This M.A. thesis consists of a close-textual reading of Sor Juana Inés de la Cruz’s four sets of villancicos dedicated to the Assumption of the Virgin Mary (1676, 1679, 1685 and 1690), with a special focus on Sor Juana’s marianism and a contrast with Juan Correa’s painting, La Asunción de la Virgen (1689). This thesis will cover Sor Juana’s innovation in her representation of Mary as a model of femininity, Mary’s creative abilities, the crowning of Mary, Mary as a dwelling for God, Sor Juana’s feminization of the divine, Mary’s Assumption itself, masculine aspects and professions attributed to Mary, and Sor Juana’s identification with the Virgen.

Assunto recorrente na literatura econômica, o desenvolvimentismo latino-americano passou a ocupar a agenda da pesquisa acadêmica a partir dos anos 1950, quando a sua gênese e o seu significado histórico como fenômeno econômico e político tornaram-se objeto de estudo de distintos cientistas sociais. Este trabalho parte da concepção de que, em suas origens, três foram as correntes as quais se amalgamaram para a sua formação: nacionalismo, industrialização e papelismo. Assim, embora haja relativo consenso de que, no Brasil, a política desenvolvimentista aparece de forma mais nítida após 1930 com o processo de substituição de importações, esta tese propõe-se a analisar a obra de três autores, típicos representantes de cada uma dessas vertentes, com o propósito de levantar evidências para robustecer a hipótese de que se trata de um fenômeno cuja origem remonta ao final do século XIX. Para tanto, destaca-se a originalidade do pensamento de Serzedello Correa, Amaro Cavalcanti e Rui Barbosa, autores os quais, em período de pleno domínio da ortodoxia econômica, procuraram não apenas afastar-se do paradigma tradicional, como também avaliar a pertinência de tais ideias ao que entendiam ser a realidade de um país exportador de produtos primários. Indo além, fizeram uma precoce e enfática defesa da intervenção estatal, da industrialização e da necessidade de “construção nacional”, motivo pelo qual podem ser considerados como precursores do desenvolvimentismo brasileiro que ganhou expressão ao longo do século XX. / A recurrent issue in economic’s literature, Latin-American developmentalism started to occupy the academic research agenda from the 1950’s on, when its genesis and its historical meaning as an economic and political phenomenon became the object of study of several social scientists. This work stems from the conception that, in its origins, there were three elements which amalgamated for its formation: nationalism, industrialization and papelism. This way, despite the consensus that, in Brazil, the developmentalist policies appear in a clearer way after 1930 with the importation substitution process, this thesis aims to analyze the oeuvre of three authors, typical representatives of these currents of thought, with the purpose of bringing out evidences to fortify a hypothesis related to a phenomenon whose origins remounts to the end of XIX century. In order to achieve this, it highlights the originality of Serzedello Correa, Amaro Cavalcanti and Rui Barbosa’s economic thoughts, which attempted not only to move away from the traditional paradigm, but also to adapt and validate the relevance of those ideas to what was deemed to be the country’s reality, marked as a primary products export economy. Moreover, they made a premature and emphatic defense of the industrialization and of the necessity of a “national breeding”, reasons why they can be considered one of the Brazilian and Latin-American developmentalist precursors that gained importance along the XX century.

Made available in DSpace on 2015-12-10T14:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-17. Added 1 bitstream(s) on 2015-12-10T14:28:17Z : No. of bitstreams: 1 000853765.pdf: 25092409 bytes, checksum: ee596de96c69d0ccf11637fbb7b983f0 (MD5) / Procuramos neste trabalho discutir aspectos da notação para percussão que se conectam a uma busca pelo novo na música de Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), signatários do Manifesto Música Nova, em 1963. Acreditamos que, de acordo com as propostas contidas no Manifesto, nestas partituras encontraremos tentativas de uma renovação da estética musical determinadas por um pensamento vanguardístico de experimentação, podendo ser examinadas a partir da utilização de novos grafismos que representam recursos de indeterminação, improvisação, explorações timbrísticas e também incorporando elementos das linguagens poéticas, teatrais e das artes visuais. O foco da pesquisa serão as obras Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) e Memos (Willy Corrêa de Oliveira, 1977). Ao discutir as características da notação para percussão nestas peças, identificamos o posicionamento das vanguardas dos anos sessenta em sua busca pelo novo, que também pretendemos avaliar através da tentativa destes três compositores de incorporar instrumentos de percussão típicos brasileiros em sua música de caráter experimental, no caso: o berimbau, a cuíca e o agogô, verificando o problema da escrita para estes instrumentos / This work aims to discuss aspects of percussion notation that were connected to a search for novelty in the music of the Brazilian composers Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), who signed the Manifesto Música Nova, in 1963. We believe that, according to the proposals contained in the Manifesto, in these scores we can find evidence of an attempt to renew musical aesthetics determined by the experimentalavant-gardethought, which can be examined on the basis of thecreation of new graphics, representing procedures of indeterminacy,improvisation, timbristic explorations and the incorporation of elements of poetic, theatrical and visual languages. The focus of the research is the Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) and Memos (Willy Corrêa de Oliveira, 1977). In discussing the notation characteristics for percussion in these parts, we identified the positioning of the sixties avant-garde in its search for novelty that we also intend to evaluate through a trial of these three composers to incorporate typical Brazilian percussion instruments in their experimental music, in this case: the berimbau, the cuíca and the agogô, checking the notation problem for these instruments

