Intimamente ligado ao Romantismo, o surto de revivalismos que se alastrou por quase todos os países da Europa, na segunda metade do século XIX, criou um estilo diferente e emblemático em Portugal, o Neomanuelino, cujo rebatimento no Brasil, nas ultimas três décadas desse mesmo século, teve uma leitura simbólica, como imagem de um poder aqui representado e que, no bojo da celebração nacional, encerrava o carisma filosófico e político da sua representação. Esse estilo, ao retomar as características do Manuelino (século XVI), retomava também uma simbologia importante do passado nacional, a qual se buscava reafirmar no final do século XIX, dado o espírito nacionalista que a todos envolvia. Nesse cenário vivo, a arquitetura foi, então, a linguagem que melhor representou as marcas desse passado, tornando-se um referencial balizador dos sentimentos de liberdade e euforia desses novos tempos. Testemunhos disso, Os Gabinetes Portugueses de Leitura no Brasil foram referenciais urbanos conformados às aspirações sociais da época, que, resgatando por meio de seus edifícios a memória lusitana na formação da identidade nacional, se apoiaram na história como arquivos de memória urbana. Nosso objetivo foi a identificação desse estilo, o Neomanuelino no Brasil, considerando a tipologia e a inserção de seus edifícios no espaço urbano, sua justificativa social e sua identidade nacional, presentes no panorama das manifestações Ecléticas que caracterizaram a passagem do século. Definimos como parâmetro para pesquisa, cidades portuárias, nas quais se observa a identificação com a imigração portuguesa, abordando, assim, quatro edifícios para a sua compreensão: o Real Gabinete Português de Leitura do Rio de Janeiro (RJ), o Gabinete Português de Leitura de Recife (PE), o Gabinete Português de Leitura de Salvador (BA) e o Centro Português de Santos (SP). / Closely linked to the Romanticism, the outbreak of the revivalism that was spread for almost all the countries of Europe in the second half of the nineteenth century created a different and emblematic style in Portugal, the Neomanuelino. This style had a symbolic reading in Brazil in the last three decades as an image of a power here represented, which core of National celebration concluded the philosophic and politic charism of its representation. This style, when retook Manuelino\'s characteristics (sixteenth century), was also retaking an important symbology of the National past, in which it looked for reaffirmation at the end of the nineteenth century because of the Nationalist spirit that involved everybody. Then, in this living scene, the architecture was the language that better represented the signs of the past, becoming a signing reference for the feelings of freedom and euphoria of the new time. Witnesses of this, the Portuguese Cabinets of Reading in Brazil, were urban references accorded to the social aspirations of the epoch, ransoming with it building the lusitanian memories in the formation of the National identity, which the history was its support as files of the urban memories. Our goal was the identification of this style, the Neomanuelino in Brazil, its social justification and its National identity present in the panorama of the Eclectic manifestations that characterized the passage of the century, considering the typology and the insertion of the building in the urban space. We defined as panorama for the research the port towns in which it can be observed the identification with the Portuguese immigration, approaching four buildings for its comprehension: The Real Portuguese Cabinet of Reading of Rio de Janeiro, The Portuguese Cabinet of Reading of Recife, The Portuguese Cabinet of Reading of Salvador and The Portuguese Center of Santos.

For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.

