Esta pesquisa consiste em um estudo da atenção na cena teatral. Para embasar teoricamente a pesquisa foi feito um levantamento das teorias postuladas pela ciência da atenção em toda a sua interdisciplinaridade, em especial dos estudos de Hugo Munsterberg (2004), nos quais pela primeira vez a atenção aparece como conceito operatório para a análise do trabalho do ator em sua relação com o espectador. Partindo deste panorama inicial foi proposta uma revisão dos escritos de Stanislávski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) e Rancière (2010), demonstrando a importância da atenção em seus escritos e esclarecendo os pontos de vista de cada um destes teóricos sobre o tema. Baseado nesse conhecimento, o terceiro capítulo estuda a atenção na prática das atrizes Isabel Teixeira e Julia Lemmertz nos espetáculos Rainhas: duas atrizes em busca de um coração e Maria Stuart. Intercalando o que foi assistido e os discursos das atrizes sobre a atenção buscou-se mapear os procedimentos utilizados por elas para lidar com a atenção, seja a sua ou a do espectador e, o grau de consciência envolvido nesta operação. Por fim, de posse deste material, realizou-se uma experiência prática pautada pela atenção, do treinamento até a apresentação, tendo em vista aferir a eficácia da atenção como método de criação da cena, submetido a diferentes percepções dos espectadores. / This research consists in a study on the issue of attention at the theatrical scene. The theoretical basis for the research was a survey of the theories postulated by the science of attention, taking its interdiciplinarity into account, especially of Hugo Munsterbergs (2004) studies, in which, for the first time, the attention appears as an operative concept for the analysis of the actor\'s work in its relationship with the audience. From this initial scenario was proposed a review of the writings of Stanislavski (2010), Brecht (1967), Kracauer (2009), Benjamin (1985), Lehmann (2007), Desgranges (2009) and Rancière (2010), demonstrating the importance of the attention in their thought and clarifying their views on the subject. Based on that knowledge the third chapter studies the attention in the practice of the actresses Julia Lemmertz and Isabel Teixeira in the performances Rainhas: duas atrizes em busca de um coração and Maria Stuart. Considering the interweaving of the scenes and the speeches of the actresses, it was made a map of procedures that they had used to deal with the attention and to understand the level of consciousness necessary in this operation. Finally, with all this material in hands, a practical experience guided by attention issue, from the training to the presentation, was carried out. The purpose of this experience was to check the effectiveness of attention as a creative method for the theatre in different conditions of audience.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Analisar fatos político-econômicos da Venezuela e seus diferentes pontos de vista é uma tarefa que requer observação crítica e cuidado metodológico por parte do pesquisador. Compreender alguns aspectos do chavismo foi um desafio que perpassou por um embasamento histórico e conceitual, a fim de que pudéssemos ter uma cosmovisão detalhada e abrangente da realidade. Esta percepção foi o ponto de partida para o desenvolvimento desta pesquisa, a qual considerou as mudanças de cenário ocorridas no século XX como base estrutural da postura adotada pela Venezuela no século XXI. O objeto analisado foi a política petroleira adotada no governo de Chávez (1999-2013) para fins de integração regional com o Mercosul através da proposta denominada Petrosur, a qual envolveria o estado de Roraima tão logo fosse implantada. Para compreender esse tema, optamos por analisar aspectos geográficos, políticos, econômicos e legais que pudessem se caracterizar como empecilhos à concretização da proposta. O caráter ideológico dos discursos chavistas associados às diversas fissuras internas de setores estratégicos da economia venezuelana, levou-nos a questionar quais interesses motivaram a criação da proposta Petrosur e se haviam possibilidades de que a mesma se concretizasse nos moldes em que foi planejada. Devido à amplitude e complexidade do tema, acreditava-se que o estado de Roraima seria um