Made available in DSpace on 2017-07-10T17:55:33Z (GMT). No. of bitstreams: 1 Felipe_Salvador_Weissheimer.pdf: 973582 bytes, checksum: 2d0ce3d1338c58dd832ec4c7014011b5 (MD5) Previous issue date: 2014-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Amongst the various Kama-sutras published in the market, the classical version was written by Vatsyayana (I-IV centuries, approximately) and published in England in 1883 by the Kama-Shastra Hindu Society. Richard Francis Burton was the member with most importance in the Kama-Shastra Hindu Society, given that he not only fomented the publication, but also helped with the translation, edited and uttered several comments during the work. In his comments, we can notice how the project of translation and publication of the Kama-sutras pointed specially towards the institution of new sexual practices to his contemporaries. For him, mattered not only to know the other , but also to learn with the other , and the discourse of Vatsyayana was built by him in this learning manual . From the Kama-sutras, Burton imagined an exotic East , carrier of sexual and erotic knowledge. This imagined community by the translator-commentator created a discursive effect of considerable stimulus over the affective dispositions of the readers, fact that reinforced his ideological action of Victorian erotic and sexual practices transformation. Burton thought that the Kama-sutras was important for Englishmen, for it contained many new and interesting things about the union of sexes . Moreover, he observed that the ignorance about sex led Englishmen to not fully enjoy marital delights, as well as not completely satisfying the sexual desires of their wives. Thus, we notice that there was an immanent sense in the discourse of Burton about Indian past, in which the translator-commentator sought for the intent of reaching the truth about Indian past, strike English reality at the end of the 19th century. In the analysis of the extracts from those involved in the translation and publication of Kama-sutras, there can be seen, for instance, the existence of legal interdictions, such as those promulgated by the Obscene Publications Act of 1857, which regulated the publications of an erotic and sexual sort. Besides, after a historiographical review and taking the reports of those involved in the production of the Kama-sutras as a source, we have seen that the conflicts between the producers of the Kama-sutras and the guardians of chastity (who fought the so called obscene publications ) happened, above all, in the bosom of the bourgeois class, even if it was not an exclusively bourgeois conflict. In this sense, we analyze (not only the English translation of the Kama-sutra, but also other texts that were at the tangle of relationships interdiscursive), the representations, interventions and disciplines, social and culturally constructed in England in the late nineteenth century, that focused on bodies and on the identities of the Victorians / Dentre os vários Kama-sutras difundidos no mercado, a versão clássica foi escrita por Vatsyayana (século I-IV, aproximadamente) e publicada na Inglaterra em 1883 pela Sociedade Hindu Kama-Shastra. Richard Francis Burton foi o membro de maior importância na Sociedade Hindu Kama-Shastra, pois, além de fomentar a publicação, auxiliou na tradução, editou e enunciou vários comentários ao longo da obra. Em seus comentários, percebemos que o projeto da tradução e publicação do Kama-sutras visava em especial à instituição de novas práticas sexuais aos seus contemporâneos. Para ele, importava não apenas conhecer o outro , mas aprender com o outro , e o discurso de Vatsyayana foi constituído por ele neste manual de aprendizagem . A partir do Kama-sutras, Burton imaginou um Oriente exótico , portador de conhecimentos sexuais e eróticos. Este Oriente exótico do tradutor-comentador criou um efeito discursivo de considerável estímulo sobre as disposições afetivas dos leitores, fato que reforçou sua ação ideológica de transformação das práticas eróticas e sexuais dos vitorianos. Burton achava que o Kama-sutras era importante para os ingleses, pois continha muitas coisas novas e interessantes sobre a união dos sexos . Além disso, observava que a ignorância acerca do sexo levava o homem inglês a não desfrutar totalmente dos prazeres matrimoniais, além de não satisfazer plenamente os desejos sexuais de sua esposa. Assim, percebemos que havia um sentido imanente ao discurso de Burton sobre o passado indiano, no qual o tradutor-comentador buscou pela pretensão de se alcançar a verdade sobre o passado indiano, atingir a realidade inglesa do final do século XIX. Nas análises dos relatos dos envolvidos na tradução e publicação do Kama-sutras, constatamos, por exemplo, a existência de interdições legais, tais como as promulgadas pela Lei de Publicações Obscenas de 1857, que regulavam as publicações de cunho erótico e sexual. Além disso, a partir de uma revisão historiográfica e tomando os relatos dos envolvidos na produção do Kama-sutras como fonte, constatamos que os conflitos entre os produtores do Kama-sutras e os guardiões da castidade (que combatiam as ditas publicações obscenas ) se deram, sobretudo, no seio da classe burguesa, mesmo não sendo um conflito exclusivamente burguês. Neste sentido, buscamos analisar (não somente a tradução inglesa do Kama-sutras, mas, também, outros textos que estiveram no emaranhado de relações interdiscursivas), as representações, intervenções e disciplinas, construídas social e culturalmente na Inglaterra do final do século XIX, que incidiram sobre os corpos e sobre as identidades dos sujeitos daquele contexto