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The main research focus of this study was to determine more clearly to what extent Atticism influenced textual variants that are considered to belong to the Alexandrian text type. Since the time of Westcott and Hort, the Alexandrian text type has been regarded as a manuscript tradition which is representative of relatively high stylistic Greek. This assumption seems likely, especially given the fact that Alexandria and the areas which gave rise to the manuscripts comprising the Alexandrian text type were cultural centres of learning as well as of a newlyfound Hellenistic awareness within the Roman Empire. One of the movements stemming from this newfound awareness was Atticism, which was, amongst other things, an artificial literary movement which strove towards emulating the classical Attic literary dialect. However, in the last few decades the question of the alleged presence of Atticist influence in the manuscripts of the Greek New Testament has received its share of conflicting scholarly treatment among textual critics, especially since the 1963 publication of G.D. Kilpatrick s influential article, Atticism and the text of the Greek New Testament . On the one hand, there is common assent that Atticism exerted a profound influence on all Greek prose of the first century. On the other hand, some difference of opinion exists as to whether Atticism actually influenced the composition of the New Testament text in any significant way. The influence on the transmission of the New Testament texts is another question that still needs a fuller treatment in order to proceed from mere scholarly opinion to a more established empirical degree of certainty. The current study is an investigation into the nature of Atticism and its relationship with the classical Attic dialect. The results of this investigation were then used as basis for an evaluation of the alleged Atticisms in the Alexandrian witnesses, taking the witnesses to the text of I John as sample. In the process, thoroughgoing eclecticism as text-critical method is evaluated, and an adapted reasoned eclectic method proposed with which to conduct the investigation of the variants in I John. The results have shown that in the textual tradition of I John, inconsistencies of correction and scribal usage occur frequently within the Alexandrian text type and that the correction was predominantly not towards Attic, but rather displayed a tendency towards Hellenistic-Koine usage. In summary, the investigation demonstrates that the uniformity of the Alexandrian text type as a whole, if not completely suspect, should at least be judged very critically when it comes to matters of characteristic features which have for decades been accepted as true, such as the Alexandrian text type s reputation as one displaying stylistically polished Greek. The investigation of I John has shed valuable light on the methodological presupposition that categories of text types are fixed above all doubt, and that they display general typical characteristics. This presupposition has been exposed as false and indicates that one follows it at one s methodological peril. / MA (Greek), North-West University, Potchefstroom Campus, 2014

The main research focus of this study was to determine more clearly to what extent Atticism influenced textual variants that are considered to belong to the Alexandrian text type. Since the time of Westcott and Hort, the Alexandrian text type has been regarded as a manuscript tradition which is representative of relatively high stylistic Greek. This assumption seems likely, especially given the fact that Alexandria and the areas which gave rise to the manuscripts comprising the Alexandrian text type were cultural centres of learning as well as of a newlyfound Hellenistic awareness within the Roman Empire. One of the movements stemming from this newfound awareness was Atticism, which was, amongst other things, an artificial literary movement which strove towards emulating the classical Attic literary dialect. However, in the last few decades the question of the alleged presence of Atticist influence in the manuscripts of the Greek New Testament has received its share of conflicting scholarly treatment among textual critics, especially since the 1963 publication of G.D. Kilpatrick s influential article, Atticism and the text of the Greek New Testament . On the one hand, there is common assent that Atticism exerted a profound influence on all Greek prose of the first century. On the other hand, some difference of opinion exists as to whether Atticism actually influenced the composition of the New Testament text in any significant way. The influence on the transmission of the New Testament texts is another question that still needs a fuller treatment in order to proceed from mere scholarly opinion to a more established empirical degree of certainty. The current study is an investigation into the nature of Atticism and its relationship with the classical Attic dialect. The results of this investigation were then used as basis for an evaluation of the alleged Atticisms in the Alexandrian witnesses, taking the witnesses to the text of I John as sample. In the process, thoroughgoing eclecticism as text-critical method is evaluated, and an adapted reasoned eclectic method proposed with which to conduct the investigation of the variants in I John. The results have shown that in the textual tradition of I John, inconsistencies of correction and scribal usage occur frequently within the Alexandrian text type and that the correction was predominantly not towards Attic, but rather displayed a tendency towards Hellenistic-Koine usage. In summary, the investigation demonstrates that the uniformity of the Alexandrian text type as a whole, if not completely suspect, should at least be judged very critically when it comes to matters of characteristic features which have for decades been accepted as true, such as the Alexandrian text type s reputation as one displaying stylistically polished Greek. The investigation of I John has shed valuable light on the methodological presupposition that categories of text types are fixed above all doubt, and that they display general typical characteristics. This presupposition has been exposed as false and indicates that one follows it at one s methodological peril. / MA (Greek), North-West University, Potchefstroom Campus, 2014

