This study is the first comprehensive analysis of the fatal woman motif in the writings and art of Edvard Munch from the early 1890s to 1909. It uses a background of the women in the artist's life as well as the literary and artistic worlds in which Munch participated. Following separate accounts of Munch's relationships with five women, the manner in which the artist characterizes each as a fatal woman in his writings and art is discussed and analyzed. Next, the study describes the fatal woman motif in late nineteenth century art and literature. It begins with a discussion of the origin of the Symbolist and Decadent Movements and an ideological examination of the fatal woman motif as it is manifested in the writing and art of these two groups. In addition, it compares Munch's visual manifestations of the femme fatale with the manner in which the artist's contemporaries depicted her. Finally, this study describes two groups of men with whom Munch was particularly close: the Christiania Bohéme and the Schwarzen Ferkel Circle. An examination of the literary works of these men helps to determine the way in which they affected Munch's pictorial perception of the fatal woman.

Working in the introduction briefly remind the life of the composer and readers closer Lyrical pieces, which for the analysis of piano works, the author chose. In other chapters focuses on the individual characteristics of the piano music of Edvard Hagerup Grieg and proves it on the selections. Among the discovered features include: inspiration folk creation, simple composition works, playing with basic motive, use of arpeggios, composer's creative work with octave and unison, shortened echoes, long bass, chromatic and diatonic practices and changing hands in the lead melody. It is focused on a brief analysis of the lyrical piece Wedding Day at Troldhaugen, proves on analysis discovered features work and strive to interpret the songs where the author comes from her own experience and from listening to recordings stored on Bergen library and recordings of the Edvard Hagerup Grieg interpretation. In conclusion, the author presents a chapter on the possible use of Lyrical pieces.

Det här arbetet handlar om min instuderingsprocess av Edvard Griegs sonat för violin och piano op. 8. Under arbetets gång har jag huvudsakligen fokuserat på två frågeställningar: Hur kan jag använda fingersättningar på bästa sätt för att underlätta för intonation och musikalisk idé? Hur kan pianostämman i en sonat för violin och piano hjälpa mig att tolka violinstämman? De fingersättningar som föreslogs i utgåvan jag använde fungerade inte så bra för mig. Detta fick mig att fundera över hur man kan använda fingersättningar för att underlätta för intonation och musikalisk intention. På grund av styckets överlag något folkliga karaktär har jag utgått ifrån vilka fingersättningar som känns mest naturliga för att få fram ett så enkelt och lättillgängligt uttryck som möjligt. Dessutom studerade jag pianostämman innan violinstämman för att kunna basera frasering och musikaliska idéer på harmonik och andra impulser som ofta kommer från pianostämman.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-01-10T11:29:59Z No. of bitstreams: 1 Mariana Rodrigues Festucci Ferreira.pdf: 3092476 bytes, checksum: e46bb84f3238cf7d45347d8934cefe5f (MD5) / Made available in DSpace on 2017-01-10T11:29:59Z (GMT). No. of bitstreams: 1 Mariana Rodrigues Festucci Ferreira.pdf: 3092476 bytes, checksum: e46bb84f3238cf7d45347d8934cefe5f (MD5) Previous issue date: 2016-12-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation proposes to think the condition of melancholy from aspects that define your way of structuring psychically and is located in the bonds and speeches, especially in speech capitalist, who prepare the enjoyment in contemporary society. For both, performs a qualitative research of interlocution between psychoanalysis and art, which unfolds in five stages:1. A history of the theorized about the melancholy of antiquity to modernity. 2. The melancholy in Freud, since their first approximations of the theme in the letters and drafts, who directs the then friend Fliess until the formalization conceptually undertaken in test Mourning and melancholy, not if I leave aside the additional considerations made in subsequent texts. 3. The Melancholy from theoretical considerations developed by Jacques Lacan regarding the constitution of the subject since the stadium of the mirror until the formalization of object a, passing by re-reading of Lacan testing of Freud in different moments of his teaching, his articulation of melancholy to pain to exist from Buddhism and culminating in the meeting of elements that allow to situate melancholy while clinical type of psychosis. 4. The relationship between melancholy, capitalism and social bond through the critique of the capitalist economic system operated by Benjamin, the theorizing of capitalist discourse as an offshoot of the discourse of the master proposed by Lacan, theorists who think the implications of this speech to the subjectivity of the subject in contemporary times without giving up the factors that count as the psychic structure, including Sidi Askofaré , Pacheco Filho and Vladimir Safatle, and joints to be made between the capitalist discourse and the outside-the-discourse of psychosis. 5. The reading of the melancholic expression, both regarding the psychic implications as social, in the work of painter Munch, aiming to take it as index of contemporary society. "Never will people understand that my paintings were created from seriousness and suffering" (Munch apud Tojner, 2004). It is concluded that such seriousness and suffering, however, served as an upholstery for him to go beyond his Art, marking how this way can act both in favor of the structural implications of the melancholic in the loop and the difficulties accentuated by the capitalist discourse. To this discourse Art, with its inventive potential, makes a hole, pointing out an alternative / Esta dissertação se propõe a pensar a condição do melancólico a partir dos aspectos que delimitam seu modo de se estruturar psiquicamente e se situar nos laços e discursos, especialmente no discurso capitalista, que aparelha o gozo na sociedade contemporânea. Para tanto, realiza uma pesquisa qualitativa de interlocução entre a Psicanálise e Arte, que se desdobra em cinco momentos: 1. Um percurso histórico das teorizações sobre a melancolia da Antiguidade à Modernidade 2. A melancolia em Freud, desde as suas primeiras aproximações do tema nas cartas e rascunhos que dirige ao então amigo Fliess até a formalização conceitual empreendida no ensaio Luto e Melancolia, não sem deixar de lado as considerações complementares realizadas em textos posteriores. 3. A melancolia a partir das considerações teóricas desenvolvidas por Jacques Lacan no que tange a constituição do sujeito desde o estádio do espelho até a formalização do objeto a, passando pela releitura de Lacan do ensaio de Freud nos diferentes momentos de seu ensino, a sua articulação da melancolia à dor de existir a partir do budismo e culminando na reunião de elementos que permitem situar a melancolia enquanto tipo clínico da psicose. 4. A articulação entre melancolia, capitalismo e laço social através da crítica do sistema econômico capitalista operada por Benjamin, a teorização do discurso capitalista como um desdobramento do discurso do mestre proposto por Lacan, os teóricos que pensam as implicações deste discurso para a subjetividade do sujeito na contemporaneidade sem abrir mão dos fatores que contam como a estruturação psíquica, incluindo Sidi Askofaré, Pacheco Filho e Vladimir Safatle, e as articulações possíveis de serem realizadas entre o discurso capitalista e o fora-do-discurso da psicose. 5. A leitura da expressão melancólica, tanto no que tange as implicações psíquicas quanto sociais, na obra do pintor Munch, visando toma-la como índice na sociedade contemporânea. “Nunca as pessoas vão entender que as minhas pinturas foram criadas a partir da seriedade e do sofrimento” (Munch apud Tojner, 2004). Conclui-se que tal seriedade e sofrimento, entretanto, serviram de estofo para que ele fosse além com a sua Arte, marcando como esta via pode atuar tanto em favor das implicações estruturais do melancólico no laço quanto das dificuldades acentuadas pelo discurso capitalista. A este discurso a Arte, com o seu potencial inventivo, faz furo, apontando uma alternativa

