Submitted by PAULO HENRIQUE RIBEIRO CARDOZO null (phrcardozo@gmail.com) on 2017-04-26T18:27:47Z No. of bitstreams: 1 z versão Finalizada e Corrigida 26 04 17.pdf: 2387361 bytes, checksum: 1941d14c5af1c422a246e682051bbc56 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-26T18:33:44Z (GMT) No. of bitstreams: 1 cardozo_phr_me_bauru.pdf: 2387361 bytes, checksum: 1941d14c5af1c422a246e682051bbc56 (MD5) / Made available in DSpace on 2017-04-26T18:33:44Z (GMT). No. of bitstreams: 1 cardozo_phr_me_bauru.pdf: 2387361 bytes, checksum: 1941d14c5af1c422a246e682051bbc56 (MD5) Previous issue date: 2017-03-13 / A Associação Ferroviária de Esportes de Araraquara (AFE) é uma agremiação fundada por ferroviários e tem 65 anos de história no futebol do estado de São Paulo e do Brasil.O trabalho buscou propor um método de produção de um documentário transmídia sobre a AFE, entre os anos de 1996 e 2016 (período durante o qual a equipe buscou e conquistou acesso à principal divisão de futebol de São Paulo), por meio da plataforma Eko-Interlude.Esta plataforma foi escolhida por ser um ambiente que, por sua característica transmidiática, pode dialogar com as novas gerações de forma amigável, gerando mais produtividade ao objetivo do documentário, já que foram utilizados conceitos de Edutretenimento e Infotretenimento. Para facilitar a compreensão do trabalho, optou-se por utilizar um organizador prévio (OP), o diagrama V de Gowin, que auxiliou na integração do domínio conceitual (pensar) e do domínio metodológico (fazer), criando mecanismos de feedback sobre a metodologia utilizada. Como resultado,foi possível conhecer mais sobre o tema do trabalho (AFE), explorar o processo de construção ea navegabilidade do documento histórico por meioda plataforma, e se esta estimula ou não o surgimento de uma nova geração de fãs para a equipe. / The Araraquara Sports Railway Association (AFE) is a federation founded by railroaders and has 65 years of history in football in the state of São Paulo and Brazil. The work sought to propose a method of producing a transmissible documentary about the AFE between 1996 and 2016 (during which period the team sought and gained access to the main football division of São Paulo) through the Interlude platform. This platform was chosen because it is an environment that, because of its transmidious characteristic, can dialog with the new generations in a friendly way, generating more productivity to the documentary objective, since concepts of Edutretenimento and Infotretenimento were used. To facilitate the understanding of the work, we chose to use a previous organizer (OP), Gowin's V diagram, which assisted in the integration of the conceptual domain (thinking) and the methodological domain (doing), creating feedback mechanisms on the methodology Used. As a result, it was possible to know more about the work theme (AFE), explore the construction process and the navigability of the historical document through the platform, and whether or not this stimulates the emergence of a new generation of fans for the team.

No description available.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-12-08T13:05:24Z No. of bitstreams: 1 LEICINA ALVES XAVIER PIRES.pdf: 777172 bytes, checksum: c805093831e6769e207cbce7fbad4705 (MD5) / Made available in DSpace on 2017-12-08T13:05:24Z (GMT). No. of bitstreams: 1 LEICINA ALVES XAVIER PIRES.pdf: 777172 bytes, checksum: c805093831e6769e207cbce7fbad4705 (MD5) Previous issue date: 2017-11-21 / This work intends to make a relational study of some Salvador Dalí’s paintings and Fernando Pessoa 's writing in “ Na Floresta do Alheamento” under the perspective of the aesthetics, persistence and fluidity. We aim to prove that both pictorial and poetic language are fluid, fragmented, wistful, paradoxical, sensitive and full of drunkenness. They bring us a range of images, dreams and magical worlds of the unconscious, leading us to the transaesthetic, which is a transspace, since works navigate in the interlude, in the writing of the artistic imagination, in a state of liquidity. These works lie outside the world of rationality, opening up to the world of onirism. The proposal has as its motto the phenomenological approach with emphasis on the paradoxical contrast relevant to contemporary aesthetics. This study is part of a line of research that deals with contemporary criticism and seeks to find the theoretical features of art now. Thus, it is expected that this dissertation can serve as a model of aesthetic relationships of works in different forms and species. In this way, we will initially approach the work of art as a process of sensitive fluidity, such as concealment, reverie, movement and fragmentation. Subsequently, we will trace the person’s poetic art course, in the interlude, moving from dissimulation to absurdity and from modernity to contemporaneity. Finally, we will talk about the persistence and fluidity of Dalinian paintings. We will focus on the unusual, the fragmentation, the saturn and the bizarre, realizing a counterpoint with the person’s poetic prose. / Este trabalho pretende fazer um estudo relacional de algumas pinturas de Salvador Dalí e da escrita de Fernando Pessoa em Na Floresta do Alheamento sob a perspectiva da estética da persistência e fluidez. Almejamos comprovar que tanto a linguagem pictórica quanto a poética mostram-se fluidas, fragmentadas, devaneantes, paradoxais, sensitivas e de plena embriaguez. Elas nos trazem uma gama de imagens, de sonhos e de mundos mágicos do inconsciente, nos conduzindo para o transestético, que é um transespaço, pois que as obras navegam no entrelugar, na escrita do imaginário artístico, em estado de liquidez. Essas obras encontram-se fora do mundo da racionalidade, abrindo-se para o mundo do onirismo. A proposta tem como mote a abordagem fenomenológica com ênfase no contraste paradoxal pertinente à estética contemporânea. Este estudo faz parte de uma linha de pesquisa que trata da crítica contemporânea e que procura encontrar os traços teóricos da arte de agora. Dessa forma, espera-se que esta dissertação possa servir como modelo de relações estéticas de obras em formas e espécies diferentes. Desse modo, inicialmente, abordaremos a obra de arte como processo de fluidez sensitiva, como dissimulação, devaneio, movimento e como fragmentação. Posteriormente, traçaremos o percurso da arte poética pessoana que se encontra no entrelugar, transitando da dissimulação ao absurdo, e da modernidade à contemporaneidade. Por último, discorreremos sobre a persistência e fluidez nas pinturas dalinianas. Enfocaremos o insólito, a fragmentação, o saturno e o bizarro, realizando um contraponto com a prosa poética pessoana.