Notre thèse pose essentiellement la question d’un principe de dépassement des apparentes contradictions stylistiques dans la musique du jazzman Enrico Pieranunzi (né en 1949) en établissant les stratégies élaborées en vue de ce dépassement. Cela au travers de ses multiples pratiques : au sein même de l’idiome jazz (influences) ; dans la confrontation entre les styles (jazz et musique occidentale de tradition écrite) ; enfin dans le dualisme dépassé entre improvisation et écriture.Après avoir tracé le parcours du pianiste, les processus à l’oeuvre dans sa musique sont discutés à travers trois approches différentes : la pratique de l’improvisation dans le cadre thème solos-thème afin de définir son style personnel – révélateur d’une dialectique filiation/invention (à partir de relevés inédits) ; puis les topiques de ses compositions écrites sont circonscrites afin de mettre en avant la synthèse originale du jazz et de la musique occidentale de tradition écrite à laquelle il parvient (à partir des partitions originales de Pieranunzi) ; enfin, nous nous intéressons aux conceptions de l’improvisation libre qu’il a développées et qui mettent en question les notions de forme et de structure en jazz. Pour ce dernier cas, nous avons été amené à aborder la notion de narration musicale et à développer les outils de modèle-figure et de modèle-cadre pour nos analyses.Une ultime partie rassemble tous les aspects développés au sein d’une étude de l’album EnricoPieranunzi Plays Domenico Scarlatti, ce qui nous permet en dernier instance de souligner la forme particulière de l’éclectisme pieranunzien, à la fois respectueux de ses emprunts et puissamment cohérent dans son style. / The present thesis essentially raises the question of a possible systematic way of going beyondthe seeming stylistic contradictions in the music of jazz man Enrico Pieranunzi (b. 1949). It lays outsome strategies intended to achieve this through his various activities – within the jazz idiom(influences), in the confrontation between styles (jazz and Western written music), and eventuallygoing beyond the dualism of improvisation versus writing.Following an examination of the pianist's background, the processes at work in his music arediscussed through three different approaches. First, improvising in the theme / solos / theme formbased on unpublished-before transcriptions in order to define a personal style that reveals a filiation /invention dialectic. Then, while studying some of Pieranunzi's original scores, the topics of hiscompositions are delineated in order to highlight the personal synthesis of jazz and Western writtenmusic he achieves. Finally, his concepts of free improvisation are dealt with, questioning the notion ofform and structure in jazz. The very last part is devoted to all the aspects studied in the album EnricoPieranunzi Plays Domenico Scarlatti, which eventually stresses Pieranunzi's specific type ofeclecticism, acknowledging its influences while remaining eminently consistent in terms of style.

[pt] A dissertação A Família Guinle e a Arquitetura do Rio de Janeiro: Um Capítulo do Ecletismo Carioca nas duas primeiras décadas do Novecentos tem como objetivo, descrever, organizar e analisar histórica e arquitetonicamente um grupo de arquiteturas da cidade do Rio, construídas no âmbito de uma mesma família, que mesmo em parte reconhecidas publicamente como de valor sóciocultural através do instrumento do tombamento patrimonial, ainda não haviam sido visualizadas como conjunto em si, seja por suas afinidades ecléticas comuns, seja em relação aos acontecimentos históricos que as aproximam e ensejam, nem na relação com outras arquiteturas a elas contemporâneas. O trabalho focaliza especialmente o momento das reformas urbanas do período Pereira Passos e o sucessivo espraiamento da cidade na direção da zona sul até a orla oceânica de Copacabana, nas duas primeiras décadas de 1900, conduzidas sob a ótica particular da operosidade arquitetônica dos Guinle. Desta forma a pesquisa e análise empreendidas visam organizar e problematizar alguns dos dados referentes à arquitetura eclética da cidade, contribuir na identificação e organização de fatos e imagens que explicitem sua expressão visual eclética e relevar de permeio a importância da família Guinle na constituição desta visualidade. / [en] The object of this thesis is to describe, organize and analyze, from the historical and architectural viewpoints, a group of architectural works in Rio de Janeiro built by a single family, which - although landmarked in acknowledgment of their social cultural significance - had not yet been seen as making up a set, defined by their common eclectic affinities, the historical events that originated them and their relation to other contemporary architectural works. Emphasis is given to the period of urban reform during the Pereira Passos administration and the city s continuous expansion into the South Zone towards Copacabana Beach in the first two decades of the 20th century, which took place under the influence of the Guinles architectural verve. The research and the analysis attempt to order and call into question some of the data concerning Rio s eclectic architecture, to contribute to the identification and organization of facts and images that express this visual eclecticism, and to highlight the importance of the Guinle family in the making of the city s visuality.

