Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. São utilizados, para fins análise, os registros do espetáculo, como fotos, vídeos, anotações de ensaio, além de entrevistas com o elenco, reafirmando assim o permanente ir e vir entre a reflexão teórica e a prática artística continuada, principal caráter de trabalho desta companhia de dança. / This theoretical study proposes the investigation on the flamenco gesture, through the analysis of the show Las Cuatro Esquinas of the Del Puerto Flamenco’s Company. With the purpose of contextualizing the show within the aesthetics of contemporary flamenco art, considering its traditional pillars as instrumental music, singing and dance proper, the investigation highlights and relates different notions of gesture with the artistic operability among the members of the group. The research also establishes intersections between the body speeches of the group and the specificities for the creation of the work. The records of the show, such as photos, videos, essay notes, as well interviews with the cast, were used for analysis purposes, thus reaffirming the permanent coming and going between the theoretical reflection and the continued artistic practice, the main work character of this company of dance.

Este estudo teórico propõe a investigação sobre o gesto flamenco, a partir da análise do espetáculo Las Cuatro Esquinas, da Companhia de Flamenco Del Puerto. Com o objetivo contextualizar o espetáculo dentro da estética da arte flamenca contemporânea, considerando seus pilares tradicionais a música instrumental, o canto e a dança propriamente dita, a investigação destaca e relaciona diferentes noções de gesto com a operacionalidade artística entre os integrantes do grupo. A pesquisa também estabelece intersecções entre os discursos do corpo do grupo e as especificidades para criação da obra. São utilizados, para fins análise, os registros do espetáculo, como fotos, vídeos, anotações de ensaio, além de entrevistas com o elenco, reafirmando assim o permanente ir e vir entre a reflexão teórica e a prática artística continuada, principal caráter de trabalho desta companhia de dança. / This theoretical study proposes the investigation on the flamenco gesture, through the analysis of the show Las Cuatro Esquinas of the Del Puerto Flamenco’s Company. With the purpose of contextualizing the show within the aesthetics of contemporary flamenco art, considering its traditional pillars as instrumental music, singing and dance proper, the investigation highlights and relates different notions of gesture with the artistic operability among the members of the group. The research also establishes intersections between the body speeches of the group and the specificities for the creation of the work. The records of the show, such as photos, videos, essay notes, as well interviews with the cast, were used for analysis purposes, thus reaffirming the permanent coming and going between the theoretical reflection and the continued artistic practice, the main work character of this company of dance.

Zugl.: Berlin, Freie Univ., Diss., 2008

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by recitals, recorded in 1992, Apr. 23, 2001, and Nov. 17, 2003. Includes analysis by Fábregas. Includes bibliographical references (p. 72-74).

Encompassed between the Potomac River, the Washington metro line and train bridges at 14th Street, the proposal is a phenomenological study choreographing between site, volume and material to enhance the moment of the aficionado. Exterior and interior spaces become unique stages for patron and performer alike to embellish at the onset of inspiration. Collectively, the journey through the stages of spaces becomes an introspective opportunity for all to experience. / Master of Architecture

This thesis investigates, analyzes, and discusses Picasso's imagery in the cultural context of the nineteenth-century Spanish tradition of flamenco. Two published photographs featuring the elderly artist with the gypsy guitarist Manitas de Plata initiated the study, and led me to the conclusion that selected works by Picasso were influenced psychologically, thematically, and formally by his youth which was spent in the Andalusian province of Malaga and later in Barcelona. Picasso's early artistic education occurred at precisely the same time and place as The Golden Age of Flamenco in Spain, a cultural phenomenon that profoundly affected both his life and art.