empecilho no primeiro momento, devido às suas amplas áreas de conservação ambiental e outras áreas de uso específico. Baseamo-nos nas hipóteses de que a iniciativa visava: adequar o Estado ao modelo globalizado; criar meios de cooperação energética para dominar os recursos petroleiros de quase todo continente americano; e ampliar a zona de domínio e poder para ganhar reconhecimento internacional através da utilização dos recursos tecnológicos desenvolvidos por outros Estados economicamente mais estáveis. O acesso a estes recursos trariam melhorias para indústria petroleira venezuelana que, durante o momento, desta pesquisa encontrava-se desestruturada por falta de investimentos e tecnologias mais avançadas. Tais premissas nos levaram a analisar o grau de operacionalidade dessa política de integração energética. Para tal, utilizamos uma abordagem qualitativa pautada em bibliografias e documentos oficiais da Venezuela e do Brasil que, por meio dos métodos histórico e dialético, nos ofereceram dados acerca da realidade estudada. O trabalho estruturou-se em três seções, onde tratamos de dados conceituais, históricos e político-econômicos. A análise permitiu-nos considerar que as atuais desestruturas econômicas vivenciadas na Venezuela se configuram como o maior empecilho ao desenvolvimento dessa proposta, e que Roraima passou a ser uma preocupação secundária nesse contexto. / Analizar los acontecimientos políticos y económicos en Venezuela y sus diferentes ejes es una tarea que requiere una observación crítica y cuidado metodológico por parte del investigador. Entender algunos aspectos del chavismo fue un reto impregnado de una base histórica y conceptual que nos llevó a tener una visión completa y detallada de la realidad. Esta percepción fue el punto de partida para el desarrollo de esta investigación, que consideró el escenario de cambios en el siglo XX como una base estructural para la postura adoptada por Venezuela en el siglo XXI. Este análisis consideró la política petrolera adoptada en el gobierno de Chávez (1999-2013), con fines de integración regional con el Mercosur por la llamada propuesta de Petrosur, lo que implicaría la participación del estado de Roraima en Brasil, tan pronto fuera adoptada. Para entender este problema, optamos por analizar los aspectos geográficos, políticos, económicos y legales que podrían caracterizarse como impedimentos para la aplicación de la propuesta. El carácter ideológico de los discursos de Chávez asociados con las diversas grietas internas de los sectores estratégicos de la economía venezolana, nos ha llevado a cuestionar cuales fueran los intereses que motivaron la creación de la propuesta Petrosur y cuales posibilidades de que la misma se convirtiera en realidad de la misma forma en que fue planeada. Debido a la amplitud y complejidad de la cuestión, se creía que el estado de Roraima sería un obstáculo, al principio, debido a sus amplias áreas de conservación del medio ambiente y otras áreas de uso específico. Nuestras hipótesis eran de que la iniciativa fue creada para adaptar las acciones del Estado al modelo global; crear cooperación energética y así dominar casi la totalidad de los recursos petroleros en el continente americano; y ampliar la zona de dominio y de poder para obtener el reconocimiento internacional a través de la utilización de los recursos tecnológicos desarrollados por otros Estados económicamente más estables. El acceso a estos recursos representaría una importante mejora para la industria petrolera venezolana que, en la actualidad, es disfuncional y arcaica por falta de tecnologías más avanzadas e inversiones. Estas suposiciones nos llevaron a analizar el grado de operatividad de esta política de integración energética. Para eso, se utilizó un enfoque cualitativo guiado por bibliografías y documentos oficiales de Venezuela y Brasil, a través de los métodos históricos y dialécticos, que ofrecen los datos sobre la realidad estudiada. El trabajo se estructura en tres secciones, que tratan de los datos conceptuales, históricos, políticos y económicos. El análisis permitió considerar que la desestructura económica actual vivida en Venezuela es el mayor obstáculo para el desarrollo de esta propuesta, y Roraima se convirtió en una preocupación secundaria en este contexto.

