Estudo sobre a presença de jardineiros e paisagistas franceses na América do Sul, entre 1820 e 1920, e as relações entre a cultura paisagística francesa e a nascente arte dos jardins no Brasil. A primeira parte estabelece um quadro referencial da atividade desses franceses na Argentina, Uruguai, Chile e Brasil, destacando as realizações de Édouard André, Eugène Courtois, Charles Thays, Joseph Bouvard, Pedro Margat, Charles e Louis-Ernest Racine, Édouard Gauthier, Georges Dubois, Grandjean de Montigny, Pierre Pézérat, Charles Pinel, Jean Binot, Auguste Glaziou, Júlio Joly, Ambrósio Perret, Paul Villon, Jules Vacherot e Cochet, entre outros. A segunda parte verifica as repercussões da presença e cultura francesas no deslanchar das primeiras gerações de paisagistas e horticultores brasileiros, concentrando-se na análise do trabalho de Frederico Guilherme de Albuquerque, entre 1874 e 1892. Esse segmento discute tanto o papel desse horticultor gaúcho como editor da Revista de horticultura, primeiro mensário brasileiro voltado às plantas ornamentais e jardins, quanto destaca sua atuação pioneira na introdução e difusão de plantas ornamentais. / A study on the presence of french gardeners and landscape designers in South America, from 1820 to 1920, and the relationship between french landscape culture and the nascent art of gardens in Brazil. The first part establishes a frame of reference for the activities of these frenchmen in Argentina, Uruguay, Chile and Brazil, featuring especially the work of Édouard André, Eugène Courtois, Charles Thays, Joseph Bouvard, Pedro Margat, Charles and Louis-Ernest Racine, Édouard Gauthier, Georges Dubois, Grandjean de Montigny, Pierre Pézérat, Charles Pinel, Jean Binot, Auguste Glaziou, Júlio Joly, Ambrósio Perret, Paul Villon, Jules Vacherot and Cochet, among others. The second part investigates the repercussions of the french presence and culture on the first generations of brazilian landscape designers and horticulturists, concentrating on an analysis of the work of Frederico Guilherme de Albuquerque, between 1874 and 1892. This section discusses both the role of this horticulturist from the state of Rio Grande do Sul as editor of the Revista de horticultura (Magazine of horticulture), the first brazilian monthly dedicated to ornamental plants and gardens, as well as his pioneering activities in the introduction and dissemination of ornamental plants.

Estudo sobre a presença de jardineiros e paisagistas franceses na América do Sul, entre 1820 e 1920, e as relações entre a cultura paisagística francesa e a nascente arte dos jardins no Brasil. A primeira parte estabelece um quadro referencial da atividade desses franceses na Argentina, Uruguai, Chile e Brasil, destacando as realizações de Édouard André, Eugène Courtois, Charles Thays, Joseph Bouvard, Pedro Margat, Charles e Louis-Ernest Racine, Édouard Gauthier, Georges Dubois, Grandjean de Montigny, Pierre Pézérat, Charles Pinel, Jean Binot, Auguste Glaziou, Júlio Joly, Ambrósio Perret, Paul Villon, Jules Vacherot e Cochet, entre outros. A segunda parte verifica as repercussões da presença e cultura francesas no deslanchar das primeiras gerações de paisagistas e horticultores brasileiros, concentrando-se na análise do trabalho de Frederico Guilherme de Albuquerque, entre 1874 e 1892. Esse segmento discute tanto o papel desse horticultor gaúcho como editor da Revista de horticultura, primeiro mensário brasileiro voltado às plantas ornamentais e jardins, quanto destaca sua atuação pioneira na introdução e difusão de plantas ornamentais. / A study on the presence of french gardeners and landscape designers in South America, from 1820 to 1920, and the relationship between french landscape culture and the nascent art of gardens in Brazil. The first part establishes a frame of reference for the activities of these frenchmen in Argentina, Uruguay, Chile and Brazil, featuring especially the work of Édouard André, Eugène Courtois, Charles Thays, Joseph Bouvard, Pedro Margat, Charles and Louis-Ernest Racine, Édouard Gauthier, Georges Dubois, Grandjean de Montigny, Pierre Pézérat, Charles Pinel, Jean Binot, Auguste Glaziou, Júlio Joly, Ambrósio Perret, Paul Villon, Jules Vacherot and Cochet, among others. The second part investigates the repercussions of the french presence and culture on the first generations of brazilian landscape designers and horticulturists, concentrating on an analysis of the work of Frederico Guilherme de Albuquerque, between 1874 and 1892. This section discusses both the role of this horticulturist from the state of Rio Grande do Sul as editor of the Revista de horticultura (Magazine of horticulture), the first brazilian monthly dedicated to ornamental plants and gardens, as well as his pioneering activities in the introduction and dissemination of ornamental plants.