Made available in DSpace on 2015-05-14T12:52:24Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7333348 bytes, checksum: d2350533a45b15a4d04e57a6aa9d0a3e (MD5) Previous issue date: 2011-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main objective of this research is to formulate interpretative principles and proposals from a comprehensive bibliographic study of folklore and stylistic elements of Spanish music. This research is established from a melodic and structural analysis of the Suite for Solo Cello by Gaspar Cassado, from the performer s perspective, since the work is based on melodies and rhythms of Spain, as well as cultural elements of the Catalonia region. New interpretative challenges are established from the determination of stylistic features of the Suite, considering the composer s origin and his compositional influences. / O principal objetivo desta investigação é formular princípios e propostas interpretativas a partir de um amplo estudo bibliográfico dos elementos folclóricos e estilísticos da música espanhola. Esta pesquisa se estabelece a partir de uma análise melódico-estrutural da Suíte para Violoncelo Solo, de Gaspar Cassadó, sob a perspectiva do intérprete, uma vez que a obra está baseada em melodias e ritmos nacionais da Espanha, como também em elementos culturais da região da Catalunha. Novos desafios interpretativos são estabelecidos a partir da determinação de características estilísticas da Suíte, considerando a origem do compositor e suas influências composicionais.

Ces dernières années, de nombreuses études transcriptomiques à grande échelle ont clairement mis en évidence que la grande majorité du génome des eucaryotes est transcrite.Ce réseau complexe de transcrits inclus des petits ARN non codants qui interviennent généralement en tant que régulateurs transcriptionnels, post-transcriptionnels et/ou traductionnels de l’expression de certains ARNm cibles spécifiques. Ils sont classés selon leur origine biologique et leur mode d’action. Une catégorie de petits ARN non codants, les Piwi-interacting RNAs (piRNA), maintient l’intégrité du génome dans les tissus reproducteurs des métazoaires en réprimant les éléments transposables endogènes, des séquences ADN capables de se déplacer et de se dupliquer à l’intérieur du génome. Les piRNA sont produits par deux mécanismes : i) La biogenèse primaire à partir de longs ARN simple brin produits par certains loci spécifiques du génome, les clusters de piRNA, des loci énigmatiques, localisés dans les régions hétérochromatiques et composés de fragments d’éléments transposables actifs, ii) La boucle d’amplification appelée ping-pong. Durant ma thèse, j’ai étudié un cluster de piRNA majeurs dans les cellules somatiques des gonades femelles de Drosophila melanogaster, le locus flamenco. Tout d’abord, j’ai mis en évidence que la transcription de flamenco est initiée à partir d’un promoteur contenant une séquence INR et un élément DPE, reconnu par l’ARN polymerase II, et qu’elle nécessite la présence du facteur de transcription Cubitus Interruptus. Ensuite, j’ai montré que le transcrit de flamenco subit de l’épissage alternatif pour générer divers précurseurs ARN qui seront ensuite maturés en piRNA. De plus, j’ai montré que le promoteur de flamenco serait suffisant pour déclencher l’adressage du transcrit vers la voie de maturation des piRNA. Dans un autre axe, je me suis intéressée à l’organisation tridimensionnelle du locus flamenco au sein du noyau en recherchant ses partenaires d’interaction en utilisant la technique de 4C (capture de la conformation des chromosomes). J’ai pu voir que flamenco semble interagir physiquement avec des régions génomiques fortement transcrites en cis. En trans, le locus flamenco interagit majoritairement avec des régions génomiques péricentromériques et avec d’autres clusters de piRNA. Cette disposition tridimensionnelle particulière pourrait être le reflet d’une organisation fonctionnelle.Dans l’ensemble, ces travaux permettent de mieux comprendre l’expression et le fonctionnement du locus flamenco et ouvrent la voie vers de nouvelles recherches prometteuses. / The past few years it has become clear from many transcriptomic studies that most of the eukaryotic genome is pervasively transcribed. This complex network of transcripts include several types of small RNAs classified as non-coding RNAs. The vast majority of small RNA act as transcriptional, posttranscriptional and/or translational regulators, controlling specific target mRNAs involved in various cellular functions. They are classified based on their biogenesis and mode of action. A subclass of small non-coding RNAs, the Piwi-interacting RNAs (piRNA), ensures genomic stability by silencing endogenous transposable elements, endogenous sequence that are able to move and duplicate into the genome, in both germline and somatic gonadal tissues of metazoan. piRNA are produced through two mechanisms, i) The primary processing pathway from long single-stranded precursors produced by some specific loci in the genome, the piRNA clusters, ii) The secondary pathway by the amplification loop called the ping-pong. piRNA clusters are enigmatic loci localized in heterochromatic region and composed of transposable element fragments.During my PhD, I studied a major piRNA cluster in the somatic cells of Drosophila melanogaster female gonads, the flamenco locus. First, I demonstrated that flamenco transcription is initiated from an RNA Polymerase II promoter containing Inr and DPE elements, and requires the transcription factor, Cubitus interruptus. Then, I showed that the flamenco precursor transcript undergoes differential alternative splicing to generate diverse RNA precursors that are processed into piRNA. Moreover, I showed that the flamenco promoter could be sufficient to target transcripts into the piRNA processing pathway. In an other hand, I was interested to the tridimensional nuclear organization of the flamenco locus using the 4c technology. I saw that the flamenco locus interacts physically with strongly transcribed genomic region in cis. In trans, the flamenco interacts with other peri-centromeric genomic regions and with two other piRNA cluster. This particularly three-dimensional positioning could be the reflect of a functional organization.In the main, this work allows to better understand the expression and the mode ofaction of the flamenco locus and paves the way for new promising research.