Assunto recorrente na literatura econômica, o desenvolvimentismo latino-americano passou a ocupar a agenda da pesquisa acadêmica a partir dos anos 1950, quando a sua gênese e o seu significado histórico como fenômeno econômico e político tornaram-se objeto de estudo de distintos cientistas sociais. Este trabalho parte da concepção de que, em suas origens, três foram as correntes as quais se amalgamaram para a sua formação: nacionalismo, industrialização e papelismo. Assim, embora haja relativo consenso de que, no Brasil, a política desenvolvimentista aparece de forma mais nítida após 1930 com o processo de substituição de importações, esta tese propõe-se a analisar a obra de três autores, típicos representantes de cada uma dessas vertentes, com o propósito de levantar evidências para robustecer a hipótese de que se trata de um fenômeno cuja origem remonta ao final do século XIX. Para tanto, destaca-se a originalidade do pensamento de Serzedello Correa, Amaro Cavalcanti e Rui Barbosa, autores os quais, em período de pleno domínio da ortodoxia econômica, procuraram não apenas afastar-se do paradigma tradicional, como também avaliar a pertinência de tais ideias ao que entendiam ser a realidade de um país exportador de produtos primários. Indo além, fizeram uma precoce e enfática defesa da intervenção estatal, da industrialização e da necessidade de “construção nacional”, motivo pelo qual podem ser considerados como precursores do desenvolvimentismo brasileiro que ganhou expressão ao longo do século XX. / A recurrent issue in economic’s literature, Latin-American developmentalism started to occupy the academic research agenda from the 1950’s on, when its genesis and its historical meaning as an economic and political phenomenon became the object of study of several social scientists. This work stems from the conception that, in its origins, there were three elements which amalgamated for its formation: nationalism, industrialization and papelism. This way, despite the consensus that, in Brazil, the developmentalist policies appear in a clearer way after 1930 with the importation substitution process, this thesis aims to analyze the oeuvre of three authors, typical representatives of these currents of thought, with the purpose of bringing out evidences to fortify a hypothesis related to a phenomenon whose origins remounts to the end of XIX century. In order to achieve this, it highlights the originality of Serzedello Correa, Amaro Cavalcanti and Rui Barbosa’s economic thoughts, which attempted not only to move away from the traditional paradigm, but also to adapt and validate the relevance of those ideas to what was deemed to be the country’s reality, marked as a primary products export economy. Moreover, they made a premature and emphatic defense of the industrialization and of the necessity of a “national breeding”, reasons why they can be considered one of the Brazilian and Latin-American developmentalist precursors that gained importance along the XX century.

Assunto recorrente na literatura econômica, o desenvolvimentismo latino-americano passou a ocupar a agenda da pesquisa acadêmica a partir dos anos 1950, quando a sua gênese e o seu significado histórico como fenômeno econômico e político tornaram-se objeto de estudo de distintos cientistas sociais. Este trabalho parte da concepção de que, em suas origens, três foram as correntes as quais se amalgamaram para a sua formação: nacionalismo, industrialização e papelismo. Assim, embora haja relativo consenso de que, no Brasil, a política desenvolvimentista aparece de forma mais nítida após 1930 com o processo de substituição de importações, esta tese propõe-se a analisar a obra de três autores, típicos representantes de cada uma dessas vertentes, com o propósito de levantar evidências para robustecer a hipótese de que se trata de um fenômeno cuja origem remonta ao final do século XIX. Para tanto, destaca-se a originalidade do pensamento de Serzedello Correa, Amaro Cavalcanti e Rui Barbosa, autores os quais, em período de pleno domínio da ortodoxia econômica, procuraram não apenas afastar-se do paradigma tradicional, como também avaliar a pertinência de tais ideias ao que entendiam ser a realidade de um país exportador de produtos primários. Indo além, fizeram uma precoce e enfática defesa da intervenção estatal, da industrialização e da necessidade de “construção nacional”, motivo pelo qual podem ser considerados como precursores do desenvolvimentismo brasileiro que ganhou expressão ao longo do século XX. / A recurrent issue in economic’s literature, Latin-American developmentalism started to occupy the academic research agenda from the 1950’s on, when its genesis and its historical meaning as an economic and political phenomenon became the object of study of several social scientists. This work stems from the conception that, in its origins, there were three elements which amalgamated for its formation: nationalism, industrialization and papelism. This way, despite the consensus that, in Brazil, the developmentalist policies appear in a clearer way after 1930 with the importation substitution process, this thesis aims to analyze the oeuvre of three authors, typical representatives of these currents of thought, with the purpose of bringing out evidences to fortify a hypothesis related to a phenomenon whose origins remounts to the end of XIX century. In order to achieve this, it highlights the originality of Serzedello Correa, Amaro Cavalcanti and Rui Barbosa’s economic thoughts, which attempted not only to move away from the traditional paradigm, but also to adapt and validate the relevance of those ideas to what was deemed to be the country’s reality, marked as a primary products export economy. Moreover, they made a premature and emphatic defense of the industrialization and of the necessity of a “national breeding”, reasons why they can be considered one of the Brazilian and Latin-American developmentalist precursors that gained importance along the XX century.