O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias. / The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.

Entre septembre 1853 et octobre 1855, Victor Hugo, en exil à Jersey depuis le mois d’août 1852, se livre quasi quotidiennement à des séances spirites. Lors de celles-ci, Hugo dialogue avec les esprits les plus illustres : Dante, Shakespeare, Jésus, Eschyle, Galilée… et les formes les plus abstraites comme l’Ombre du Sépulcre, le Drame ou la Mort. Cette inquiétante plongée spirituelle et poétique, sera consignée dans quatre cahiers qui doivent constituer ce que Victor Hugo nommera Le Livre des Tables. Deux cahiers seulement nous sont parvenus. L’un en 1962, sur lequel s’appuient les principales études hugoliennes liées à cette période de l’exil, et le second en 1972 qui rend caduques, erronées ou incomplètes toutes les études publiées à cette date. Notre intention consiste à établir une édition critique des deux cahiers originaux rédigés à Jersey, pour l’un en 1854, pour l’autre en 1855. Ce dernier manuscrit n’ayant jamais fait l’objet d’une exploitation critique ou éditoriale. L’intérêt de la présente édition ne se limite pas à un texte qui se voudrait sérieusement établi et à une annotation qui tente d’apporter quelques éclaircissements ; il réside surtout dans la réunion, ce qui n’a pas été fait à ce jour, de l’ensemble des documents existants : les deux cahiers originaux rédigés à Jersey, les procès-verbaux disponibles et inédits, ainsi que d’autres documents, des lettres notamment, découverts dans les fonds de la Maison de Victor Hugo.Cette Edition critique du Livre des Tables a pour premier objectif de retracer l’histoire et la chronologie des quatre cahiers rédigés à Jersey, d’établir ensuite les circonstances et les modalités de la rédaction de ceux-ci avant de faire apparaître la part réelle prise par Hugo dans la rédaction des deux cahiers à notre disposition. Enfin, il s’agit de mettre en évidence l’influence considérable de cette période spirite sur la production hugolienne ainsi que sur l’ensemble du système de pensée de Hugo / Between September 1853 and October 1855, Victor Hugo, who had been in exile in Jersey since August 1852, practiced spiritualism nearly everyday. During those sessions, Hugo conversed with the most illustrious of spirits, such as Dante, Shakespeare, Jesus, Eschyle, Galileo as well as with the most abstract of forms, like The Shadow of the Sepulchre, Drama or Death. This puzzling journey deep into spiritualism and poetry was compiled into four notebooks which were to form what Victor Hugo called The Book Of Tables. We have got hold of only two notebooks - one in 1962, on which the main studies about Hugo's time in exile rely, and the second in 1972, which made all the studies published at the time obsolete, erroneous or incomplete. We intend to design a critical edition of the two original notebooks written in Jersey in 1854 and in 1855 respectively. The later one has never been subjected to critical analysis or editorial work. The hereby edition is not to be understood as a seriously established text or as an attempt to bring clarifications through annotations. Above all, its relevance lies in what has not been done yet, that is, the gathering of all the existing documents : the two original notebooks written in Jersey, the available and so far unpublished official records along with other documents, among which letters that have been discovered in the collection the Maison de Victor Hugo. The Critical Edition of The Book Of Tables firstly aims to draw the history and chronology of the four notebooks written in Jersey ; its second purpose is to establish the circumstances and modalities in which they were set down so as to make the actual part played by Hugo in the writing of the two notebooks come to light. Finally, it aims to bring out the considerable influence of Hugo's spiritualist time on his production as well as on all his system of thought.

This diploma thesis is dealing with the influence of culture on the foreign policy of Venezuela, showing how socio-cultural determinants are reflected in formation and ideological basis of foreign policy and its realizing on the international stage. The thesis is divided into two parts - the first part is dedicated to the characteristic of venezuelan national culture in general, based on surveys of Hofstede and Inglehart, and in particular, based on such a phenomenon as caudillism, populism and personality cult of Simon Bolívar. The second part of the thesis is handling with the political-economic development in the second half of 20th century. The emphasis is on how the politics in Venezuela which has changed profoundly with the election of Hugo Chávez is reflected in the foreign policy of Venezuela.

