Leopold von Ranke (1795-1886), considerado um dos mais importantes historiadores do século XIX e de toda a história da historiografia, produziu prolificamente durante toda sua carreira profissional, tendo como um de seus principais objetos de estudos a formação das nações ocidentais modernas e sendo conhecido por sua abordagem metodológica da História. Mas seu trabalho também pode ser uma fonte considerável de novos temas e interpretação, especialmente quando seus trabalhos menos conhecidos são tomados em consideração. A presente pesquisa analisa um tema ainda pouco explorado no trabalho de Ranke, ou seja, a posição desse historiador em relação aos grupos orientais através da interpretação das três edições (1829, 1844 e 1879) do seu livro A Revolução Sérvia (Die serbische Geschichte). Algumas características desses textos merecem destaque: 1) o período de cinquenta anos no qual Ranke trabalhou o texto torna possível o estudo do desenvolvimento de suas ideias; 2) trata-se do estudo de um tema contemporâneo, o que significa que Ranke a escreveu enquanto as ações que estudava ainda faziam parte do presente; 3) a obra tem caráter colaborativo, já que foi concebida pela união de Ranke e do Círculo Eslavo de Viena; 4) a forma com que Ranke descreveu os povos orientais (turco e sérvio) aponta para a relação entre essas noções e uma série de representações do Oriente, as quais estavam conectadas com ideias românticas bastante difundidas / Leopold von Ranke (1795-1886), considered one of the most important historians of the 19th century and of the whole history of historiography, produced prolifically during his entire professional carrier, having as one of his main objects the of study the formation of the Western Modern Nations and being famous for his historical methodological approach. But his work can also be a considerable source of new themes and new interpretations, especially when his less known books such as The Ottoman and the Spanish empires in the sixteenth and seventeenth centuries or The Serbian Revolution are taken under consideration. This research analyses a theme somewhat yet to be explored in Rankes work, that is to say, the position of this historian in respect of oriental groups through the interpretation of the three editions (1829, 1844 and 1879) of his book The Serbian Revolution (Die serbische Geschichte). Some characteristics of this works deserve highlight: 1) the period of fifty years in which Ranke retook the text makes it possible to study the development of his ideas; 2) it is about the study of a contemporary theme, which means that Ranke wrote while the actions he studied still were part of the present; 3) the work has a collaborative nature, which was conceived by the union of Ranke and the Viennese Slavonian Circle; 4) the way Ranke described the eastern people (Turkish and Serbian) indicates the relation between these notions and a series of representations of the East, which were connected to widespread Romanticist ideas