No description available.

Framed within a discussion of populism, this thesis provides a critical analysis of the campaign and short tenure in office of Ecuadorian President Lucio Gutiérrez Borbúa. It outlines a multi-dimensional approach to populism that is characterized by five components: (1) personalistic leadership, (2) a heterogeneous coalition of support, (3) top-down political mobilization, (4) an ambiguous ideological discourse, and (5) a redistributive and clientelistic economic approach. Applied to the Gutiérrez case, the multi-dimensional approach highlights the viability and volatility of populism.<p> This thesis argues that Gutiérrez ascended to the presidency through the successful application of a populist strategy, which generated significant expectations among the public and his political allies. Yet, once in office, Gutiérrez populist strategy was unable to sustain the support he enjoyed during the campaign. The expectations he generated went unmet as he engaged in clear reversals of the populist imaginary created by his candidacy. His twenty-eight months in office were characterized by neoliberalism, corruption, and status quo political machinations that had sunk his predecessors. Tracking Gutiérrez transition from populist champion to political pariah using the multi-dimensional approach indicates that although populism can be an effective electoral strategy, it can also impose significant limitations on a government. Ultimately, the Gutiérrez case reinforces the important role played by the populist imaginary in determining the success or failure of populist leaders.

Framed within a discussion of populism, this thesis provides a critical analysis of the campaign and short tenure in office of Ecuadorian President Lucio Gutiérrez Borbúa. It outlines a multi-dimensional approach to populism that is characterized by five components: (1) personalistic leadership, (2) a heterogeneous coalition of support, (3) top-down political mobilization, (4) an ambiguous ideological discourse, and (5) a redistributive and clientelistic economic approach. Applied to the Gutiérrez case, the multi-dimensional approach highlights the viability and volatility of populism.<p> This thesis argues that Gutiérrez ascended to the presidency through the successful application of a populist strategy, which generated significant expectations among the public and his political allies. Yet, once in office, Gutiérrez populist strategy was unable to sustain the support he enjoyed during the campaign. The expectations he generated went unmet as he engaged in clear reversals of the populist imaginary created by his candidacy. His twenty-eight months in office were characterized by neoliberalism, corruption, and status quo political machinations that had sunk his predecessors. Tracking Gutiérrez transition from populist champion to political pariah using the multi-dimensional approach indicates that although populism can be an effective electoral strategy, it can also impose significant limitations on a government. Ultimately, the Gutiérrez case reinforces the important role played by the populist imaginary in determining the success or failure of populist leaders.

No description available.

This doctoral dissertation is a study of three works: Marcela Serrano’s novel We Who Love Us So Much (1992), Ariel Dorfman’s play Death and the Maiden (1992) and its filmic version directed by Roman Polanski, and the documentary directed by Maria Elena Wood, The General’s Daughter (2006). Through the representations of subjectivist female characters in the works, we analyze what we call the vicissitudes of female identity in relation to the agitated sociopolitical circumstances that Chile lived from the sixties to 2006. In those decades, we observe the process of the construction of a revolutionary identity that culminates with the election of the Popular Unity government (1970-1973). Then, we examine the breakdown of female revolutionary identity during the violent repression known as the military dictatorship (1973-1990) after the coup d’état. Finally, we investigate the reconstitution of the identity of the women on the political left, a process assumed independently (rather than collectively) by women of varied characteristics and political orientations during the re-democratization period and until 2006. By analysing the female characters moving in literature, theatre, and film, we observe that these characterizations have helped to inform the readers/viewers through sharing stories of women, their limitations, their personal and collective visions presenting their doubts and fears on matters pertaining to them as female entities. But the greatest finding in this study is to discover that cultural products contain a number of female characters that can overcome their limitations in fiction, as is the case for women working in public spaces such as Michelle Bachelet, a “historical character” from The General's Daughter. They are firmly committed to the reality of women’s lives in Chile and deliver an optimistic message; women must continue integrating other women in order to end the discrimination that still exists in Chile.