulse dans un paysage urbain immonde, infect et encrassé qui rend tangible et visible la crise écologique, l’apocalypse est pensée comme l’aboutissement d’un monde inscrit dans la matrice ravageuse de l’utopie moderne. À travers l’étude des différentes déclinaisons des dichotomies cultivées dans la pensée moderne – ontologique (culture/nature), géographique (Europe/Amérique) et de genre (masculin/féminin) –, le mémoire mettra en relief le changement paradigmatique auquel nous convie l’auteur des dystopies La leyenda de los soles (1993) et ¿En quién piensas cuando haces el amor? (1995). Contrairement à ce qui se traduit dans la cosmologie moderne, au sein de ce diptyque littéraire, culture et nature sont comprises comme des entités complémentaires. Ainsi, notre recherche propose non seulement une étude approfondie des motifs de la crise environnementale dans le roman, mais également des pistes pour réfléchir, via la fiction littéraire, à la réhabilitation des liens intrinsèques qui unissent culture et nature. / La oposición entre sociedades humanas y naturaleza, que sienta las bases ontológicas de la modernidad, condujo a la inserción de todos los seres – humanos y no-humanos – en una nueva fase de la historia del planeta: el Antropoceno. Si el origen antrópico del desafío climático nos obliga a reflexionar sobre la relación asimétrica del ser humano con la naturaleza, la cultura ya ha empezado a desarrollar un fecundo pensamiento ecológico. En la obra distópica del escritor y medioambientalista mexicano Homero Aridjis, quien nos convoca en un paisaje urbano inmundo, repugnante y contaminado que vuelve tangible y visible la crisis ecológica, el apocalipsis se concibe como el acabamiento de un mundo inscrito en la matriz destructora de la utopía moderna. A través del estudio de las distintas declinaciones de las dicotomías cultivadas en el pensamiento moderno – ontológica (cultura/naturaleza), geográfica (Europa/América) y genérica (masculino/femenino) –, esta memoria pondrá de relieve el cambio paradigmático que instila el autor de las distopías La leyenda de los soles (1993) y ¿En quién piensas cuando haces el amor? (1995). Al contrario de lo que promueve la cosmología moderna, en este díptico literario, cultura y naturaleza están entendidos como entes complementarios. Así, nuestra indagación propone no solamente un análisis profundo de los motivos de la crisis medioambiental en la novelística, sino también pistas para reflexionar vía la ficción literaria sobre la rehabilitación de los lazos intrínsecos que unen cultura y naturaleza. / The opposition between human societies and nature, which constitutes the ontological bases of modernity, has led to the insertion of all beings – humans and non-humans – in a new phase of the history of our planet: the Anthropocene. As the anthropic origin of the climate challenge obligates us to reflect upon the asymmetric relation of humankind with nature, culture has already started to develop a productive ecological thinking. In Mexican writer and ecological activist Homero Aridjis’s dystopic work, which propels us into a filthy, repulsive and polluted urban landscape that makes the ecological crisis tangible and visible, the apocalypse is thought of as the result of a world trapped in the destructive matrix of the modern utopia. Through analyzing different expressions of the dichotomies cultivated in modern thinking – ontological (culture/nature), geographic (Europe/América) and gender-related (masculine/feminine) –, this research underscores the paradigmatic changes that Aridjis promotes in his dystopic works La leyenda de los soles (1993) and ¿En quién piensas cuando haces el amor? (1995). Counter to the modern cosmology, in this literary diptych, culture and nature are understood as complementary entities. Therefore, our thesis offers not only a complete analysis of the ecological crisis motives in the novel, but also guidelines to reflect on the intrinsic bonds that link culture and nature through literary fiction.

