Tesis (Ph. D.)--Caius College, University of Cambridge.

Thesis (M.A.)--Abilene Christian University, 2005. / Abstract. Includes bibliographical references (leaves 139-156).

Zugl.: München, Univ., Diss., 2002 u.d.T.: Szczepanek, Gudrun: Das Majolikaservice für Herzog Albrecht V. von Bayern aus der Werkstatt des Leonardo Bettisi in Faenza (1576)

This thesis examines the preoccupation with the relationship between history and fiction present in the work of Leonardo Sciascia and Jorge Luis Borges. By means of different narrative strategies, both authors underscore the narrative elements that underpin any reconstruction of the past, and in this way they link the process of reconstruction of past events to the process of rewriting of a literary work. They emphasise, however, that whereas the literary work can be enriched by multiple rewritings, multiple reconstructions of the same real past event risk threatening its truthfulness. This thesis investigates the different ways in which Borges’s and Sciascia’s works intersect, across three narrative forms: the detective story, the historical essay (inchiesta or ‘enquiry’ for Sciascia) and the historical fiction. The analysis of Sciascia’s texts starts from a focus on the structural similarities with the work of Borges in the detective story, paying particular attention to Il contesto (1971), Todo modo (1974), and Il cavaliere e la morte (1988). It then moves on to Sciascia’s inclusion of fragments of Borges’s texts in two of his inchieste, L’affaire Moro (1978) and Il teatro della memoria (1981). The last chapter of the thesis proposes a metafictional reading of Sciascia’s historical novel Il Consiglio d’Egitto (1963), in the light of the comparisons with Borges’s work undertaken in the previous chapters. The two key aims of this thesis are to show (1) that studying the ways in which Sciascia integrates Borges’s texts in his own writing allows a deeper understanding of Sciascia’s texts, but also underscores traits in Borges’s which might have been downplayed by previous criticism of his work, and (2) that reconsidering in the light of this understanding a number of Sciascia’s other texts where Borges’s influence is not explicit allows us to identify a preoccupation with regards to the relationship between history and fiction shared between both authors.

Leonardo Jaramillo fue un maestro pintor que desarrolló su actividad en las primeras décadas del siglo XVII entre la ciudad de Lima y la zona norte del virreinato peruano, actividad que incluye ciudades como Cajamarca y Trujillo. El origen y formación sevillana del pintor, su talento natural y su capacidad para adaptarse a las exigencias de los diversos comitentes en distintas zonas del virreinato le valieron llegar a gozar de una alta estima y a su arte, a su vez, ser muy requerido. El presente trabajo indagará sobre la biografía documentada del artista procurando ampliarla lo más posible en base a fuentes documentales de primera mano y revisará su obra para establecer una mejor comprensión de la misma. Esto debido a que se maneja poca información fidedigna del artista y su fortuna crítica ha sido muy disímil ubicándolo en diferentes corrientes artísticas. / Tesis