Though Poulenc marks choral compositions with metronomic indications, there are problems concerning tempo. The purpose of this paper is to determine guidelines for dealing with choral tempo. Chapter II relates biographical information pertinent to the study. Style Is examined In Chapter III, determining aspects that call tempo marks into question and influence tempo determination. In Chapter IV, the manner in which Poulenc uses tempo indications in the choral works is analysed and the relationship between form and tempo examined. Chapter V records Information bearing upon tempo from Poulenc's collaboration with conductors, as well as examining recordings of Poulenc's music in which he played or with which he expressed approval. Guidelines for determining tempo are stated in Chapter VI.

Notre projet a pour but de mettre en lumière les sources documentaires de Dialogues des Carmélites, la deuxième œuvre lyrique de Francis Poulenc (1899-1963). Le parcours vers la version « ultime » de cette œuvre fut si compliqué que le compositeur a laissé de nombreux documents à examiner. De plus, Poulenc a effectué plusieurs fois la révision de la musique, surtout pour la création milanaise de janvier 1957, mais aussi pour la création parisienne en juin de la même année. Dialogues des Carmélites est une œuvre dont les « versions définitives » ont été souvent rejetées par le compositeur lui-même. Nos analyses sont organisées autour des deux grands axes suivants : l’un est les recherches et les analyses des sources documentaires, l’autre est l’analyse de la musique à travers des partitions manuscrites et imprimées. Dans le premier chapitre, nous abordons l’aspect chronologique documentaire du sujet en montrant les sources intéressantes touchant notre compositeur. De nombreuses sources et leurs particularités, notamment les partitions et les listes de remaniement que nous traitons dans cette étude nous ont permis de cerner la chronologie de la composition de cet opéra. Dans le deuxième chapitre, nous examinons l’écriture musicale du compositeur et sa progression dans l’œuvre. Le dernier chapitre concerne principalement la réception de l’œuvre. Les critiques de la presse nous montrent la réaction internationale et française aux créations de l’œuvre, qui est accueillie par de nombreux spectateurs aujourd’hui encore dans le monde entier. / Our project intends to bring to light the documentary sources for Dialogues des Carmélites, Francis Poulenc’s second opera. The road to the « definitive » version of this work was so complicated that the composer’s documents left to analyse are numerous. Furthermore, Poulenc himself often reviewed the music, particularly for the January 1957 Milanese creation, as well as for the June 1957 Parisian creation. Indeed, Dialogues des Carmélites is a work whose « definitive versions » have often been rejected by their composer. Our analyses are organised around two main axes: one pertains the researches and analyses of the documentary sources, the other concerns the study of the music through the handwritten and printed scores. In the first chapter, we tackle the chronological documentary aspect of the topic, showing the interesting sources concerning the composer. The abundance of these sources and their peculiarities, with particular reference to the scores and the reworking lists, will allow us to define the compositional chronology of this opera. In the second chapter, we examine the composer’s musical notation and its progression in Dialogues des Carmélites. Finally, the last chapter focuse mainly on the reception of the audiences. Press reviews will illustrate the international and French reactions to the various creations of the opera, a work still widely praised all over the world.

No description available.