Figure majeure de l’histoire des relations coloniales franco-algériennes, l’émir Abdelkader est généralement présenté par ses compatriotes comme le modèle politique, militaire et religieux du résistant au colonialisme français du 19ième siècle. L’historiographie officielle algérienne en véhicule l’image du chef religieux qui a initié al-jihad de résistance conforme aux règles exotériques de la chari’ia. Il est décrit comme un guerrier loyal et magnanime, fin stratège, dont la défaite militaire a paradoxalement marqué la fondation de l’Algérie moderne en tant que Nation et État. La construction sociopolitique postcoloniale de ce mythe a permis de légitimer les différents régimes politiques, qui se sont succédé dans l’Algérie indépendante et qui ont toujours tenu, dans le cadre d’une lecture littérale de l’Islam. Ceci dans le but de taire la dimension spirituelle d’Abdelkader disciple, héritier et commentateur de l’œuvre du magister Magnus soufi, IbnʻArabî. Fascinés dès le début de l’occupation par cet adversaire hors du commun, les français, de plus en plus sécularisés, en ont érigé une image utilitaire, l’aliénant ainsi de ses compatriotes coreligionnaires et le découplant de sa foi islamique. Les mémoires concurrentes de l’ancienne puissance coloniale et de son ex-colonie, l’Algérie, ont généré plusieurs débats contemporains en ce qui a trait à l’écriture de l’histoire de la colonisation. Le personnage d’Abdelkader a été instrumentalisé par les uns et les autres. Deux évènements controversés de sa biographie sont devenus les objets d’une polémique souvent âpre et amère entre auteurs chercheurs algériens et français : l’adhésion de l’émir à la franc-maçonnerie française et sa séparation d’avec celle-ci. Nous allons présenter que la prémisse d’auteurs algériens, selon laquelle Abdelkader n’aurait pas pu adhérer au Grand Orient de France, pour cause d’incompatibilité doctrinale musulmane, est inconsistante. Nous essayerons de démontrer au contraire, que son initiation à la maçonnerie telle qu’elle s’était présentée à lui était en accord avec sa vision soufie et légaliste du dogme islamique. En nous basant sur le choix de la franc-maçonnerie française pour la laïcité au moment de la réception supposée de l’émir dans la fraternité, nous montrerons qu’il s’en éloigna pour des raisons de doctrine islamique. En effet, l’élimination de toute référence déiste des textes constitutifs du Grand Orient de France fut inacceptable pour le musulman qu’était Abdelkader, vaincu militairement mais raffermi spirituellement par sa proximité grandissante avec son maître spirituel IbnʻArabî. L’humanisme des francs-maçons français avait motivé une refondation basée sur les droits de l’homme issus de la révolution française. Tandis que celui de l’émir Abdelkader prenait sa source dans l’Unicité de l’Être, concept-cadre Akbarien de la compréhension de la relation de Dieu avec ses créatures. Nous allons montrer que les polémiques franco-algériennes sur les relations d’Abdelkader avec la franc-maçonnerie française, masquent un autre débat de fond qui dure depuis des siècles dans le monde musulman. Un débat opposant deux herméneutiques légalistes des textes islamiques, l’une exotérique s’incarnant dans l’œuvre du théologien musulman Ibn Taymiyya et l’autre ésotérique se trouvant au cœur des écrits du mystique IbnʻArabî. / A major figure in the history of Franco-Algerian colonial relations Emir Abd-el-Kader is usually presented by his countrymen as the political, military and religious model of resistance to French colonialism in the 19th century. The official Algerian historiography conveys the image of Abd-el-Kader as the religious leader who launched a jihad resistance complying with the exoteric rules of sharî’a, loyal and magnanimous warrior, strategist, whose military defeat ironically marks the founding of modern Algeria as a nation and state. The postcolonial sociopolitical construction of this myth has helped to legitimize the different political regimes that have succeeded in independent Algeria that have under an exoteric reading of Islam, always silenced the spiritual dimension of Abd-el-Kader disciple-heir and commentator on the work of magister Magnus Sufi IbnʻArabî. Fascinated since the beginning of their colonization by this uncommon enemy the increasingly secularized French built a of Abd-el-Kader utilitarian image alienating his fellow