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-30T11:33:48Z No. of bitstreams: 1 joseeduardodocoutobarbosa.pdf: 19091863 bytes, checksum: 810d65697909116cff0803799be8d423 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-04-03T18:38:43Z (GMT) No. of bitstreams: 1 joseeduardodocoutobarbosa.pdf: 19091863 bytes, checksum: 810d65697909116cff0803799be8d423 (MD5) / Made available in DSpace on 2017-04-03T18:38:43Z (GMT). No. of bitstreams: 1 joseeduardodocoutobarbosa.pdf: 19091863 bytes, checksum: 810d65697909116cff0803799be8d423 (MD5) Previous issue date: 2009-09-29 / As discussões atuais sobre questões ambientais são influenciadas por diferentes concepções e percepções do mundo natural de vários agentes sociais inseridos em distintos contextos socioculturais. O presente trabalho utilizou como área geral de estudos o município de Camanducaia-MG e a área de cabeceira das Bacias Hidrográficas dos Rios Camanducaia e Jaguary, localizada entre os municípios mineiros de Camanducaia-MG e Sapucaí-Mirim-MG. Estas bacias estão inseridas na APA Fernão Dias e são as principais contribuintes do Sistema Cantareira de Abastecimento de Água, responsável pelo abastecimento de grande parte da região metropolitana de São Paulo e Campinas. Este trabalho teve por objetivos identificar as principais atividades antrópicas, os impactos socioambientais e seus possíveis reflexos na qualidade dos recursos hídricos regionais, analisar o conhecimento existente sobre a realidade local através do levantamento das diferentes percepções e concepções ambientais dos diversos atores sociais, de estudos de campo e de material cartográfico. A metodologia envolveu inicialmente o levantamento da percepção ambiental através de entrevistas semi-estruturadas aplicadas à população urbana, rural e pessoas influentes, possibilitando o entendimento da realidade por parte da comunidade local, a caracterização das principais atividades antrópicas e a identificação e análise dos principais impactos socioambientais a partir de cartas temáticas e da matriz de Leopold. Entre os usos inadequados do solo podem-se destacar: as práticas agrícolas com grande utilização de fertilizantes químicos e defensivos agrícolas em APPs, o assoreamento dos cursos d’água por retirada de mata ciliar e a substituição de mata nativa por silvicultura de eucalipto e pinus. A realização deste trabalho permitiu evidenciar as dinâmicas socioambientais da área de estudo fornecendo assim importantes subsídios para a formulação de alternativas ambientalmente sustentáveis e de políticas públicas que possibilitem a garantia da qualidade ambiental e de vida para toda sociedade. / The current discussions about environmental issues are influenced by different conceptions and perceptions of the natural world of various social actors embedded in different socio cultural contexts. This research used as general area of studies, the municipality of Camanducaia-MG and the spring areas of the Jaguary and Camanducaia Rivers Watershed located in the municipalities of Camanducaia–MG and SapucaíMirim-MG. These watersheds are located within the Fernão Dias Environmental Protected Area (Fernão Dias EPA) and are the major contributors to the Cantareira Water Supply System, responsible for supplying water to a larger part of the Metropolitan Areas of Sao Paulo and Campinas. This research aimed to identify the main human economic activities, their environmental impacts and their possible influences on the regional water resources quality, to analyze the existing local reality knowledge by identifying the different social actor’s environmental perceptions and conceptions, and through studies field and cartographic material. The methodology initially involved a survey of the environmental perception through semi-structured interviews applied to urban and rural inhabitants and influential people, allowing the understanding of the reality by the local community, to characterize the main human economic activities and the identification and analysis of the main environmental impacts through thematic maps and Leopold Matrix. Among the improper soil uses can be highlighted: agricultural practices with heavy use of chemical fertilizers and pesticides in Protected Areas, the silting of water courses by removal of riparian vegetation and the replacement of native forest by eucalyptus and pine plantations. This work has highlighted the environmental dynamics of the study area thus providing important insights into the development of environmentally sustainable alternatives and public policies that may allow the maintenance of both the quality of the environment and of life for the whole society.

Esta pesquisa, inserida na linha de pesquisa Historia, Filosofia e Ensino de Evolucao e Ecologia, trata sobre a Estetica, procurando verificar as possiveis contribuicoes desse referencial teorico para o estudo do meio em Biologia, nomeadamente para aulas de campo voltadas para o Ensino Superior em cursos de Ciencias Biologicas. A Estetica descrita por Charles Sanders Peirce (1839-1914), nao limita-se somente ao entendimento da Estetica como uma ciencia do belo. A Estetica peirceana possui um carater mais abrangente, que reside na essencia de qualquer objeto apreendido pela experiencia; o admiravel que desperta a atencao, seja o objeto considerado belo ou nao pelas convencoes. Nas ideias de Aldo Leopold (1887-1948), que tratam de uma Estetica voltada para a conservacao dos seres vivos, verifica-se um dialogo com a Teoria de Peirce por meio das cinco categorias da Estetica da Conservacao: os trofeus, o isolamento na natureza, ar livre e mudanca de panorama, percepcao e sentido da administracao cuidadosa. Considerando essas categorias, foi proposta uma sequencia didatica tendo a trilha realizada pelo naturalista Auguste de Saint-Hilaire (1779-1853) na Serra da Canastra (MG) como eixo norteador. A proposta com abordagem interdisciplinar favorece o desenvolvimento das aulas de campo a partir de elementos filosoficos e historicos, permitindo que os alunos revisitem os ambientes descritos por Saint-Hilaire de maneira mais motivadora e contextualizada / This proposal is inserted in the research line \"History, Theory and Teaching of Comparative Biology\" and will work with Aesthetics seeking to verify the possible contributions of this theoretical reference for the study of the environment in Biology, particularly in field classes focused on Higher Education in Biology Graduation. The Aesthetics, described by Charles Sanders Peirce (1839-1914), is not limited to a science of the beautiful. Aesthetics has a more comprehensive character and resides in the essence of any object apprehended in our experience that arouses our attention, be it considered beautiful or not by the conventions. It it something that we consider \"admirable\". We found in the ideas of Aldo Leopold (1887-1948), that deals with an Aesthetics focused on the conservation of living beings, a dialogue with Peirce\'s Theory. Leopold (1949) proposes five categories of Conservation Aesthetics: trophy, isolation, change of scene, perception and husbandry. Based on these categories it was proposed a Didactic Sequence having the trail made by the naturalist Auguste de Saint- Hilaire (1779-1853) in Serra da Canastra as a background. We chose to adopt an interdisciplinary approach, and while the students revisit the points visited by Saint- Hilaire, field classes are developed with the aim of investigating the environment as the naturalist himself did