The purpose of this qualitative case study was to examine the beliefs of 5 experienced instructors about the ways adults learn in online professional development (OPD) courses, beliefs about creating online learning environments, and beliefs about instructional strategies for facilitating adult learning. The following questions guided this study: 1. What are the instructor’s beliefs about the ways that adults learn in online professional development courses? 2. What are the instructor’s beliefs about creating an online learning environment for adult learners? 3. What are the instructor’s beliefs about the use of instructional strategies to facilitate online learning with adults? The setting for the study was the professional development program of a large metropolitan school district in the southeastern United States. Data were collected through interviews, discussion board postings, and instructor journals and analyzed using a constant comparative method (Glaser & Strauss, 1967; Strauss & Corbin, 1998). The following themes emerged from the data: • Adult learning in OPD courses is an active process of making connections and applying knowledge and skills. • Learning for adults in OPD courses must be useful, meaningful, relevant, practical, adaptable, and applicable to the work setting. • Learning for adults in an OPD course requires more effort and commitment than learning in face-to-face professional development settings. • Adult learners in OPD courses need a comfort zone where they can feel “safe” communicating and interacting with learners and the instructor. • Adult learners need varying amounts of encouragement, support, guidance, and nurturing within a positive online learning environment(OLE)that supports and sustains them. • Instructors believe that collaboration is an effective strategy for facilitating learning with adults in OPD courses, yet existing barriers limit collaboration. • The OPD instructor is a flexible facilitator of learning who uses different types of feedback to confirm, correct, and inform learning with adults.

L'architecte Alfred-Nicolas Normand est un oublié de l'histoire. Après quatre années d'études aux Beaux-Arts, il obtient le Grand Prix de Rome en 1846. Pensionnaire à la Villa Médicis durant les cinq années suivantes, il se confronte aux canons de l'Antiquité. Il réalise cinq Envois d'une grande qualité, parmi lesquels une étude de la maison du faune à Pompéi, et la restauration du Forum romain en un travail mêlant art, érudition et archéologie. Il sillonne l'Italie et la Grèce, constituant un portefeuille de modèles qui nourrira sa pratique architecturale. S'y ajoute un beau corpus de calotypes influencé par les modalités du dessin. De retour en France, Normand réalise un hötel pompéien pour le prince Jérôme Napoléon. Il y voit l'occasion d'appliquer les leçons reçues de Rome, élaborant une juste synthèse entre archéologie, modèles canoniques et vie moderne. Puis il se verra confié la réedification de la Colonne Vendôme, effaçant ainsi le traumatisme mal assumé de la Commune. Sa carrière se diversifie, entre architecture privée et construction édilitaire : chäteaux, hötels particulier, halle métallique, maison centrale de Rennes. Il représente ces générations brillantes mais sans relief qui répondent aux exigences institutionnellles; Alfred Normand, en tant que banal modèle de l'excellence, incarne une histoire des strates, une figure du transitoire / The architect Alfred-Nicolas Normand is forgotten by the history. After four year at the Beaux-Arts, he obtains the Grand Prix de Rome in 1846. He is student at the villa Medici for the five next years. He makes five Envois in high quality. One of them is the house of the Faun in Pompeii. He realizes a great Restoration of the Roman Forum. His works proposes a synthesis of art, erudition and archaeology. During his pension he is travelling acrosss Italy and is given a recent authorization to reach Greece. the boarding school is opportunity for Normand to find out and to experience all the forms of his art which are well abovethe competences taught by the Institute. He will feed upon all these influences his architectural skills. In 1851, he discovers the calotype process, and after that he is taking photographs of the monuments in their context. The observer would remark a relative ressemblance between his practice as drawer and as a photographer. As he wants the process to be clearly documentary, the shooting process is drastically influenced by the drawing codes and method standards. Back in France he realizes a antique style Villa for the Prince Jérôme Napoléon. Normand finds here the opportunity to apply the lessons learned from Roma : monumentality and sense of decor. He does a good mix between archaeology, canonical models and modern lifestyle. A few years after, he is been given the maintenance of the Colonne Vendôme. As this monument has been thrown down during the Commune events, the State puts him in charge of its restoration in order to erase this painful episode from the popular