In examining examples of prologues, inductions, and choruses from early modern drama, Authors, Audiences, and Elizabethan Prologics tries to frame a more comprehensive picture of dramatists’ relationships with the plays they write and the audiences for whom they write them. It suggests that these various prologics are imbued with an intrinsic authority that provides something of a rubric, perceptible by both playwright and playgoer, through which one can measure the crucial negotiations with and within the shifting valences of dramatic representation in the early modern period. The project develops a way of thinking about the prologic as a hermeneutics unto itself, one which allows us to contextualize more adequately the manner in which playwrights conceptualize and construct their own relationship to nascent notions of authorship and authority. My first body chapter (Chapter II) considers the rhetorical construction of audiences’ silences in various Elizabethan interludes, suggesting that such ideal silences register one’s contemplative engagement with the performance and, thus, work to legitimize early drama. The prologues to John Lyly’s plays—my subject in Chapter III—exemplify the desire to legitimize, instead, the playwright. Reading Lyly’s plays alongside his letters of petition to Queen Elizabeth and Sir Robert Cecil, one can see the manner in which Lyly creates an authorial persona rooted in his rhetorical skills. In Chapter IV I examine Shakespeare’s sparse but measured use of prologues to manipulate his audiences’ preconceptions of theatrical conventions and to guide them toward a consideration of what it means to have interpretive agency, how far that agency extends, and where to locate the limits of narrative in the necessarily liminal domain of the theater. Finally, I argue in Chapter V that Thomas Nashe’s Summer’s Last Will and Testament expands the prologic space, mimicking in the playspace the critical, interactive stance that he assumes in the printed marginalia of his prose writing. This is to say that Summer’s Last Will echoes—or in many cases prefigures—the authorial anxieties that Nashe expresses elsewhere in his work, and chief among them is an anxiety over the interpretational agency of the reader and auditor.

Based on the author's Ph. D thesis. / Published by York Medieval Press in association with Boydell & Brewer and the Centre for Medieval Studies, University of York. Includes bibliographical references and index.

Artie Shaw's Interlude in B-flat is unknown to many in the classical clarinet world and remains unperformed by clarinetists, despite its historical importance as one of the earliest Third Stream compositions, the earliest composition of its type in the clarinet repertoire. This prompts the question, why? This document explores four possible reasons for the marginalization of Interlude in B-flat. First, Shaw's historical narrative typically places him within the jazz world and not the classical world. Classical clarinetists may assume a Shaw composition will require a jazz background and experience beyond their abilities, namely improvisation. Second, the instrumentation, string quartet plus jazz combo, is atypical, making it difficult to program. Third, jazz and classical educational worlds do not necessarily overlap or interact, and neither has taken ownership of this Third Stream composition. Lastly, manuscripts, recordings, and other materials for Interlude in B-flat are limited and not readily available. Because Artie Shaw is not only a significant American clarinetist but also an important composer within the Third Stream narrative, Interlude in B-flat should be known and performed. This project aimed to promote the understanding and accessibility of this important and unknown composition to the classical clarinet world by providing an accessible arrangement of the work for clarinet and piano.