Entre 1889 e 1916, sob a influência da economia da borracha e do interesse pelo desenvolvimento da agricultura, o Pará experimenta a chegada de grande número de migrantes cearenses que, movidos pelos problemas da seca, ou atraídos pelas alternativas de trabalho que essa região oferecia, para lá se deslocavam, vivenciando variadas experiências sociais. Esta tese discute essa experiência, examinando os muitos significados atribuídos a ela pelos migrantes, desde sua saída do Ceará até sua instalação no Pará nos núcleos coloniais, na capital paraense e nos seringais. Igualmente, trata-se de perceber os sentidos que os poderes públicos do Ceará e do Pará deram a esse processo migratório. Parte da historiografia que se debruçou sobre o tema solidificou a imagem dos migrantes cearenses como pobres flagelados pela seca ou como semi-escravos nos seringais, presos aos revezes da natureza ou à exploração de um patrão. Entretanto, a experiência migratória tem outras dimensões. Nela estão também presentes a luta pela sobrevivência, pelo trabalho e pela posse da terra, revelando conflitos, laços de afetividade com a família, com a terra natal dos migrantes, redes de solidariedade e uma estreita relação entre a floresta e a cidade. / Between 1889 and 1916, numerous people left the state of Ceará (Brazil) and migrated to the state of Pará, influenced by the rubber boom and by an agricultural policy. These people were compelled to migrate owing to the serious droughts which afflicted their native land, and also seduced by the many labour offers in Pará, where they endured a variety of social experiences. This dissertation discusses these experiences, focusing on the meaning given by the migrants themselves to the process of migration, from the departure from Ceará until their settlement in Pará (whether in the colonies, in the capital or in the rubber fields). It also analyses the meaning given to migration by the government. Part of the historiography which has addressed these issues stresses the image of a poor and defenceless migrant, a victim of the droughts or chained to an unpredictable nature or to a ruthless employer. However, migration has many other senses. In this process, migrants also fought for their life, their labour and their land, unveiling conflicts, affective tights with their family and their native country, solidarity, and a close relation between the forest and the city.