Dans l’imaginaire comme dans la pratique, la guitare et le flamenco sont indissociables. Cette alliance dure depuis plus d’un siècle et demi. Depuis le creuset andalou, le flamenco s’est peu à peu formé. D’abord art festif des fêtes privées, il est sorti de ce cadre pour trouver d’autres lieux de représentation. Ce furent les cafés-cantantes, puis les concours, puis les opéras-flamencos. Il fût parfois l’objet de controverses et de débats entre les défenseurs de la modernité et ceux de la tradition. Le flamenco est une musique immédiatement identifiable pour un auditeur profane. Il est pourtant constitué d’un nombre important de formes et de familles de formes. L’objet de cette étude est de montrer les récurrences dans les formes - les palos- afin de pouvoir identifier la forme par l’analyse rythmique, littéraire et musicale, et en particulier en se basant sur le jeu de guitare. / In imaginary as well than in practice, guitar and flamenco music are inseparable . This alliance last for more than a century and half. From the Andalusian melting pot, flamenco has little by little formed himself. At first festive art from private parties, he went out to find new places of representation. That was the cafés-cantantes, then the competitions, then the opéras-flamencos. He was sometimes the object of controversy and of debates between defenders of modernity and tradition. Flamenco is an immediately identifiable music for a profane auditor. But he is constituted of an important numbers or forms or of form family. This study object is to show recurrences in the forms – the palos – to be able to identify the form by rhythmical, literary and musical analysis, particularly basing itself on the guitar playing.

Au cours du 20e siècle, la musique s'est affirmée comme un objet pertinent pour les géographies francophones et anglophones. Bien que ce constat s'accompagne aujourd'hui de publications nombreuses et variées, le sujet continue d'étonner à l'intérieur même de la discipline. Ce travail explore les causes d'un tel blocage. L'hypothèse suppose que l'affirmation de la musique comme objet géographique est responsable du paradoxe constaté. Si cette idée se vérifie lorsque la justification élaborée par les music geographers est à la source d'une forme d'inertie, elle montre surtout que l'enfermement d'un objet dans un sous-courant porte atteinte à sa liberté de circulation intradisciplinaire. Affirmer la pertinence du sujet sans pour autant restreindre l'objet à une sous-discipline implique alors la généralisation disciplinaire de la musique, puis sa pluridisciplinarisation. En guise de terrain, le flamenco illustre la complexité géographique d'un phénomène musical. La flamencologie historique s'est construite sur des oppositions et des incertitudes, principalement parce qu'elle a cherché à spécifier les caractéristiques de son objet. En travaillant le flamenco dans tous ses espaces, lieux et territoires, nous voyons qu'il fait converger divers points de vue, dans la tension ou dans la continuité. L'analyse des relations interspatiales permet de mieux saisir l'objet dans l'espace géographique. Ainsi, ses différentes dimensions (socioculturelle, économique et politique principalement) peuvent être réunies pour aborder les principes d'une action flamenca. / L'auteur n'a pas fournit de résumé en anglais.