Envenimée sous la Restauration, la querelle des classiques et des romantiques se joue en clair-obscur. Fils de la Révolution, le romantisme français se fait d’abord ombre du classicisme qui, sûr de sa splendeur, pourtant s’éteint. La décennie 1820 s’impose comme une période de transition au cours de laquelle l’obscure « nouvelle école » va détrôner la tradition classique pour conquérir sa part de lumière. Ce récit de l’exploit romantique, jusqu’ici, l’histoire littéraire n’en rend compte que par la seule voix des vainqueurs de la bataille. Cependant, lumière et ombre vont de pair, l’histoire du romantisme appelle une autre version pour en compléter la compréhension, version racontée par les défenseurs de la doctrine classique. Partant de cette hypothèse, la présente étude, consacrée à la période 1824-1834, se propose de revisiter ¬quelques grands moments de controverse sur le romantisme dans toutes ses problématiques. On verra ainsi Deschamps réagir à la condamnation académique d’Auger, le duel entre Hoffman et Hugo se poursuivre autour de la question poétique ou encore Janin et Nisard s’affronter sur la condition littéraire après 1830. Les tenants du romantisme ont tort de croire qu’ils l’ont inventé tout seuls ; cette nouvelle pensée esthétique, au contraire, s’est forgée à coups de conflits d’intérêts politiques et littéraires. Dans cette perspective, reconstituer l’enchevêtrement du classicisme et du romantisme permettra de mieux comprendre comment ces deux courants littéraires ont chacun pu construire l’image de soi en même temps que celle de l’autre. / The literary controversy between Classicism and Romanticism represents itself as a drama of light and shadow. Romanticism in the beginning was a shadow of the Classicism that, although proud of its past glory, began to decline. The decade 1820-1830 can be defined as a transition period, during which the obscure “newcomer” dethrones the “old champ”. French literary history has so far recounted this glorious story of the Romantics by referring exclusively to what they told. In other words, little has been done to examine the literary controversy seen by its losers. However, light and shadow go together; so to understand the history of Romanticism as a whole, it is necessary to complete it with another version told by the defenders of classical doctrine. With this in mind, this study attempts to revisit the decade 1824-1834 and to examine some historical controversies covering a wide range of subjects related to French Romanticism: thus we will be concerned with the anti-romantic speech of the academician Louis-Simon Auger that raised objections from Romantics such as Émile Deschamps, the debate between François-Benoît Hoffman and Victor Hugo about the poetic use of “image” or that of Désiré Nisard and Jules Janin about the condition of literature after the July Revolution of 1830. Romantics are wrong to consider Romanticism as their own creation. On the contrary, this new esthetic movement has been established through various conflicts between classical and romantic schools. From this point of view, analyzing their controversies will make it possible to understand how these two literary movements have created their own image as well as that of their opponent.

This study was undertaken with the purpose of affording some insight into the musical aims and composing methods of Hugo Wolf and of showing his position in the history of the German Lied and his contributions to the development of this form through the analysis of one part of his work. This study of the history of the Lied and examination of the Italienisehes Liederbuch of Hugo Wolf has led to certain conclusions. The first is that Wolf truly stands as the culmination of Romantic activity in the Lied form. This has been ascertained by a comparison of his ideals and techniques of song writing with those of the earlier Lieder writers, Schubert and Schumann, and of Wagner. The second is that Wolf made certain distinctive contributions to the Lied. Among these are his application of Wagnerian principles to the form of the Lied in their refinements as characterizing motives (from the Leitmotiv), free metric accents (from speech-song) and use of the accompaniment to intensify expression through faithful rendering of details of the text. Another contribution is his distillation of harmonic practices into the purest expressive materials which made possible his miniature style. Still another contribution is his elevation of the accompaniment to a position equal with the vocal part, making both parts of an expressive whole. Another is his piercing psychological insight which utilized musical resources for the most subtle dramatic delineation.The third is that the Italienisches Liederbuch owes many of its stylistic features to the subject matter and formal structure of the poems on which it is based. The fourth conclusion is that these songs reveal a musical style which is indeed compact and devoid of nonessentials, achieving a maximum of expressiveness with a minimum of means.

The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.

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Zugl.: Berlin, Humboldt-Universiẗat, Diss., 2007 u.d.T.: Jander, Simon: Die Poetisierung des Essays in der Moderne.