Submitted by Jonathan Michelson De Menezes (jonathan.menezes@unesp.br) on 2018-10-01T17:56:40Z No. of bitstreams: 1 TESE FINAL_CD.pdf: 4117528 bytes, checksum: c5bbdb37a43a5147acef0f984d21c2d2 (MD5) / Approved for entry into archive by Maria Luiza Carpi Semeghini (luiza@assis.unesp.br) on 2018-10-01T23:08:58Z (GMT) No. of bitstreams: 1 menezes_j_dr_assis_int.pdf: 4117528 bytes, checksum: c5bbdb37a43a5147acef0f984d21c2d2 (MD5) / Made available in DSpace on 2018-10-01T23:08:58Z (GMT). No. of bitstreams: 1 menezes_j_dr_assis_int.pdf: 4117528 bytes, checksum: c5bbdb37a43a5147acef0f984d21c2d2 (MD5) Previous issue date: 2018-08-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Frank Ankersmit ainda é relativamente pouco conhecido no Brasil, mas na Holanda (seu país), em toda Europa e nos Estados Unidos, principalmente, ele é uma assumidade na área de teoria e filosofia da história. “Chegou” no Brasil através da, e graças à, repercussão de seus escritos pós-modernistas da década de 1980, traduzidos e publicados na revista Topoi em 2001. Esses escritos provocaram meu interesse em sua obra, e o desejo de investigá-la um pouco mais. Na medida em que fui também traduzindo, diversificando e aprofundando leituras, percebi que o pós-modernismo foi apenas um capítulo de sua jornada, e que uma história intelectual de Ankersmit deveria ir além, ampliar seu escopo. Esta tese se propõe a dar esse passo além, e a ler Ankersmit também a partir de outros embates, giros temáticos e conceitos por ele apresentados, desde a publicação de sua primeira obra em inglês, Narrative Logic (1983), até escritos mais recentes, em especial, Meaning, Truth and Reference in Historical Representation (2012). No interregno dessa pesquisa, outros “Ankersmites” emergiram, diferentes versões dele mesmo e de sua obra, precipitadas por algumas transições: do narrativismo para o representacionalismo; do pós-modernismo a um tipo de pós-pós-modernismo; do idealismo ao realismo histórico; movendo-se da linguagem para a experiência sublime, mas sem perder de vista o solo da representação; pensando a representação tanto no campo da política quanto no da historiografia. E, por fim, tentando variar o máximo e repetir o mínimo do que ele e outros disseram anteriormente sobre os mais variados assuntos, enredado pelo anseio por originalidade, autenticidade e distinção, e por uma paixão pela escrita da história “como ela é”. Desse modo, decidi olhar para esse autor e sua obra desde a perspectiva da metamorfose. Parto da compreensão de que a tradição historicista alemã é um elemento comum, um cantus firmus, que permeia sua obra toda, e que se nota pelo desejo de Ankersmit por encontrá-lo em lugares onde ele normalmente não é visto; de traduzi-lo para diferentes idiomas, como o da filosofia da linguagem contemporânea; de fazer combinações improváveis, e, assim, de reabilitá-lo do aparente ostracismo em que foi posto na teoria da história e na historiografia. Contudo, esta investigação pretende demonstrar que, pelas características de Ankersmit – esse teórico mutante, esse “assaltante intelectual” (intelectual plunderer), como ele mesmo se chamou, sempre em movimento –, mais do que uma tradução ou recuperação, o que sua obra prefigura é uma metamorfose do historicismo. Dos paradoxos que a permeiam, talvez esse seja o maior, tornando a tarefa de estudá-la uma atividade tanto complexa quando fascinante. Ao menos para este pesquisador. / Frank Ankersmit still is a relatively new name in Brazil, although in The Kingdom of the Netherlands (his homeland), throughout Europe and in the United States of America, he is a prominent, well-known and respected theorist and philosopher of history. He arrived in Brazil through (and thanks to) the repercussion of his postmodern writings of the 1980s, translated and published in the journal of history Topoi in 2001. These writings incited my interest in his work in 2007, and gave me the desire to investigate further. Furthermore, insofar as I have been translating his texts, diversifying and deepening readings, I have realized that postmodernism was nothing but one chapter of his journey, and that an intellectual history of Ankersmit should go far beyond, enlarging its scope. This dissertation proposes to take this step even further, by reading Ankersmit also from other intellectual perspectives, debates and conceptual ‘twists and turns’ he has been thorough, from the publication of his first book in English, Narrative Logic (1983), to his more recent developments especially in Meaning, Truth and Reference in Historical Representation (2012). In the meantime, other ‘Ankersmites’ emerged, different versions of himself, precipitated by some transitions: from narrativism to representationalism; from postmodernism to post-postmodernist type of theory; from idealism back to historical realism; moving from language to (sublime) experience, but without losing sight of representation’s firm soil; accounting for representation both in the field of politics and in historiography. And finally, trying to innovate the maximum and to repeat or vary the minimum of what he and others have said before, entangled by a longing for originality and distinction, a desire for authenticity, and a passion for (taking) historical writing ‘as it is’. For this reason, I decided to see the author and his oeuvre from the perspective of the metamorphosis, a theme not so far away from his own theoretical inclinations. So, I depart here from the ‘realization’ that the German historicist tradition is a species