The thesis describes a period of the government of Leopold II Grand Duke of Tuscany and his affiliation to the swampy territory along the Tuscany coastline called Maremma and its bonification. He was able to change fundamentally the most underdeveloped areas of his country during thirty years of his government. He succeeded even though political changes during the revolutionary years of 1847-1849, and though his government was finished by the unification of Italy and the incorporation of Tuscany into the newly established Kingdom of Italy, which was the goal of Italian risorgimento. This work further describes biography of Leopold II in short, his policy focused on overall development of Tuscany, and last but not least life fates and the principal works of his three closest collaborators - personalities with major influence at the realisation of the bonification works - Vittorio Fossombroni, Gaetano Giorgini and Alessandro Manetti. The thesis describes the bonification works in Maremma themselves, their organisation and results achieved. Part of the bonification overall plans of Leopold II was construction of the road network as well, with necessity of numerous bridges over canals and regulated watercourses. It was also necessary to solve the health problems in the region, especially malaria, where...

The thesis describes a period of the government of Leopold II Grand Duke of Tuscany and his affiliation to the swampy territory along the Tuscany coastline called Maremma and its bonification. He was able to change fundamentally the most underdeveloped areas of his country during thirty years of his government. He succeeded even though political changes during the revolutionary years of 1847-1849, and though his government was finished by the unification of Italy and the incorporation of Tuscany into the newly established Kingdom of Italy, which was the goal of Italian risorgimento. This work further describes biography of Leopold II in short, his policy focused on overall development of Tuscany, and last but not least life fates and the principal works of his three closest collaborators - personalities with major influence at the realisation of the bonification works - Vittorio Fossombroni, Gaetano Giorgini and Alessandro Manetti. The thesis describes the bonification works in Maremma themselves, their organisation and results achieved. Part of the bonification overall plans of Leopold II was construction of the road network as well, with necessity of numerous bridges over canals and regulated watercourses. It was also necessary to solve the health problems in the region, especially malaria, where...

Markéta Hrdličková, Ennoblement and it's process in Czech lands during the reign of emperor Leopold I., based on acts of Bohemian Court Chancellery Abstract This thesis is based on the research of files of Bohemian Court Chancellery during the reign of emperor Leopold I. (1657-1705). It resolves about the emperor Leopold and the events and affairs of his time, and those which preceded it and had a significant influence on the reasonings mentioned in the files and acts of ennoblement. It also contains chapters about nobility of the Lands of the Bohemian Crown, the process of ennoblements and its files. Addendum contains a list of ennoblement acts in alphabetical order regarding both persons and families.

Cette étude a pour objectif de transcrire une sonate (synonyme, en Europe centrale à l’époque, de suite, partie ou partita) pour luth baroque à 11 choeurs de Sylvius Leopold Weiss (1687-1750) pour guitare moderne à 11 cordes et d’analyser la manière dont nous pouvons intégrer et interpréter cette musique sur un instrument moderne. L’adaptation de la musique de Weiss à la guitare à 11 cordes est un sujet original, car cette musique, conçue pour le luth, sera fidèlement respectée en gardant le même accord (contrairement aux transcriptions ordinaires impliquant un changement d’accord). La démarche vise donc à préserver l’intégrité de l’oeuvre par le biais d’une approche soucieuse de respecter l’intention et l’esthétique du compositeur. Ma recherche porte sur les oeuvres de Weiss composées entre 1717 et 1719 pour luth à 11 choeurs (Lundberg, 2001). La Sonate no 1 du Manuscrit de Londres est sélectionnée ici, car elle représente bien les divers aspects du travail de Weiss et on peut y voir tous les éléments clés de sa musique (Cardin, 2005). Ainsi, mes analyses commencent par les bases de la transcription de la musique pour luth sur la guitare à 11 cordes, elles se développent ensuite par des sujets plus complexes comme les ressources stylistiques et se terminent avec les pratiques ornementales de rigueur à cette époque. L’ornementation est l’ajout final dans l’interprétation de cette musique baroque. Elle fait appel à l’imagination et aux connaissances stylistiques, harmoniques et contrapuntiques de l’interprète.