Nessa pesquisa OS CHIFRES ENTRE A CRUZ E A ESPADA: um estudo das festas de touros (XV-XVI) na Espanha, buscamos identificar como se deu essa emergência de um discurso de controle régio e clerical sob as chamadas festas de touros nos séculos XV e XVI – sendo aquilo que chamamos de “os chifres entre a cruz e a espada” justamente essa leitura das festas taurinas que legitimaram e deram vasão a essa construção das festas mais austeras e em conformidade com as doutrinas e dogmas cristãos, naquilo que denominamos de discurso de ordenança festiva. Para isso, analisamos uma gama de documentos, entre uma Crônica (Crónica del Condestable de Castilla Don Lucas de Iranzo), um Tratado (Tratado do Jogo), Bula (Salute Gregis Dominici) e o prólogo de um Cancioneiro (Cancionero de Juan Alfonso de Baena) na tentativa de construir e identificar nessa tipologia diversa de documentos, as várias maneiras utilizadas para compor o discurso de ordenança festiva. Observáveis em três frentes de análise – o discurso clerical, o discurso clerical percebido e praticado ou não pela nobreza e o discurso espacial/heterotopológico (sendo esse último, de suma importância, e tendo sido analisado partindo do conceito foucaultiano de heterotopia e as várias possibilidades que ele pode representar na análise dos mais diversos espaços). Também, perseguimos ao longo da pesquisa um tema que apesar de já há muito debatido mostrou que ainda encontra terreno fértil para novos debates historiográficos, as festas em si – analisadas partindo da proposta da festa como questão e como discurso. / In this research HORNS BETWEEN THE CROSS AND THE SWORD : a study of the bulls parties (XV- XVI) in Spain, we seek to identify how was this emergence of a regal control speech and clerical specifically under the so-called bulls parties in the XV and XVI - being what we call " the horns between a rock and a hard place " just this reading of bullfighting festivals that legitimized and gave arterial runoff to that construction of the austere celebrations and they were in accordance with the Christian doctrines and dogmas , what We call the ordinance festive speech and gave way to this construction of more austere celebrations that were in accordance with the Christian doctrines and dogmas, in what we call the festive ordinance speech. In order to do so, we analyzed a range of documents, from a chronicle (Crónica del Condestable de Castilla Don Lucas Iranzo), a treaty (Tratado del Juego), a bula (Salute Gregis Dominici) and the prologue of a songbook (Cancionero de Juan Alfonso de Baena) in an attempt to identify and construct in this different typology the various ways used to compose the festive ordinance speech. Observable in three fronts of analysis - the clerical speech, the clerical speech perceived and practiced (or not) by the nobility and the space/heterotopological speech (the latter, of paramount importance, has been analyzed with Foucault's concept of heterotopia and the various possibilities that it can represent in the analysis of the most diverse spaces as a starting point). We also seek throughout the research a theme that, although it has been discussed many times before, still shows that there is fertile ground for new historiographical debates: the parties themselves – analyzed from the premises of parties as problem and as speech.

Esta pesquisa tem por objetivo o estudo da colonização portuguesa do oeste amazônico a partir da atuação de atores sociais significativos tais como o missionário carmelita e o sertanista. Esses agentes da colonização, com seus papeis diversificados, participaram à formação de um território político português cuja extensão foi definida pelas relações com as populações indígenas / The following dissertation aims at the study of the portuguese colonization of western Amazônia, and it will consider the action of significant social agents such as the Carmelite missionaries and the sertanistas. These agents, through their relationship with the Amazonian Indians, granted the formation of the political territory of Portugal

This thesis investigates rationales behind Live Art documentation, by examining the work of British artists working under the banner of ‘Live Art' since the 1990s. My aim has been to write an account of Live Art's history and major themes that incorporates primary research, analysis and criticism of recent research on documentation. Works by Live Artists are not discussed chronologically, but so that they might function as points of departure for discussions about Live Art's relationship to documentation and its relevance as a contemporary cultural form. The thesis starts with an introduction setting out definitions of Live Art and documentation and contextualising Live Art's relationship to Performance Art. The rationales for documenting Live Art are grouped into three categories: documentation as pragmatic, documentation as memorial and documentation as holistic. The main text is divided into three parts, each part discusses issues relating to one of the above categories. Part 1 addresses practical reasons why artists working under the banner of Live Art document their work. The section includes an exploration of the infrastructure for the development of Live Art in the UK as well as an analysis of the market for Live Art and its documentation. Part 2 interrogates perspectives from the discipline of performance studies on the relationship between live action and documentation, exploring how these issues have been interpreted in Live Art's history. In particular, this section will assess how writers and artists have approached discussion of Live Art in oral and written form. Part 3 proposes models of rethinking documentation based on works by British Live Artists that develop documentation in tandem to live action and enjoy a privileged relationship to technology.

