Made available in DSpace on 2016-04-25T20:23:01Z (GMT). No. of bitstreams: 1 Roberto de Oliveira Loureiro.pdf: 1279564 bytes, checksum: 7048510f2978812c41926fe673767f9b (MD5) Previous issue date: 2009-11-05 / This thesis analyses the studies by Domenico de Masi and Howard Gardner, which respectively discusses Creative Leisure and Multiple Intelligences, concepts still scarcely considered in the business scenario that integrates into a new organizational model, transforming the relations between the employee and other people and the results of her own piece, more humanized, without losing focus on competitiveness, and sustainable growth, those being the targets of organizations which desire to survive the 21rst Century. The thesis also briefly discusses the evolutionary thought brought to light as of the main administrative theories as well as a critical analysis about working in a globalized world and how much the concept of work is different from employment / Esta tese analisa os estudos de Domenico De Masi e Howard Gardner, que tratam, respectivamente, do Ócio Criativo e das Inteligências Múltiplas, conceitos estes ainda pouco considerados no cenário empresarial e constituem um novo modelo organizacional, de forma a transformar as relações do trabalhador com outros indivíduos e com o resultado de sua própria obra, mais humanizadas, sem perder de vista a competitividade e o crescimento sustentável, os quais são os objetivos das organizações que desejam sobreviver no século XXI. A tese também faz um rápido resgate do pensamento evolutivo proveniente das principais teorias administrativas, assim como uma análise crítica do trabalho no mundo globalizado e o quanto que a terminologia trabalho difere de emprego

Made available in DSpace on 2016-04-26T14:57:56Z (GMT). No. of bitstreams: 1 Roberto de Oliveira Loureiro.pdf: 1279564 bytes, checksum: 7048510f2978812c41926fe673767f9b (MD5) Previous issue date: 2009-11-05 / This thesis analyses the studies by Domenico de Masi and Howard Gardner, which respectively discusses Creative Leisure and Multiple Intelligences, concepts still scarcely considered in the business scenario that integrates into a new organizational model, transforming the relations between the employee and other people and the results of her own piece, more humanized, without losing focus on competitiveness, and sustainable growth, those being the targets of organizations which desire to survive the 21rst Century. The thesis also briefly discusses the evolutionary thought brought to light as of the main administrative theories as well as a critical analysis about working in a globalized world and how much the concept of work is different from employment / Esta tese analisa os estudos de Domenico De Masi e Howard Gardner, que tratam, respectivamente, do Ócio Criativo e das Inteligências Múltiplas, conceitos estes ainda pouco considerados no cenário empresarial e constituem um novo modelo organizacional, de forma a transformar as relações do trabalhador com outros indivíduos e com o resultado de sua própria obra, mais humanizadas, sem perder de vista a competitividade e o crescimento sustentável, os quais são os objetivos das organizações que desejam sobreviver no século XXI. A tese também faz um rápido resgate do pensamento evolutivo proveniente das principais teorias administrativas, assim como uma análise crítica do trabalho no mundo globalizado e o quanto que a terminologia trabalho difere de emprego

Thesis (Ph. D.)--University of Melbourne, 1985. / Includes bibliographical references (vol. 2, leaves [2]-26).

The aim of this study is to investigate the role of posthumous portraits in the Tornabuoni family as a tool of positioning itself through visual rhetorics. The basis for the examination is three portraits of Francesca Pitti, Giovanna degli Albizzi and Lucrezia Tornabuoni, together with an altarpiece depicting the Visitation with Mary Jachobi and Mary Salome. The study uses iconography to analyse the images and using a rhetorical analysis to understand the visual rhetorics used by the family. The study finds that there are different hidden meanings in the portraits, Francesca is remembered by her husband by pure grief; Lucrezia is honoured as the bridge between the Tornabuoni and the Medici families, and Giovanna is remembered by her husband as the continuation of the dynasty in its time of crisis, as well as the pure loss and grief of his beloved wife and unborn child inside the walls of the palazzo. This study uses the theoretical framework of visual rhetorics, as developed by the historian Paul Zanker and adopted by art historian Johan Eriksson, to analyse the behaviour of commissioning posthumous portraits of deceased women and viewing them both in public and private spaces in churches and in the palazzo. As Alberti says: ''Through painting, the faces of the dead go on living for a very long time.''