countrymen. As this image took shape, it increasingly decoupled Abd-el-Kader from his Islamic faith. Competing memories between the former colonial power and its former colony have generated several contemporary debates in regard to writing the history of colonization. The character of Abd-el-Kader was exploited by all sides. Two controversial events of his biography have become the subject of often rough and bitter controversy between Algerian and French authors-researchers: the accession of the Amir to the French Freemasonry and his separation from it. In this thesis, we demonstrate that Algerian authors' premise that Abd-el-Kader could not have joined the Grand Orient de France because of a supposed incompatibility with Islamic doctrinal concerns is in contradiction with his initiation into Masonry as it was presented to him, when it was still in agreement with his legalistic and mystical vision of Islamic dogma. Basing our analysis careful periodization of the process of secularization of French Freemasonry during the period of the alleged reception of the Emir into the masonry, we show that he later withdrew from it for reasons of Islamic doctrine. The elimination of any deist reference in texts constituting the Grand Orient de France subsequent to Abd-el-Kader’s entrance could only make his participation eventually unacceptable as a Muslim defeated militarily but humanist spiritually strengthened by his growing proximity with his spiritual master IbnʻArabî. French Freemasonry had carried out an overhaul based on human rights stemining from the French Revolution, while Emir Abd-el-Kader is humanism had its source in the Unity of Being which is the Akbarian conceptual framework of understanding the relationship of God with its creatures. We show that Franco-Algerian controversies regarding Abd-el-Kader’s relations to French Freemasonry mask another substantive debate that has lasted for centuries in the Muslim world: that of two legalistic hermeneutics of Islamic texts, one exoteric embodied in the work of the famous Muslim theologian Ibn Taymiyya and the other at the heart of esoteric writings of the mystic IbnʻArabî.

Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2014-01-06T18:59:51Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_JogosPoliticosTerra.pdf: 8313681 bytes, checksum: e73ea9dff31ae96c814814566aa32ccf (MD5) / Approved for entry into archive by Ana Rosa Silva(arosa@ufpa.br) on 2014-01-14T12:04:14Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_JogosPoliticosTerra.pdf: 8313681 bytes, checksum: e73ea9dff31ae96c814814566aa32ccf (MD5) / Made available in DSpace on 2014-01-14T12:04:14Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_JogosPoliticosTerra.pdf: 8313681 bytes, checksum: e73ea9dff31ae96c814814566aa32ccf (MD5) Previous issue date: 2009 / Esta dissertação buscou mostrar a influência das experiências políticas dos literatos modernistas entre 1930 e 1945 nas obras de arte que eles criaram, assim como a influência recíproca do movimento modernista como um todo na atuação política dos intelectuais paraenses, na criação de um sentimento de grupo, na luta por justiça social e por liberdade. Quem nos conduz a este objetivo são dois dos maiores literatos do modernismo paraense, extremamente engajados em movimentos sociais: Bruno de Menezes e Dalcídio Jurandir. Nas obras de ambos encontramos relatos e sinais da luta pela sobrevivência cotidiana, a preocupação com o bem-estar social, o engajamento em partidos políticos de esquerda, em movimentos contra a ordem social estabelecida e os conflitos e traumas gerados por essas experiências. / This dissertation tried to show the influence of the political experiences of the modernists between 1930 and 1945 in the work of art they have created, just as the reciprocal influence of the modernist movement as a hole in the politic actuation of the intellectuals of Pará on the creation of a group feeling, in the fight for social justice and freedom. Bruno de Menezes and Dancídio Jurandir, two of the most important modernists of Pará, and extremely engaged on social movements, are leading us to this objective. On both author’s books, we find signs of the surviving fights, the concerning about the social well-being, the engagement in left-wing political parties, in movements against the established social order and the conflicts and traumas generated by those experiences.