memory. Throughout his career he will be required to build private prestigious residences (castles and private mansions) for which he will request a varied vocabulary : medieval, neo-Renaissance or XVIIIth century. He also achivied numbers of tombs and honorific monuments. Thereafter he turns to work on the penal institution architecture. He is appointed to be responsible for the conception of the Maison Centrale of Rennes, a prison for a thousand women serving a long sentence. He turns the panoptical system into a wide central courtyard to which converge all the windows of the prison building. Alfred Normand, as recognized as he could be in his time, is one of the history's forgotten people. He is a good representative of these generations : brilliant, but whitout relief, that could fit perfectly the institutional needs. He personifies the inertia of a professional corps facing the modern societies' individualistic conception

Made available in DSpace on 2014-06-11T19:31:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-03Bitstream added on 2014-06-13T20:41:52Z : No. of bitstreams: 1 souza_mm_dr_arafcl.pdf: 1646071 bytes, checksum: 968f9dc4c40cd7185755e57e46e1b160 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese trata das políticas educacionais para o ensino fundamental do campo em Rondônia a partir de 1990 e dos projetos educacionais da Via Campesina, especialmente do MST, explicitados no Movimento Por uma Educação do Campo. O método utilizado nesta investigação foi o materialismo histórico-dialético, que permitiu analisar as relações que determinam o fenômeno pesquisado, desvendando suas principais contradições. A análise centra-se nas políticas públicas impostas pelo imperialismo e nas relações semifeudais e semicoloniais do capitalismo burocrático brasileiro. Capitalismo burocrático é o tipo de capitalismo engendrado pelo imperialismo nos países atrasados, ou seja, semifeudal e semicolonial, mediante o domínio do imperialismo sobre toda a sua estrutura econômica e social. A semifeudalidade iniciou-se na colonização do Brasil e pode ser comprovada pela existência do latifúndio de velho e novo tipo e das formas mais precárias de trabalho predominantes no campo. Dentre outras formas, a ação do imperialismo faz-se presente na Amazônia por meio de seus organismos multilaterais, especialmente o Banco Mundial, com o objetivo de exercer a dominação ideológica e o controle do território. Dentre essas políticas destacam-se as de caráter geopolítico, como os projetos de reforma agrária e as políticas educacionais para educação dos camponeses/as, pois o campo é um espaço estratégico aos interesses do capital. O estudo busca na história e na legislação o tratamento dado pelo capitalismo burocrático brasileiro à educação do campo, até hoje negada, como demonstram os dados atuais. A pesquisa identifica as políticas do Banco Mundial, como os programas do Fundescola presentes em todos os municípios de Rondônia, que se fundamentam no neoprodutivismo (neopragmatismo e neotecnicismo) propagados no Brasil pelo ideário pósmoderno, a partir da década... / This thesis will examine the educational policies for primary rural education in the Rondônia after 1990s and the educational projects of Via Campesina, especially those of the Movement For Rural Education from the MST. The method used in this investigation was the historical and dialectical materialism that allowed us to analyze the relationships that determine the phenomenon studied, revealing its major contradictions. The analysis focuses on public policies imposed by imperialism and also semi-feudal and semi-colonial relations of the Brazilian Bureaucratic Capitalism. Bureaucratic Capitalism is the capitalism engendered by imperialism in the backward countries, or in other words, semi-feudal and semi-colonial dominated by imperialism on all its economic and social structure. The semi-feudal was initiated in the settling of Brazil, and can be proven by the existence of the latifundium of old or new kind and different precarious forms of employment prevailing in the rural space. Among other ways, the action of imperialism is present in the Amazon through its multilateral organizations, especially the World Bank in order to exercise ideological domination and control of the territory. Among these policies there are the geopolitical character, such as agrarian reform projects and educational policies to the education of peasants, because the rural area is a strategic place for the interests of capitalism. This research examines in the history and legislation, the treatment offered by the Brazilian bureaucratic capitalism to the rural education, so far denied, as evidenced by the current data. This study identifies the World Bank policies, such as FUNDESCOLA programs, presents in all municipalities of Rondônia, which are based on neo productivism (neo pragmatism and neo technicality) propagated by postmodern ideal after the 1990s in Brazil. Most of rural schools were closed... (Complete abstract click electronic access below)