Orientador: Trajano Augusto Ricca Vieira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T19:29:04Z (GMT). No. of bitstreams: 1 Mishima_Monica_M.pdf: 782171 bytes, checksum: bb2993137c39da78a010d4647e1830a0 (MD5) Previous issue date: 2011 / Resumo: Ao percorrer as obras satíricas de Luciano de Samósata, notamos a incongruência entre as falas e as ações de algum personagem (ou de muitos) como motivo de riso. De acordo com Quentin Skinner e Verona Alberti, diversos pensadores da Antiguidade Clássica estabelecem tal contraste entre o que se é e o que se aparenta ser como única causa do humor. Pretendemos, com o presente estudo, esboçar como essa teoria clássica do riso se apresenta na obra O Banquete ou os Lápitas, sátira aos filósofos do autor supracitado / Abstract: Going through the satirical works of Lucian of Samosate, we may notice the incongruence between the speech and the actions of one or many characters as the reason for laughter. According to Quentin Skinner and Verona Alberti, some thinkers from the Classical Antiquity stablished the contrast of what one is and what one appears to be as the sole motive for laughing. Through this research, we intend to sketch how the classical theory of laughter is presented in Symposium or the Lapiths, a satire on philosophers by the aforementioned author / Mestrado / Linguistica / Mestre em Linguística

O objetivo deste estudo é analisar o romance grego , Das Narrativas Verdadeiras, de Luciano de Samósata (125-180 d.C.), considerando os objetivos expostos pelo autor no proêmio do texto e sua composição por meio da alusão a outros gêneros literários. Apresenta-se também uma tradução do texto em português. / The aim of this study is to analyze the greek novel , True Histories, by Lucian of Samosata (circa 125-180 AD), regarding the aims exposed by the author in the prologue of the text, as well as its composition made by alluding to other literary genres. A Portuguese translation of the novel is also provided.

Sequenza III was written in the mid -1960s and is widely available for study and performance, but how can this work be defined? Is it a series of sounds, or phonemes, or the anxious mutterings of a woman? Is it performance art or an operatic mad scene? Sequenza III could be all of these or something else entirely. Writing about my method of preparation will work to allay some of my own and other performer's fears about attempting this unusual repertory. Very little in this piece is actually performed on pitch, and even then the pitches are not definite. The intervals on the five-line staff are to be observed but the singer may choose to sing within her own vocal range. The notation that Berio has used is new and specific, but the emotional markings and dynamics drawn from these markings permit a variety of interpretive decisions by the performer. There is a very brief text and no actual melody, so where does one begin? As a composer, Berio was often responsive to external stimuli. Quotation of his earlier works and the works of others was a common tool of his technique. By comparing Sequenza III with other works by the same composer, I will delineate some borrowed features and techniques from his earlier music and from the areas of literature and visual art. Sequenza III, although available on several recordings, is still not performed very often outside the academic community. There is only a small body of scholarly literature about Luciano Berio. I hope to add to the knowledge about this recently deceased composer and his music, to create a comfort zone for singers in approaching this work, to understand the composer's intentions, and to provide a fair representation of his ideas in public performance.

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A Sonata per pianoforte, composta em 2001, é o trabalho para piano solo de maior fôlego de Luciano Berio. A peça condensa diversas estratégias composicionais características de Berio e se apresenta, assim, como uma espécie de relicário da escritura desse compositor. Nesse trabalho comentaremos, a partir da Sonata, três importantes estratégias composicionais de Luciano Berio: a noção de reescritura, a noção de gesto e a noção de processo. Como veremos, essas três noções são atravessadas pela idéia de obra aberta e estarão presentes durante todo seu percurso composicional, consolidando-se como aspectos fundamentais para a construção de sua poética. / The Sonata per pianoforte, composed in 2001, is the Luciano Berio\'s solo piano work of greatest scope. The piece brings together several of Berios\'s characteristic compositional strategies and thus presents itself as a sort of a reliquary of his musical resources. In this work, we will comment, from the Sonata, three Luciano Berio\'s important compositional strategies: the notion of rewriting (réécriture), the notion of gesture and the notion of process. As we will see, these three notions are crossed by the idea of open work and will be present throughout his compositional pathway, establishing themselves as fundamental aspects for the construction of his poetry.