No description available.

Die vorliegende Arbeit stellt für die Bildwissenschaften eine methodische Grundlage dar, Kleidung im Bild als Konstruktion zu begreifen und zu interpretieren. Anhand der eindrucksvollen Patronageprojekte der Familie Tornabuoni – einer gerade emporgestiegenen Kaufmannsfamilie im Umkreis der Medici – werden die Möglichkeiten und Grenzen von symbolischer Kommunikation in der Florentiner Frühneuzeit untersucht. Unter anderem über Symbole wurde die Position im Gesellschaftsgefüge des unsicheren frühneuzeitlichen Regierungsklimas immer wieder neu hergestellt und von Neuem ausgehandelt. Die gewählte Bildgarderobe ist dafür ein hervorstechendes Beispiel. / The thesis presents an art historical methodology that assesses clothing and its pictorial representations in order to interpret how material culture relates to social construction. Using as an example an impressive patronage project of the Tornabuoni family – a newly rich family of merchants in the circle of the Medici – reveals the possibilities as well as the limitations of symbolic communication through dress in early modern Florence. In addition to outward style, these subtle symbols helped to establish and renegotiate their bearer’s position in the shifting hierarchy of an uncertain political climate. By closely examining Tornabuoni commissions, the thesis demonstrates how clothing is a critical means of understanding social motivations and aspirations.

Le poète sicilien Domenico Tempio, ayant vécu à Catane entre la seconde moitié du XVIIIe siècle et le premier quart du XIXe siècle, a été classé pendant longtemps comme un auteur obscène, dont le profil humain aurait été, de façon tout à fait injustifiée, celui d’un libertin. En réalité, l’analyse du corpus des poèmes publiés (au nombre de 332) et inédits (56) démontre qu’il est faux de désigner ses textes comme pornographiques, suivant les jugements critiques qui ont été consacrés dans le passé à sa figure de poète et à son oeuvre. S’il est vrai, en effet, qu’une partie fort réduite de ses textes(16 sur 388) contient des représentations ayant un caractère licencieux, en termes de langage et de situations, il est tout aussi vrai que l’écriture obscène véhicule très souvent des connotations plus complexes. Cela résulte des poèmes érotiques qui ont été analysés et traduits du dialecte de Catane (parfois pour la première fois) dans cette thèse (L’imprudenza o lu Mastru Staci, Il Padre Siccia, Ad Reverendum N.N., La monica dispirata, Lu cojtuimperfettu, etc.). Il s’agit de textes dont l’attribution à cet auteur n’est pas toujours incontestable. Bien qu’une petite partie d’entre eux ne figure pas dans les manuscrits qui se trouvent dans deux bibliothèques de Catane (Biblioteche Riunite Civica e Ursino Recupero et Biblioteca Regionale), une tradition orale, relayée par les recueils imprimés, les a attribués depuis longtemps au poète sicilien. En effet, les textes en question abordent, entre autres, des thèmes tels que les comportements immoraux des ecclésiastiques, l’importance du mariage, la nécessité d’une sexualité conforme aux bonnes moeurs, la force corruptrice de l’argent, les effets néfastes de l’entrée forcée au couvent, etc. Tout cela se joint à une sexualité représentée dans ses modalités les plus brutales en tant que reflet des appels de la nature et que l’hypocrisie de cette époque-là voilait. Si la pornographie consiste en la représentation obscène du domaine sexuel, visant à susciter l’excitation des sens, cela ne vaut absolument pas pour désigner l’œuvre de Domenico Tempio : ses textes les plus licencieux ne l’impliquent aucunement. C’est plutôt un sourire malicieux qu’ils suscitent éventuellement auprès du lecteur. L’écriture obscène, chez lui, renvoie surtout au registre de la dénonciation, ayant pour but de fustiger les mauvaises mœurs et de moraliser. Mais le poète de Catane alla bien au-delà de l’érotisme. La plupart de ses textes (odes, petits poèmes, épithalames, huitains, fables, etc.), à commencer par La Carestia, son œuvre la plus marquante (20 chants comprenant près de 26 000 vers), présentent une grande variété de formules d’expression et de thèmes. Pour ce qui est des genres, on relève, par exemple, la satire, la parodie, l’ironie, la critique sociale, l’invective politique, etc. Quant à la langue employée, on enregistre plusieurs modalités (dialecte sicilien, vers toscans, emprunts à la langue latine, etc.). En ce qui concerne les thèmes évoqués,on signale, par exemple, l’amour romantique, l’infidélité des femmes, l’amour paternel, la dénonciation des injustices, l’indifférence du pouvoir,l’exploitation du peuple, etc. Dans le cadre du contexte culturel sicilien, Tempio représenta la seule voix qui dénonça, avec insistance, les erreurs et les abus d’une société décadente, tout en invoquant la nécessité de réformes et de changements majeurs. / The Sicilian Domenico Tempio (1750-1821) was a dialectal poet. He’s still known as a pornographic author: though he wrote very few obscene poems, they gave him a bad reputation. On the contrary, he was an active poet who denounced the nobles, the priests and the monks who abused their power and rank in a decadent fin-de-siècle Catania.Starting from his most important work, the poem La Carestia, Tempio was an author attentive to the need of justice, of solidarity and of equality – of reforms, in one word – in order to improve people’s living conditions.The thesis intends, therefore, to illustrate on the one hand the presumed pornography and on the other hand Tempio’s commitment in the framework of the Sicilian Enlightenment and despite some personal contradictions.