A ficção de Paulo Francis - um corpus formado por dois romances, Cabeça de papel e Cabeça de negro, partes de uma trilogia inconclusa, mais duas novelas, “Mimi vai à guerra” e “Clara, Clarimunda...”, publicadas sob o título geral Filhas do segundo sexo, e um romance póstumo, Carne viva - se apresenta como um experimento interessante do panorama literário brasileiro das últimas décadas. Jornalista de interesses culturais e políticos, Francis dotou suas narrativas de procedimentos usados nas crônicas publicadas ao longo de décadas na imprensa nacional, principalmente nos dois primeiros romances, cujo narrador, Hugo Mann, é extremamente digressivo, opinativo, irreverente e provocativo. É esse narrador, que filia o resultado a um tipo de subgênero que se poderia chamar de “romance de ideias”, que se quer investigar. Produto característico do século XX, Francis parece ter usado o romance de ideias para alcançar um tipo de fabulação que diagnosticasse as mazelas do Brasil, em um tipo de texto que se pretende também um painel histórico, sociológico, comportamental. Como coadjuvantes, entram os demais títulos de sua novelística. / Paulo Francis’s fiction - one corpus formed by two romances, Paper Head and Negro Head, which are parts of an unfinished trilogy, plus two novels, ‘Mimi goes to War’ and ‘Clara, Clarimunda...’ both published under the general title Daughters of the Second Sex, and the posthumous romance Live Flesh - appears as an interesting experiment in the Brazilian literary panorama of the last decades. A journalist with cultural and political interests, Francis produced his narrative using the same procedures he used in his chronicles published in national newspapers for decades, mainly in this two first romances, whose narrator, Hugo Mann, is extremely digressive, opinionated, irreverent and provocative. What this study aims to investigate is this narrator who links the result to a sort of subgenus that might be classified as ‘romance of ideas’. As a characteristic 20th Century product, Francis seems to have used his romance of ideas with the purpose of achieving a sort of fable that would diagnose Brazil’s sores. His writing also intends to be a historic, sociological and behavioural panel of the nation. His other novels enter like coadjutants.

A ficção de Paulo Francis - um corpus formado por dois romances, Cabeça de papel e Cabeça de negro, partes de uma trilogia inconclusa, mais duas novelas, “Mimi vai à guerra” e “Clara, Clarimunda...”, publicadas sob o título geral Filhas do segundo sexo, e um romance póstumo, Carne viva - se apresenta como um experimento interessante do panorama literário brasileiro das últimas décadas. Jornalista de interesses culturais e políticos, Francis dotou suas narrativas de procedimentos usados nas crônicas publicadas ao longo de décadas na imprensa nacional, principalmente nos dois primeiros romances, cujo narrador, Hugo Mann, é extremamente digressivo, opinativo, irreverente e provocativo. É esse narrador, que filia o resultado a um tipo de subgênero que se poderia chamar de “romance de ideias”, que se quer investigar. Produto característico do século XX, Francis parece ter usado o romance de ideias para alcançar um tipo de fabulação que diagnosticasse as mazelas do Brasil, em um tipo de texto que se pretende também um painel histórico, sociológico, comportamental. Como coadjuvantes, entram os demais títulos de sua novelística. / Paulo Francis’s fiction - one corpus formed by two romances, Paper Head and Negro Head, which are parts of an unfinished trilogy, plus two novels, ‘Mimi goes to War’ and ‘Clara, Clarimunda...’ both published under the general title Daughters of the Second Sex, and the posthumous romance Live Flesh - appears as an interesting experiment in the Brazilian literary panorama of the last decades. A journalist with cultural and political interests, Francis produced his narrative using the same procedures he used in his chronicles published in national newspapers for decades, mainly in this two first romances, whose narrator, Hugo Mann, is extremely digressive, opinionated, irreverent and provocative. What this study aims to investigate is this narrator who links the result to a sort of subgenus that might be classified as ‘romance of ideas’. As a characteristic 20th Century product, Francis seems to have used his romance of ideas with the purpose of achieving a sort of fable that would diagnose Brazil’s sores. His writing also intends to be a historic, sociological and behavioural panel of the nation. His other novels enter like coadjutants.