Note sur les annexes : 8 fichiers en format m4a présentant l'interprétation de pièces de luth à la guitare / Cette recherche se concentre sur la transcription des sonates de la période de maturité de Sylvius Leopold Weiss (1687-1750), écrites originellement pour le luth baroque à 13 chœurs, afin de les adapter à la guitare moderne à 6 cordes. L'objectif principal est d'analyser comment intégrer et interpréter cette musique sur un instrument contemporain. Deux caractéristiques majeures se dégagent de ces œuvres : le niveau technique requis et la structure des mouvements, annonçant des éléments du classicisme à venir. Ces éléments évoluent à partir d'un contexte baroque vers des traits caractéristiques du classicisme naissant. Le projet de recherche vise spécifiquement la transcription d'œuvres de la maturité de Weiss, en mettant l'accent sur des aspects tels que le style du compositeur, les ornementations et d'autres éléments distinctifs. Son but principal est de trouver des solutions pour transcrire avec succès les œuvres du compositeur pour la guitare, un instrument qui diffère considérablement de celui utilisé dans la culture musicale de ce compositeur allemand. / This research focuses on transcribing the sonatas from the mature period of Sylvius Leopold Weiss (1687-1750), originally written for the 13-course baroque lute, to adapt them for the modern 6-string guitar. The primary objective is to analyze how to integrate and interpret this music on a contemporary instrument. Two major characteristics emerge from these works: the required technical level and the structure of the movements, foreshadowing elements of the forthcoming classicism. These elements evolve from a Baroque context towards characteristics of emerging classicism. This research project specifically aims at transcribing Weiss's mature works, focusing on aspects such as the composer's style, ornamentation, and other distinctive elements. Its main goal is to find successful solutions for transcribing the composer's works to the guitar, an instrument that differs considerably from that used in the musical culture of this German composer.

Hourya Sinaceur présente dans son ouvrage Corps et Modèles la théorie des caractéristiques de Kronecker comme la fin d’« un cycle d’idées sturmiennes », la situant ainsi dans une histoire de l’algébrisation du théorème de Sturm. Pourtant, cette théorie est souvent aussi présentée comme le point de départ de certains des premiers travaux de topologie de la toute fin du dix-neuvième siècle. Nous souhaitons dans cette thèse rendre compte de la façon dont ces deux histoires se rencontrent au sein de la théorie de Kronecker. Pour cela, nous disposons d’un matériel particulièrement éclairant et jusqu’alors très peu exploité : les manuscrits des cours que Kronecker a donnés à l’Université de Berlin entre 1872 et 1891 sur la Théorie des équations algébriques. Nous commencerons par présenter ces manuscrits, leur contenu et leur contexte de rédaction. Nous nous intéresserons ensuite plus précisément à la reprise du théorème de Sturm par Kronecker, et nous montrerons que la théorie des caractéristiques n’est pas seulement un prolongement algébrique de ce théorème, mais qu’elle se transforme pour fournir certains des outils analytiques que Poincaré utilisera lors de la construction de son Analysis Situs. L’exposition de la théorie des caractéristiques dans ses cours est l’occasion pour Kronecker de reprendre trois des quatre démonstrations que Gauss a données du théorème fondamental de l’algèbre, et nous montrerons comment, dans la pratique de Kronecker, la notion même de racine est interrogée / In her book Corps et Modèles, Hourya Sinaceur presented Kronecker’s theory of characteristics as the end of a “cycle of Sturmian ideas”, making it a step in history of the algebraization of Sturm’s theorem. However, this theory is often also introduced as the starting point of some of the early works of topology of the very end of the nineteenth century. In this PhD thesis, I will describe how these two stories are connected in Kronecker’s theory. To achieve this, I used material which has seldom been discussed before : the manuscripts of the courses that Kronecker gave at the University of Berlin between 1872 and 1891 on the Theory of algebraic equations. I begin with the presentation of these manuscripts, their contents and their writing contexts. I then look more closely at Kronecker’s rework of the theorem of Sturm and show that the theory of characteristics is not only an algebraic extension of this theorem but also that it is transformed in order to provide some of the analytic tools that Poincaré will use for the construction of his Analysis Situs. The exposition of the theory of characteristics in his courses is an opportunity for Kronecker to take up three of the four demonstrations from Gauss of the fundamental theorem of algebra, and I will show how, in Kronecker’s practice, the very notion of root is questioned