The Catholic Church summoned ecumenical councils since the early days of Christianity. These assemblies bring together Christian bishops from around the world to discuss problematic issues for the institution. At the Second Vatican Ecumenical Council (1962- 1965), it officialized its change of position with regard to the questioning of the modern, increasingly urban, industrial and secularized society of the twentieth century, which progressively renounced living the moral of Judeo-Christian origin. In Brazil, and especially in Sergipe, we analyze the impact of the diffusion of these modern values throughout the first half of the twentieth century, stimulated by the mass media, such as radio. In this context, the Sergipe population received the announcement that Pope John XXIII would hold a new Ecumenical Council in the Vatican in Rome. The purpose of John XXIII was to promote a renewal (aggiornamento) in the Catholic Church through dialogue with modernity and also to seek a rapprochement with the dissident Christian groups of Roman Catholicism. The then priest Luciano José Cabral Duarte, although not yet a bishop, followed that event in his own way, as a reporter for the national circulation magazine, O Cruzeiro and the newspaper aracajuano, A Cruzada. Thus he described the main activities of the Council and through his texts a great number of Brazilians had access to the main discussions of the Second Vatican Council. In 1966, Luciano Duarte was appointed auxiliary bishop of the Archdiocese of Aracaju, in the administration of Dom José Távora. In fulfilling this function, it was also up to the then Don Luciano to help in the process of implementing the conciliar guidelines in Sergipe. Thus, the main objective of this research is to discuss the Second Vatican Council as a historical event of significant impact in the modern society of the Western world and specifically in Brazil during the twentieth century. In addition, to investigate the effects of the conciliar guidelines in / and for Sergipe, through the study of part of the life trajectory of Luciano Duarte, both as journalist correspondent during the Second Vatican Council (1962- 1965) and as auxiliary bishop of the archdiocese of Aracaju (1966-1971). / A Igreja Católica convoca concílios ecumênicos desde os primórdios do cristianismo. Essas assembleias reúnem os bispos cristãos de todo o mundo com o objetivo de deliberarem sobre aspectos problemáticos para a instituição. No Concílio Ecumênico Vaticano II (1962-1965), ela oficializou sua mudança de postura com relação aos questionamentos da sociedade moderna do século XX, cada vez mais urbana, industrial e secularizada, que progressivamente renunciava a vivência da moral de origem judaico-cristã. No Brasil e, principalmente, em Sergipe, analisamos o impacto da difusão desses valores modernos, ao longo da primeira metade do século XX, estimulados pelos meios de comunicação de massa, como o rádio. Nesse contexto, a população sergipana recebeu o anúncio de que o papa João XXIII realizaria um novo Concílio Ecumênico no Vaticano, em Roma. O objetivo de João XXIII era promover uma renovação (aggiornamento) na Igreja Católica através do diálogo com a modernidade e também buscar uma reaproximação com os grupos cristãos dissidentes do catolicismo romano. O então padre Luciano José Cabral Duarte, embora ainda não fosse bispo, acompanhou aquele evento a sua maneira, enquanto repórter da revista, de circulação nacional, O Cruzeiro e do jornal aracajuano, A Cruzada. Assim, ele descreveu as principais atividades conciliares e, através de seus textos, grande parte dos brasileiros tiveram acesso às principais discussões do Concílio Vaticano II. Em 1966, Luciano Duarte foi nomeado bispo auxiliar da Arquidiocese de Aracaju, na administração de Dom José Távora. Ao desempenhar esta função, também coube ao então Dom Luciano ajudar no processo de implantação das orientações conciliares em Sergipe. Dessa forma, o objetivo principal dessa pesquisa é discutir o Concílio Vaticano II, como um evento histórico de impacto significativo na sociedade moderna do mundo ocidental e, especificamente, no Brasil durante o século XX. Além disso, investigar os efeitos das orientações conciliares em/e para Sergipe, através do estudo de parte da trajetória de vida de Luciano Duarte, tanto como correspondente jornalístico durante o Concílio Vaticano II (1962-1965) e enquanto bispo auxiliar da arquidiocese de Aracaju (1966-1971).

A Sonata per pianoforte, composta em 2001, é o trabalho para piano solo de maior fôlego de Luciano Berio. A peça condensa diversas estratégias composicionais características de Berio e se apresenta, assim, como uma espécie de relicário da escritura desse compositor. Nesse trabalho comentaremos, a partir da Sonata, três importantes estratégias composicionais de Luciano Berio: a noção de reescritura, a noção de gesto e a noção de processo. Como veremos, essas três noções são atravessadas pela idéia de obra aberta e estarão presentes durante todo seu percurso composicional, consolidando-se como aspectos fundamentais para a construção de sua poética. / The Sonata per pianoforte, composed in 2001, is the Luciano Berio\'s solo piano work of greatest scope. The piece brings together several of Berios\'s characteristic compositional strategies and thus presents itself as a sort of a reliquary of his musical resources. In this work, we will comment, from the Sonata, three Luciano Berio\'s important compositional strategies: the notion of rewriting (réécriture), the notion of gesture and the notion of process. As we will see, these three notions are crossed by the idea of open work and will be present throughout his compositional pathway, establishing themselves as fundamental aspects for the construction of his poetry.