A ficção de Paulo Francis - um corpus formado por dois romances, Cabeça de papel e Cabeça de negro, partes de uma trilogia inconclusa, mais duas novelas, “Mimi vai à guerra” e “Clara, Clarimunda...”, publicadas sob o título geral Filhas do segundo sexo, e um romance póstumo, Carne viva - se apresenta como um experimento interessante do panorama literário brasileiro das últimas décadas. Jornalista de interesses culturais e políticos, Francis dotou suas narrativas de procedimentos usados nas crônicas publicadas ao longo de décadas na imprensa nacional, principalmente nos dois primeiros romances, cujo narrador, Hugo Mann, é extremamente digressivo, opinativo, irreverente e provocativo. É esse narrador, que filia o resultado a um tipo de subgênero que se poderia chamar de “romance de ideias”, que se quer investigar. Produto característico do século XX, Francis parece ter usado o romance de ideias para alcançar um tipo de fabulação que diagnosticasse as mazelas do Brasil, em um tipo de texto que se pretende também um painel histórico, sociológico, comportamental. Como coadjuvantes, entram os demais títulos de sua novelística. / Paulo Francis’s fiction - one corpus formed by two romances, Paper Head and Negro Head, which are parts of an unfinished trilogy, plus two novels, ‘Mimi goes to War’ and ‘Clara, Clarimunda...’ both published under the general title Daughters of the Second Sex, and the posthumous romance Live Flesh - appears as an interesting experiment in the Brazilian literary panorama of the last decades. A journalist with cultural and political interests, Francis produced his narrative using the same procedures he used in his chronicles published in national newspapers for decades, mainly in this two first romances, whose narrator, Hugo Mann, is extremely digressive, opinionated, irreverent and provocative. What this study aims to investigate is this narrator who links the result to a sort of subgenus that might be classified as ‘romance of ideas’. As a characteristic 20th Century product, Francis seems to have used his romance of ideas with the purpose of achieving a sort of fable that would diagnose Brazil’s sores. His writing also intends to be a historic, sociological and behavioural panel of the nation. His other novels enter like coadjutants.

The dissertation is a critical reflection on the relevance of Franciscan spirituality over eight centuries with special focus on the Third Order Regular. This spirituality is rooted in the life and writings of St Francis and St Clare of Assisi and their experience of the kenotic Christ. The Franciscan charism prevails in the world today as a living response to God’s transforming love which is expressed in a ministry of loving service and solidarity with the poor and marginalised – re-enacting Francis’ radical conversion when he embraced the leper. The Third Order Regular, inspired by Vatican II which called for a return to the charism of religious founders, returned to its roots with the revised Rule of 1982 based on the writings of Francis and Clare and grounded in Sacred Scripture. The Rule’s vision corresponds with the 1996 document Vita Consecrata on consecrated life and its mission to be prophetic witnesses to Christ today. / Christian Spirituality, Church History & Missiology / M. Th. (Christian Spirituality)

<p>Detta arbete, inom ämnet Kristendomens historia, presenterar en svenskkyrklig orden, ”Franciskus Tredje Orden inom Svenska kyrkan” (F.T.O.), som tillhör den ”Tredje Orden” (TSSF) inom ”The Society of Saint Francis” (SSF), en ordensgemenskap inom den Anglikanska kyrkan, Church of England. Orden är öppen för kvinnor och män, vigda (biskopar, präster och diakoner) och lekfolk som lever vanliga liv i familj och samhälle, med en vilja att leva sina liv utifrån en tydlig inspiration av den helige Franciskus och hans liv.</p><p>Syftet med arbetet är att undersöka och redogöra för de primärkällor som finns från tiden av F.T.O.: s grundande för att svara på frågan om huruvida Ordens uppkomst var förenlig eller ej med den Svenska kyrkan, dess tro, lära och bekännelse.</p><p>Undersökningen inleds med en deskriptiv del gällande bakgrunden till frågeställningen där jag redogör något för reformationen och vad detta medförde för Svenska kyrkan gällande klosterliv. Sedan följer en redogörelse och en hermeneutiskt och dogmatisk analys av de, för tiden av Ordens grundande, aktuella källorna.</p><p>En sammanfattning av resultatet som framkommit är det att grundandet av F.T.O. i början av 1970-talet var förenligt med den Svenska kyrkan. Vi kan se i källorna att Ordens syfte och annat typiskt för Orden, korresponderar väl med vad som uttrycks gällande tro, lära och bekännelse i Kyrkolagen 1686 och de, förutom Bibeln, samlade bekännelseskrifterna för den Svenska kyrkan. Genom detta arbete konstaterar vi att ett ordensliv likt F.T.O. kan tillämpas inom ett evangeliskt-lutherskt kyrkosamfund och att det på intet sätt är synonymt med den gärningsfromhet inom klosterväsendet som reformatorerna så tydligt vände sig mot under medeltiden.</p> / <p>This study, in the subject the history of Christianity, present an order in the Church of Sweden, “Saint Francis Third Order within the Church of Sweden” (F.T.O.), which is a part of the “Third Order” (TSSF) within “The Society of Saint Francis” (SSF), a community within the Anglican Church, Church of England. The order is open for women and men, ordained (bishops, priests and deacons) and lay people who live ordinary lives in family and society, with a desire to live their lives inspired by Saint Francis and his life.</p><p>My purpose with this study is to examine and describe the prime sources from the time of the foundation of the F.T.O. to answer the question about whether the foundation of the Order was compatible or not with the Church of Sweden, their faith, doctrine and confession.</p><p>The examination starts with a descriptive part about the background to the study problem where I give some facts about the reformation and what that brings for the Church of Sweden in relation to monastery life. Then comes a description and a hermeneutics and a dogmatic analysis of the, for the time of the foundation of the Order, current sources.</p><p>A summery of the upcoming results of this study is that at the foundation of F.T.O. in 1970ths was compatible with the Church of Sweden. In the sources we can see that the Orders purpose and other typical for the Order corresponds well with what they say about faith, doctrine and confession in the church law from 1686 and the, except the holy Bible, confession scripts for the Church of Sweden. Through this work we establish the fact that an order life like that we see in F.T.O. could practices in an evangelical-Lutheran church and it is not in any way synonymic with that phenomena called “action piety” within the monastery life that the men’s of the reformation so clearly said no to under the middle age.</p>