of common ground, a cantus firmus, which permeates his writings, and which can be observed by Ankersmit’s desire to find historicism in philosophical places where it is not normally seen nor expected; to translate it into different languages, such as the contemporary philosophy of language; to propose improbable combinations, and, then, to rehabilitate historicism from the apparent ostracism to which it was delegated in the theory of history and historiography. However, along these lines I want to argue that, taking Ankersmit’s intellectual persona seriously into consideration – a mutant theoretician, an ‘intellectual plunderer’ (as he once called himself), always on the move –, what his work prefigurates, more than a translation or a retrieval of historicism, is a metamorphosis of historicism. From the all the paradoxes we encounter in Ankersmit’s work, perhaps this is the greatest and the more fascinating. At least for me. / CAPES: 88881.134902/2016-01

The name of Arthur Honegger is immediately recognized as that of the most distinguished twentieth century Swiss composer. Another Swiss composer, however, whose depth of creative musical thought is consistently being acclaimed in ever-widening circles of influence is that of Frank Martin. Part of the reason for Martin's delayed recognition can be attributed to the slow evolution of what can be termed his mature style. Among choral musicians Frank Martin's music is unexplored for several other reasons. First, except for Mass for double chorus written in 1926, his works are of such a large compass that they require the forces of soloists, large choruses, frequently double choruses, and an orchestra of no small means. This automatically relegates the performances of his works to a symphony orchestra and chorus or to the combined efforts of musical organizations on a college campus. A second reason for Martin's low profile in the choral world is the relative inaccessibility of scores. Attempts to familiarize oneself with the choral works of Martin and thus to ascertain their musical worth is met with continual delays in the request for examination copies, the necessity of returning them soon once they finally do arrive or of paying a substantial monthly rental for examination privileges. Such time-consuming activities and expenses definitely serve as a deterrent to research. The choral director is also led to conclude that if the obtaining of examination copies requires such an effort and time-lapse, the decision to schedule a performance would carry with it the unpredictability of obtaining multiple scores. It is unfortunate that the business procedures within the American company that is distributing the scores for the European-based publishing company create such barriers to the promulgation of Martin's choral music. A third factor contributing to Martin's relative obscurity in the United States is the realization by choral directors, even before they begin their hopeless flirtation with the publishing and distributing companies, that the works are in French. The performance of large-scale works in a foreign language by a relatively unknown composer and the necessity of imported scores creates a risk and expense that leads to the shelving of works of genuine musical worth. A final reason for the indifference to Martin's choral works could be the review given various area-premiere performances, causing conductors attempting to keep abreast with the inundation of new works to dismiss any tendency to examine them. Requiem (1972) represents a period of eight years since Pilaté (1964) and one of thirteen years since the last major oratorio, Le Mystère de la Nativité (1959). Regardless of the fact that it became Martin's last choral work, it deserves an extended analysis because of its proximity to the culmination of the career of a significant twentieth century Swiss composer. This document represents an attempt to fulfill the need for a careful consideration of the compositional traits revealed in Requiem as well as an examination of the earlier major choral works. It will also examine the feasibility of presenting the French works in English by demonstrating that choruses, recitatives and arioso solos do translate well within the rhythmic framework of each phrase. Whenever a translation is used within the document, it can be compared with the original version that is in the Appendices. The bibliography of the document will include entries of the scant literature in which Martin's works are discussed. Except for one dissertation in which selected works are analyzed (Tupper, 1960), no significant scholarly attempt has been made to analyze Martin's choral works, and Tupper's paper concentrated on the instrumental compositions except for Le vin herbe which is an early secular choral work. Most of the literature is of a superficial nature and represents the music critics' reviews of premiere performances. Since this is a document rather than a dissertation, it does not fulfill the need either for a major consideration of Martin's choral music, but it does begin to scratch the surface of his stylistic traits and perhaps open up vistas for some later in -depth study of this composer.

A description of the artistic education and development of the author, Frank Gunter, along with an account of how he conceived of and created several paintings. / "June, 1960." / Typescript. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Adolf Karl, Professor Directing Paper.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.