Thesis--Catholic University of America. / "Appendix of documents": p. 368-432. Bibilography: p. 436-451.

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).

Este trabalho aborda os aspectos musicais relacionados à construção do relógio de Julius Heckethorn, com base na sonata K 462 de Scarlatti, detalhadamente narrados no tema P, do romance Avalovara, de Osman Lins. O objetivo é o estabelecimento de relações entre esses aspectos musicais e os elementos estruturais do romance, com vistas ao desvelamento de algumas de suas regras. São relevantes e numerosas as referências musicais presentes no romance. Além das ricas narrativas de cenas sonoras, tais como o bater das ondas do mar na beira da praia, o som do vento, o barulho das patas dos cavalos, o cantar dos pássaros, há representações de manifestações musicais folclóricas e eruditas retratadas pelo Pastoril, no Recife, pela cantata Catulli Carmina, de Carl Orff, e pelo salmo In Convertendo Dominus, de André Campra. As reflexões têm como referência teórica a perspectiva de Matila Ghyka (1968) para relacionar os elementos estruturais da obra com a construção do relógio de Julius Heckethorn, e como referência musical as informações contidas em Grout e Palisca (2007). / This paper discusses the musical aspects related to the construction of Julius Heckethorn's clock, based on the Sonata K 462 by Scarlatti, narrated in detail in the subject P, of the novel Avalovara, by Osman Lins. The goal is to establish relationships between the musical aspects and the structural elements of the novel, unveiling some of its rules. The musical references present in the novel are relevant and numerous. Besides the rich narrative sound scenes, like the beating of waves on the beach, the sound of wind, the sound of horses' hoofs and the chirping of birds, there are depictions of folk and classical musical events such as the Pastoril, in Recife, the cantata Carmina Catulli by Carl Orff, and the psalm In Convertendo Dominus, by André Campra. The reflections are referenced to the theoretical perspective of Matila Ghyka (1968) to relate the structural elements of the work with the construction of Julius Heckethorn's clock, and are referenced musically to the information contained in Grout and Palisca (2007).