Detta arbete, inom ämnet Kristendomens historia, presenterar en svenskkyrklig orden, ”Franciskus Tredje Orden inom Svenska kyrkan” (F.T.O.), som tillhör den ”Tredje Orden” (TSSF) inom ”The Society of Saint Francis” (SSF), en ordensgemenskap inom den Anglikanska kyrkan, Church of England. Orden är öppen för kvinnor och män, vigda (biskopar, präster och diakoner) och lekfolk som lever vanliga liv i familj och samhälle, med en vilja att leva sina liv utifrån en tydlig inspiration av den helige Franciskus och hans liv. Syftet med arbetet är att undersöka och redogöra för de primärkällor som finns från tiden av F.T.O.: s grundande för att svara på frågan om huruvida Ordens uppkomst var förenlig eller ej med den Svenska kyrkan, dess tro, lära och bekännelse. Undersökningen inleds med en deskriptiv del gällande bakgrunden till frågeställningen där jag redogör något för reformationen och vad detta medförde för Svenska kyrkan gällande klosterliv. Sedan följer en redogörelse och en hermeneutiskt och dogmatisk analys av de, för tiden av Ordens grundande, aktuella källorna. En sammanfattning av resultatet som framkommit är det att grundandet av F.T.O. i början av 1970-talet var förenligt med den Svenska kyrkan. Vi kan se i källorna att Ordens syfte och annat typiskt för Orden, korresponderar väl med vad som uttrycks gällande tro, lära och bekännelse i Kyrkolagen 1686 och de, förutom Bibeln, samlade bekännelseskrifterna för den Svenska kyrkan. Genom detta arbete konstaterar vi att ett ordensliv likt F.T.O. kan tillämpas inom ett evangeliskt-lutherskt kyrkosamfund och att det på intet sätt är synonymt med den gärningsfromhet inom klosterväsendet som reformatorerna så tydligt vände sig mot under medeltiden. / This study, in the subject the history of Christianity, present an order in the Church of Sweden, “Saint Francis Third Order within the Church of Sweden” (F.T.O.), which is a part of the “Third Order” (TSSF) within “The Society of Saint Francis” (SSF), a community within the Anglican Church, Church of England. The order is open for women and men, ordained (bishops, priests and deacons) and lay people who live ordinary lives in family and society, with a desire to live their lives inspired by Saint Francis and his life. My purpose with this study is to examine and describe the prime sources from the time of the foundation of the F.T.O. to answer the question about whether the foundation of the Order was compatible or not with the Church of Sweden, their faith, doctrine and confession. The examination starts with a descriptive part about the background to the study problem where I give some facts about the reformation and what that brings for the Church of Sweden in relation to monastery life. Then comes a description and a hermeneutics and a dogmatic analysis of the, for the time of the foundation of the Order, current sources. A summery of the upcoming results of this study is that at the foundation of F.T.O. in 1970ths was compatible with the Church of Sweden. In the sources we can see that the Orders purpose and other typical for the Order corresponds well with what they say about faith, doctrine and confession in the church law from 1686 and the, except the holy Bible, confession scripts for the Church of Sweden. Through this work we establish the fact that an order life like that we see in F.T.O. could practices in an evangelical-Lutheran church and it is not in any way synonymic with that phenomena called “action piety” within the monastery life that the men’s of the reformation so clearly said no to under the middle age.