Submitted by Cássio da Cruz Nogueira (cassionogueirakk@gmail.com) on 2017-01-03T11:43:10Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-04T15:08:14Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) / Made available in DSpace on 2017-01-04T15:08:14Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_NovoPorvirLiteratura.pdf: 2341196 bytes, checksum: 844ff4dfeb4a70d37ca73dc6d7a906f4 (MD5) Previous issue date: 2016-08-03 / A presente dissertação busca compreender Literatura e Cooperativismo como dois aspectos fundamentais da experiência social do literato Bento Bruno de Menezes Costa (1893-1963). Nesse sentido, o engajamento no campo das letras nos serviu de ponto de partida para percepção de um sujeito social que fez da experiência constitutiva das suas obras, um grande espaço para refletir a condição do povo paraense. Não se tratava de um mero adorno aquilo que levava aos textos ficcionais e as reflexões cultuais, daí que a retratação que muitas de suas poesias dinamizavam, diziam respeito à confluência de um poeta que fez da vivência acumulada em suas andanças, presente nos termos de um sujeito que não ia simplesmente ao povo, mas de fato o era. Com isso, ao analisarmos a produção cooperativista de Bruno de Menezes, pesquisamos inúmeros textos esparsos, tanto pela sequência dos anos, na primeira metade do século XX, com ênfase a década de 1950, pelo desdobramento da atividade pública a frente do S.A.C. - Serviço de Assistência ao Cooperativismo, órgão criado pelo governo estadual paraense, o qual ocupou por dez anos, entre 1945 a 1955. Consideramos ainda, que a obra Candunga, publicada em 1954 constitui um importante espaço para divulgação da doutrina cooperativista, uma vez que uma reflexão ficcional foi concedida ao assunto. A criação da “Colonia Novo Porvir” ao final da narrativa demonstrava um horizonte distinto aos lavradores da Zona Bragantina, Nordeste do Estado do Pará, através da fomentação do associativismo agrícola entre os mesmos. Assim, ao trabalhar com a execução de projetos dessa matéria, acrescentava ingredientes de experiência política e percepções acerca da natureza, considerando importantes as mudanças históricas no espaço Amazônico. O grau de especialização que detinha sobre o assunto lhe facultou a multiplicação das ações cooperativistas, por conseguinte, a apresentação de resultados práticos a sociedade paraense. / The present dissertation aims to understand Literature and Cooperativism as two fundamental aspects of the social experience of the literate Bento Bruno de Menezes Costa (1893-1963). In this sense, his engagement in the field of arts was used as a starting point to the perception of a social subject who had made of the constitutive experiences of his works a huge space to reflect the condition of parense people. It is not merely an ornament what he expressed on the fictional texts and cultural reflexions, so the retraction many of his poetries dynamized and told about the confluence of a poet who made from his accumulated life experiences on his wanderings present issues in terms of a subject who not only went to the people, but was people himself. Therefore, when we analyse the cooperativist production of Bruno Menezes, we researched abundant sparse texts, even by the sequence of the years – first half of XX century, especially the 50´s – thru the deployment of his public activities commanding S.A.C. (Service of Assistance to Cooperativism) organ created by Para State Government in which he worked for ten years, from 1945 to 1955. We also consider that the work Candunga, published in 1954, constitutes an important space to the diffusion of Cooperativism doctrine once a fictional reflection has been conceded to such theme. The creation of “Colonia Novo Porvir1” by the end of the storyline established a different horizon to the peasants from Bragantine Zone in the Northeast of Para State through fomenting agricultural associacionism among them. Thus, when working with the execution of projects in this matter, he added ingredients such as political experience and perceptions about nature, considering important the historical changes in Amazonian spaces. The specialization grade he detained about this theme helped him to multiply the cooperativist actions, and then, to present practical results to Paraense society.