This dissertation investigates thematic unities within Robert Morris's seemingly disparate body of work. It demonstrates the thematic similarities, structural continuities and formal associations used throughout his art despite the great diversity of the media employed. It departs at times from a strictly chronological approach because its primary purpose is to explore how one work begets another or one style morphs into the next. The research involved extensive archival work studying unpublished correspondence and texts, contracts, drawings and emails, along with traditional sources like books, interviews, lectures and Morris's own published criticism and texts. The author also examined many original artworks or reproductions of unavailable ones. Chapter One discusses the definition and problem of style, establishment of artistic influences, and Morris's reluctance to accept traditional boundaries. Chapter Two addresses the choreography and its task-oriented vocabulary, and Morris's minimalist sculptures, examining his ideas on process and the phenomenology of perception. Chapter Three is devoted to Morris's concept of space and exploration of the horizontal as a spatial vector. It studies his interest in structural continuity throughout his lead, mirror and felt works, and touches on both the physical space of the sculptures, and the virtual space of the mirrors, as well as the fleeting evanescent space of the steam. His elaborations on “how to make a mark” are considered, too, from the Blind Time drawings, riding on horseback and body-part imprints, to language and the natural world. Chapter Four turns to Morris's philosophical investigations, his studies of language and imagery—some apocalyptic—and his increasing concern with destructive contemporary attitudes. Chapter Five takes up the works of the last two decades, his interest in memory and his growing cultural pessimism. Finally, analyzing one of the most recent works, the Conclusion makes clear that through its recurrent timeliness, Morris's art achieves a certain sublimity which aims towards a suspension of time—a timelessness.

Entre 1889 e 1916, sob a influência da economia da borracha e do interesse pelo desenvolvimento da agricultura, o Pará experimenta a chegada de grande número de migrantes cearenses que, movidos pelos problemas da seca, ou atraídos pelas alternativas de trabalho que essa região oferecia, para lá se deslocavam, vivenciando variadas experiências sociais. Esta tese discute essa experiência, examinando os muitos significados atribuídos a ela pelos migrantes, desde sua saída do Ceará até sua instalação no Pará nos núcleos coloniais, na capital paraense e nos seringais. Igualmente, trata-se de perceber os sentidos que os poderes públicos do Ceará e do Pará deram a esse processo migratório. Parte da historiografia que se debruçou sobre o tema solidificou a imagem dos migrantes cearenses como pobres flagelados pela seca ou como semi-escravos nos seringais, presos aos revezes da natureza ou à exploração de um patrão. Entretanto, a experiência migratória tem outras dimensões. Nela estão também presentes a luta pela sobrevivência, pelo trabalho e pela posse da terra, revelando conflitos, laços de afetividade com a família, com a terra natal dos migrantes, redes de solidariedade e uma estreita relação entre a floresta e a cidade. / Between 1889 and 1916, numerous people left the state of Ceará (Brazil) and migrated to the state of Pará, influenced by the rubber boom and by an agricultural policy. These people were compelled to migrate owing to the serious droughts which afflicted their native land, and also seduced by the many labour offers in Pará, where they endured a variety of social experiences. This dissertation discusses these experiences, focusing on the meaning given by the migrants themselves to the process of migration, from the departure from Ceará until their settlement in Pará (whether in the colonies, in the capital or in the rubber fields). It also analyses the meaning given to migration by the government. Part of the historiography which has addressed these issues stresses the image of a poor and defenceless migrant, a victim of the droughts or chained to an unpredictable nature or to a ruthless employer. However, migration has many other senses. In this process, migrants also fought for their life, their labour and their land, unveiling conflicts, affective tights with their family and their native country, solidarity, and a close relation between the forest and the city.

Esta pesquisa tem por objetivo o estudo da colonização portuguesa do oeste amazônico a partir da atuação de atores sociais significativos tais como o missionário carmelita e o sertanista. Esses agentes da colonização, com seus papeis diversificados, participaram à formação de um território político português cuja extensão foi definida pelas relações com as populações indígenas / The following dissertation aims at the study of the portuguese colonization of western Amazônia, and it will consider the action of significant social agents such as the Carmelite missionaries and the sertanistas. These agents, through their relationship with the Amazonian Indians, granted the formation of the political territory of Portugal

The purpose of this study is to provide a practical English translation of Vincenzo Galilei's significant treatise on ancient and modern music (1581). In spite of the important place this work holds in the history of music, it has never before been made available in its entirety in any language other than the original Italian. This volume includes the front matter and chapters 1-3.