« Graveur-illustrateur », Léopold Flameng incarne dans la seconde moitié du xixe siècle un rapprochement entre les activités de graveur de reproduction et d’illustrateur original. Formé à la gravure « classique » par Luigi Calamatta, à l’Ecole des beaux-arts de Bruxelles, il devint un aquafortiste et buriniste de grande réputation à partir des années 1860, traduisant les maîtres et spécialement Rembrandt. Œuvrant à la Gazette des beaux-arts, à L’Artiste, à L’Art, il collabora aussi avec des revues étrangères et travailla pour des éditeurs d’estampes comme Goupil. Néanmoins, Léopold Flameng ne délaissa pas une activité de créateur, qu’il cultiva en pratiquant l’illustration originale. Dessinant pour Ducrocq, Jouaust ou Hetzel, Flameng est un des rares graveurs de métier à réussir, dans la seconde moitié du xixe siècle, une carrière d’illustrateur à succès face à la dominance des peintres.Cette thèse qui s’appuie sur un ample corpus d’œuvres et sur une correspondance et des archives en grande partie inédites, cherche à définir le « graveur-illustrateur », type particulier d’illustrateur venu non de la peinture mais de la gravure. Tandis qu’une première partie s’attache à présenter le graveur de reproduction, en s’attardant notamment sur son rôle dans la dynamique de l’eau-forte à partir des années 1850 en France, une deuxième partie vise à montrer le glissement de l’artiste vers l’illustration originale. Il s’agit d’en expliciter les raisons et de comprendre un paradoxe : comment Léopold Flameng a pu trouver dans l’illustration originale un terrain de liberté créative, compte tenu des nombreuses contraintes qui pèsent sur l’artiste ? Enfin, une dernière partie explore les réseaux personnels et professionnels de Flameng, cherchant à étudier sa relation avec les divers intermédiaires et collègues entourant le graveur et l’illustrateur, et à analyser la distribution et la réception de son œuvre auprès du public. L’objectif de cette thèse est donc de faire émerger une typologie particulière d’illustrateur, en s’appuyant à la fois sur Léopold Flameng et sur les évolutions notables qui touchent le monde de l’estampe au milieu du xixe siècle et qui impliquent, chez la plupart des graveurs, de nécessaires adaptations à un nouveau contexte. / "Engraver-illustrator", Leopold Flameng embodies in the second half of the nineteenth century a reconciliation between the activities of reproductive engraver and of original illustrator.Trained in "classical" engraving by Luigi Calamatta at the Ecole des Beaux-Arts in Brussels, he became a renowned etcher and engraver from the 1860s, translating the masters, especially Rembrandt. Working in the Gazette des Beaux-Arts, L'Artiste, L’Art, he also collaborated with foreign magazines and worked for prints publishers like Goupil.Nevertheless, Leopold Flameng did not abandon a creative activity, which he cultivated by practicing the original illustration.Drawing for Ducrocq, Jouaust or Hetzel, Flameng is one of the few professional engraver to succeed in the second half of the nineteenth century, a successful illustrator career in the face of the dominance of painters.This thesis, which is based on a large corpus of works and a correspondence and archives largely unpublished, seeks to define the "engraver-illustrator", a particular type of illustrator who came not from painting but from engraving.While the first part is devoted to presenting the reproductive engraver, focusing in particular on its role in the dynamics of etching from the 1850s in France, a second part aims to show the shift of the artist to the original illustration. It is a matter of explaining the reasons for this, and of understanding a paradox : How could Leopold Flameng find in the original illustration a field of creative freedom, given the many constraints that weigh on the artist ?Finally, the last part explores the personal and professional networks of Flameng, seeking to study his relationship with the various intermediaries and colleagues surrounding the engraver and the illustrator, and to analyze the distribution and reception of his work among the public.The objective of this thesis is thus to bring out a particular typology of illustrator, relying both on Leopold Flameng and on the significant evolutions that affect the world of printmaking in the middle of the nineteenth century and which imply, in most of the engravers, of necessary adaptations to a new context