Submitted by VIVIANNY BESSÃO DE ASSIS null (viviannybessao@gmail.com) on 2016-12-05T14:10:28Z No. of bitstreams: 1 2016 12-02 VIVIANNY Tese completa - Biblioteca.doc: 46943232 bytes, checksum: 4571bfb912730ac0897b149fd0d353eb (MD5) / Rejected by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: A versão final da dissertação/tese deve ser submetida no formato PDF (Portable Document Format). O arquivo PDF não deve estar protegido e a dissertação/tese deve estar em um único arquivo, inclusive os apêndices e anexos, se houver. Por favor, corrija o formato do arquivo e realize uma nova submissão. Agradecemos a compreensão. on 2016-12-07T11:20:22Z (GMT) / Submitted by VIVIANNY BESSÃO DE ASSIS null (viviannybessao@gmail.com) on 2016-12-07T12:27:56Z No. of bitstreams: 1 2016 12-02 VIVIANNY Tese completa - Biblioteca v2.pdf: 6631602 bytes, checksum: 13dbef5c59eab4fcf4ff6a61af078fec (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-09T15:29:51Z (GMT) No. of bitstreams: 1 assis_vb_dr_mar.pdf: 6631602 bytes, checksum: 13dbef5c59eab4fcf4ff6a61af078fec (MD5) / Made available in DSpace on 2016-12-09T15:29:51Z (GMT). No. of bitstreams: 1 assis_vb_dr_mar.pdf: 6631602 bytes, checksum: 13dbef5c59eab4fcf4ff6a61af078fec (MD5) Previous issue date: 2016-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta tese, apresentam-se resultados de pesquisa de Doutorado em Educação da Faculdade de Filosofia e Ciências da Universidade Estadual Paulista, campus de Marília-SP, vinculada à linha “História da literatura infantil e juvenil” do Grupo de Pesquisa e do Projeto Integrado de Pesquisa “História do Ensino de Língua e Literatura no Brasil”, ambos coordenados por Maria do Rosário Longo Mortatti. Com os objetivos de contribuir para a compreensão de uma história da literatura infantil no Brasil, focaliza-se a produção escrita do jornalista, escritor e historiador Leonardo Arroyo (1918-1985) sobre e de literatura infantil. Mediante abordagem histórica, centrada em pesquisa documental e bibliográfica, desenvolvida por meio dos procedimentos de localização, recuperação, reunião, seleção e ordenação de fontes documentais e leitura de bibliografia especializada, elaborou-se dois instrumentos de pesquisa nos quais estão contidas as referências de textos de e sobre Leonardo Arroyo e as referências de texto de Leonardo Arroyo de e sobre literatura infantil. Dentre os textos localizados, foram selecionados para análise da configuração textual o conjunto de textos referênciados no segundo instrumento de pesquisa por serem os mais representativos em relação aos objetivos da pesquisa. Essa análise possiblitou compreender que o conjunto da produção escrita de Leonardo Arroyo de e sobre literatura infantil apresenta aspectos de determinada concepção de literatura infantil, que se encontram diretamente relacionados com o movimento de constituição desse gênero literário como tema de pesquisa e campo de conhecimento específicos no Brasil (MORTATTI, 2011). Possibilitou compreender também que Arroyo contribuiu para a ordenação e sistematização de uma versão da história da literatura infantil que se perpetuou até os dias atuais, e também com a formulação de um conceito de literatura infantil como produção cultural destinada ao público infantil. / In this thesis, we present results of a PhD in Education from the Faculty of Philosophy and Sciences of the Universidade Estadual Paulista, Marília-SP campus, linked to the "History of Children and Youth Literature" line of the Research Group and the Integrated Project of Research "History of Teaching Language and Literature in Brazil", both coordinated by Maria do Rosário Longo Mortatti. With the aim of contributing to the understanding of a history of children's literature in Brazil, it focuses on the written production of the journalist, writer and historian Leonardo Arroyo (1918-1985) on children's literature. Through a historical approach, centered on documentary and bibliographical research, developed through the procedures of localization, retrieval, meeting, selection and ordering of documentary sources and reading of specialized bibliography, two research instruments were elaborated in which are contained the references of texts Of and about Leonardo Arroyo and Leonardo Arroyo's text references and about children's literature. Among the localized texts, we selected for textual analysis the set of texts referenced in the second research instrument because they are the most representative in relation to the research objectives. This analysis made it possible to understand that Leonardo Arroyo 's written production of and about children' s literature presents aspects of a certain conception of children 's literature that are directly related to the movement of constitution of this literary genre as a subject of research and field of specific knowledge in the Brazil (MORTATTI, 2011). It also allowed us to understand that Arroyo contributed to the ordering and systematization of a version of the history of children 's literature that has not been challenged until the present day and also with the formulation of a concept of children' s literature as a cultural production destined to the infantile public.

Made available in DSpace on 2015-03-11T02:01:42Z (GMT). No. of bitstreams: 1 000466167-Texto+Completo-0.pdf: 1147819 bytes, checksum: 7be5e56f948b9ce00a4b77c97f59ffba (MD5) Previous issue date: 2015 / This dissertation is a result of research and analysis of the subjects around the “The Lord´s Prayer”. It has the purpose of confronting the content within the prayer with the lives of the mozambican people in its relations to God and others. Having as a start point the essay of Leonardo Boff’s The Lord´s Prayer: The Prayer of Integral Liberation (1979). Deriving from this, the theme of the dissertation is centered on The Lord´s Prayer according to the theology of Leonardo Boff and on mozambican cultural perspective. It presents a brief exegetic study of the Lord´s Prayer. It develops a discussion around the Lord´s Prayer according to the theology of Leonardo Boff. It follows with the exposure of some compelling arguments that this prayer, to the mozambican people, is not a theory, but life itself. It acknowledges God as the father; the respect for His holy Name; recognition of His Kingdom´s supremacy; recognition of the superiority of His will; the breaking of bread which makes communion; forgiveness that heals grief and the trust in God in times of temptation and for the future itself. The conclusion brings a comparative synopsis of the Lord´s Prayer in the theological and cultural mozambican perspective. / Essa dissertação resulta da pesquisa e análise de conteúdos acerca da oração do Pai-Nosso. Teve o propósito de confrontar o conteúdo da oração com a vida do povo moçambicano nas suas relações com Deus e com os demais. Partindo da discussão de Leonardo Boff na obra: O Pai-Nosso, a oração da libertação integral (1979). Decorrente disso o tema da dissertação centra-se no Pai-Nosso na Teologia de Leonardo Boff e na perspectiva cultural moçambicana. Apresenta breve estudo exegético do Pai-Nosso. Desenvolve a discussão da oração do Pai-Nosso segundo a Teologia de Leonardo Boff. Segue com a apresentação de argumentos comprovadores que a oração do Pai-Nosso, para o povo moçambicano, não é uma teoria, mas vida. Apresenta reconhecimento da paternidade de Deus; o respeito pelo Seu santo Nome; o reconhecimento da superioridade do Seu reino; o reconhecimento da superioridade da Sua vontade; a partilha do pão que faz comunhão de pessoas; o perdão que cura as mágoas e a confiança em Deus na hora de tentação e para situações futuras. Na conclusão traz uma sinopse comparativa do Pai-Nosso na perspectiva teológica e cultural moçambicana.