In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

In 1879-1880, E. W. Fritzsch in Leipzig issued a most unusual collection entitled <i>Arrangements of Mozart Piano Sonatas with a freely composed second piano part without opus numbers</i>, prepared by the noted Norwegian composer, Edvard Grieg (1843-1907). The collection of Griegs arrangement of Mozarts works comprises the <i>Piano Sonata in F major, KV 533/494</i> (composed in 1788), <i>Fantasia and the Piano Sonata in C minor, KV 475 and KV 457</i>(composed in 1784), the <i>Piano Sonata in C major, KV 545</i> (composed in 1788), and the <i>Piano Sonata in G major, KV 189h=283</i> (composed in 1775). According to the letter to Dr. Max Abraham, Grieg originally prepared his arrangements of Mozarts four sonatas for pedagogical reasons. In his article Mozart (November 1897), Grieg also mentions his own Mozart editions:<p> <i>The writer of this article has himself attempted, by using a second piano, to impart to several of Mozarts pianoforte sonatas a tonal effect appealing to our modern ears; and he wishes to add, by way of apology, that he did not change a single one of Mozarts notes, thus preserving the respect we owe to the great master. It is not my opinion that this was an act of necessity; far from it. But provided a man does not follow the example of Gounod, who transformed a Bach prelude into a modern, sentimental, and trivial show piece, of which I absolutely disapprove, but seeks to preserve the unity of style, there is surely no reason for raising an outcry over his desire to attempt a modernization as one way of showing his admiration for an old master.</i><p> With regard to this collection of Mozart sonatas, this thesis documents the influence of Mozart, a Viennese classical composer, on Grieg, a Norwegian Romantic composer, with a special focus on Mozarts <i>Piano Sonata in F Major, KV 533/494</i> in the arrangement by Grieg. With Griegs bold claim that he did not change a single one of Mozarts notes, this study reveals the authenticity through the critical examination of the musical text in the context of the primary sources.

Tesis

Diploma thesis Edvard Beneš as character in postwar cinema deals with specific issue in relationship between feature film and history. It is focused on the development of knowledge in historiography of science and gradually recognition of the film as a historical source. President of Czechoslovakia Edvard Beneš was chosen as a laboratory sample for my research. The work looks into Beneš's image from the first normalization movies by Otakar Vávra till contemporary TV series České století. The work is also trying to reflect my own experience with editing process of historical drama.

Made available in DSpace on 2014-06-12T18:37:45Z (GMT). No. of bitstreams: 2 arquivo8352_1.pdf: 1310747 bytes, checksum: 7009fc89bc29d63ef0439ec7349d121b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2004 / A integração entre literatura e pintura é tema discutido desde a Antigüidade. A ausência de unanimidade sobre a pertinência da relação denota por si, a riqueza inerente ao assunto. Nesta pesquisa intersemiótica aproximamos o pintor norueguês Edvard Munch e o escritor brasileiro Lúcio Cardoso. A partir da análise do romance Crônica da Casa Assassinada e da seqüência de quadros intitulada O Friso da Vida encontramos o ponto de interseção entre as obras. A despeito das diferenças e através do espírito expressionista encontramos a representação do Ser Integral com suas áreas de sombra e de luz

The thesis focuses on the form changes of postwar Czechoslovakia at the Paris Peace Conference in 1918-1919 concerning the personality of Foreign Minister Edvard Benes and describtion and interpretation of his ideas, which were confronted with the reality of the political elites of the time and the views of the contemporary press. The aim of this thesis is to analyse the Benes's efforts related to the formation of postwar Czechoslovakia, his foreign anchorage, international guarantees and bonds, its borders and relations with neighboring countries, etc., whose final form we know, but we're not already familiar with their alternative tendencies and ideas, which changed at the Paris Peace conference.