El proyecto se justifica en la necesidad que tiene el distrito de José Leonardo Ortiz -en la provincia de Chiclayo- de contar con un nuevo mercado de abastos del sector minorista dentro del segundo complejo comercial más grande del país y más importante del Norte del Perú: El complejo comercial de Moshoqueque; el cual, ofrecerá al usuario una infraestructura adecuada, segura, atractiva y ordenada. Adicional a la actividad comercial se proponen actividades complementarias, tales como talleres de aprendizaje, guardería y sala de usos múltiples, los cuales se verán incluidos en un espacio cívico amigable con el entorno que promueva actividades recreativas y de capacitación. Asimismo, y como respuesta a las necesidades del usuario, la vivienda-taller forma parte del programa arquitectónico del proyecto para darle más dinamismo y animación a la zona. El punto a indagar y ampliar en el presente trabajo fue el de cómo transformar un espacio deprimido de la ciudad para que sea amable con la misma y brinde un espacio público a la comunidad. / The project is justified by the need of the district of Jose Leonardo Ortiz in the province of Chiclayo to have a new retail market in the second largest commercial complex in the country and the most important in Northern Peru: The commercial complex of Moshoqueque; which will offer the user an adequate, secure, attractive and orderly infrastructure. In addition to the commercial activity, complementary activities are proposed, such as learning workshops, nurseries and multipurpose rooms, which will be included in a friendly environment that promotes recreational and training activities. Also, and in response to the needs of the user, the shelter-workshop is part of the architectural program of the project to give more dynamism and animation to the area. The point to investigate and expand in the present paper was how to transform a depressed space of the city into a nice one and provide a public space for the community. / Tesis

The goal of this investigation is to define Spanish composer Leonardo Balada (Barcelona, 1933) style and evolution through the analysis of four of his compositions. From the moment he moved to New York in 1956 in order to study with eminent teachers such us Aaron Copland or Vincent Persichetti, Balada has composed more than 120 works of great beauty and personality, ranging all kinds of music genres. Since the early 60s, his music enjoyed international success and he received several commissions from a number of important European and American music institutions. Prestigious orchestras (such as the New York or the Los Angeles Philharmonic), conductors (L. Maazel), soloists (A. de Larrocha and G. Cassadó) have played his compositions, also recorded by labels like Deutsche Grammophon or Naxos. Notwithstanding the relevance, quality and impact of Balada’s work, an overall analysis of his musical language has never been attempted. Four works are considered in the framework of this investigation: Concert per Violoncello i 9 instrumentistes (1962), María Sabina (1969), Homage to Casals (1975) and Prague Sinfonietta (2003). Each of these works represents a different phase of Balada compositional trajectory and contains those peculiar features that have influenced his music evolution. These features (i.e.: the use or suppression of elements as important as tonal harmony or melody) are common to most of the works composed in the same period and allow us an interpretation of Balada music. Conversations with the composer as well as his classes (Balada is Composition Professor at the Carnegie Mellon University) were important sources of information. They resulted in greatly helping understanding his music and investigating the features of a very complex musical language that has evolved, with the passing of time and the use of different techniques, to eventually become the peculiar style defining the personality of this exceptional composer. / El objetivo de este estudio es definir a través del análisis de cuatro composiciones las características y la evolución del lenguaje de Leonardo Balada (Barcelona, 1933). Desde su traslado a Nueva York en 1956 para estudiar con maestros como Aaron Copland o Vincent Persichetti, ha escrito más de 120 obras de gran belleza y personalidad que abarcan todos los géneros. El amplio reconocimiento internacional del que ha gozado desde el inicio de los años 60 se ha materializado a través de las comisiones recibidas por parte de las más diversas e importantes instituciones musicales, principalmente estadounidenses y europeas. Además, orquestas como las filarmónicas de Nueva York o Los Ángeles, directores como L. Maazel, o los solistas A. de Larrocha y G. Cassadó han interpretado sus obras, grabadas por discográficas como la Deutsche Grammophon o Naxos. Pero a pesar de la importancia, calidad y repercusión de su obra no hay ningún estudio que analice su lenguaje compositivo. A través de las composiciones Concert per Violoncello i 9 instrumentistes (1962), María Sabina (1969), Homage to Casals (1975) y Prague Sinfonietta (2003) estudiaremos las características de dicho lenguaje. Cada una de estas obras representa un periodo diferente de su trayectoria compositiva porque contienen rasgos que han determinado cambios en la dirección de dicha trayectoria. Estos rasgos, que se concretan en el uso o supresión de elementos a veces tan sustanciales como la melodía o la armonía tonal, son comunes a un número importante de obras escritas en los periodos que representan, lo que a su vez nos ha permitido definir el conjunto de su producción. Por otro lado, las conversaciones y lecciones de Balada, profesor de composición en la Carnegie Mellon University desde 1970 y de máster clases en España, han sido una fuente de información de gran valor para entender su música. Todo ello nos ha llevado a definir las características de un lenguaje complejo, que se ha ido transformando y enriqueciendo con el paso del tiempo y el empleo de técnicas distintas hasta llegar al estilo único que sintetiza la personalidad de este excepcional compositor. / L'objectiu d'aquest estudi és definir a través de l'anàlisi de quatre composicions les característiques i l'evolució del llenguatge de Leonardo Balada (Barcelona, 1933). Des del seu trasllat a Nova York en 1956 per a estudiar amb mestres com Aaron Copland o Vincent Persichetti, ha escrit més de 120 obres de gran bellesa i personalitat que comprenen tots els gèneres. L'ampli reconeixement internacional del que ha gaudit des dels primers anys 60 s'ha materialitzat a través de les comissions rebudes per part de les més variades i importants institucions musicals, principalment nord-americans i europees. A més, orquestres com les filharmòniques de Nova York o Los Angeles, directors com L. Maazel, o els solistes A. de Larrocha i G. Cassadó han interpretat les seues obres, gravades per discogràfiques com la Deutsche Grammophon o Naxos. Però a pesar de la importància, qualitat i repercussió de la seua obra no hi ha cap estudi que analitze la seua llengua. A través de les composicions Concert per Violoncello i 9 instrumentistes (1962), María Sabina (1969), Homage to Casals (1975) i Prague Sinfonietta (2003) estudiarem les característiques del dit llenguatge. Cada una d'estes obres representa un període diferent de la seua trajectòria compositiva perquè conté trets que han determinat canvis en la direcció de la dita trajectòria. Estos trets, que es concreten en l'ús o supressió d'elements a vegades tan substancials com la melodia o l'harmonia tonal, són comuns a un número important d'obres escrites en els períodes que representen, la qual cosa al seu torn ens ha permés definir el conjunt de la seua producció. D'altra banda, les conversacions i lliçons de Balada, professor de composició en la Carnegie Mellon University des de 1970 i de màster classes a Espanya, han sigut una font d'informació de gran valor per a entendre la seua música. Tot això ens ha portat a definir les característiques d'un llenguatge complex, que s'ha anat transformant i enriquint amb el pas del temps i l'ocupació de tècniques distintes, fins a arribar a l'estil únic que sintetitza la personalitat d'este excepcional compositor. / Uribarri Berrojalbiz, I. (2017). Evolución estilística de la obra de Leonardo Balada [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86139 / TESIS

Thesis advisor: Richard R. Gaillardetz / The following dissertation argues that the relations of power operative in the investigation and silencing of Fr. Leonardo Boff, O.F.M. by the Congregation for the Doctrine of the Faith (CDF) can be adequately understood through the application of a model derived from the works of Michel Foucault. Drawing on the affirmation of the Second Vatican Council that the Catholic Church receives both charismatic and hierarchical gifts, the basis of this model is two elementary forms of power: charismatic power and pastoral power. The category of pastoral power includes, but goes beyond, the traditional ecclesiological concepts of office, law, hierarchy, or institution and includes all forms of ministries and modes of service set over the good of each and all members of the faithful. In order to accomplish this broader task, Foucault’s distinction between sovereignty, discipline, and governmentality are employed as three strategic logics of the Christian pastorate. Charismatic power is then understood as the free gifts of the Holy Spirit that uplift and perfect the talents of each member of the faithful in order to participate in the loving service of the church’s mission in dialogical relation to each respective strategy of pastoral power. In order to defend the claim that each of these strategic relations of power can be observed in the Boff case, this dissertation offers a historical review of the theological concepts entailed therein, genealogical analyses of the discursive and non-discursive practices carried out by both Boff and the CDF, and an explication of Foucault’s thought on power relations. This dissertation concludes with an interpretation of the Boff case that shows how the fundamental arguments of both parties are theologically sound, although with respect to different strategic logics. The conclusion also offers a preliminary outline for a generalized theology of power in the Catholic Church based on the lessons learned from this particular case study. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.