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The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods.

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This study analyses and presents the formal qualities of the novels of Erich Maria Remarque. The aim is to show that these works cannot justifiably be classified as lowbrow literature or Trivialliteratur, a negative criticism which has adhered to Remarque’s name since he wrote Im Westen nichts Neues in 1929. As a result, Remarque has rarely been the subject of scholarly interest; his name is, in fact, seldom found even in general works on modern German literature. The relatively few studies which have been carried out on Remarque and his oeuvre mostly express surprise about this author’s continued exclusion from academic discourse, but although these studies voice their disagreement with the labelling of Remarque as an author of Trivialliteratur, no serious attempts have, thus far, been made to create an argument against this tag. By analysing Remarque’s narrative strategies in depth, this study seeks to establish such an argument. Particular attention will be paid to the narrative perspective, although other aspects of form – structural and textural – will be incorporated in the examination. Due to the interdependence which exists amongst not only the individual formal elements, but also between the form as a whole and the novels’ contents, the strategies Remarque employs will be considered in the context of the novels in their entirety. The analysis will furthermore form the basis for the consideration as to whether Remarque’s narrative techniques remain comparatively unvarying throughout the novels – does the author adhere to an Erfolgsrezept? – or whether they reflect some degree of development. Although Remarque experimented with several literary genres in addition to the novel – short stories, poems, plays and film scripts – this study essentially focuses on the major novels which comprise what may be termed his Hauptwerk. It was on the basis of this part of his oeuvre that Remarque gained fame, but subsequently also the part that instigated the accusation of triviality. When evaluating the validity of the widespread condemnation of Remarque’s authorial abilities, it is thus of limited relevance to examine relatively unknown aspects of his oeuvre. Such material is therefore largely excluded, although it is used for comparative purposes where appropriate. For the sake of general clarification, but also in order to identify signs of development, the novels are analysed chronologically. The range of works on the topic of literary interpretation and assessment is extensive. This study, although acknowledging also other approaches, especially favours the comprehensive and logical method proposed by Boa and Reid’s in Critical Strategies. The opening chapter of this study offers a brief outline of Remarque’s life and oeuvre. It thus serves as an introduction to the author and his work. The chapter proceeds to explore different definitions of the term Trivialliteratur, but also considers the various factors which led to this widespread and persisting classification of Remarque. This chapter furthermore considers the relatively few studies which can be found on Remarque, and stresses especially those relating to his narrative strategies. Their limited number testifies to the level of neglect in this area and which Remarque’s work in its entirety has continued to be subjected to. The six chapters comprising the main body of the study each analyse one or two of Remarque’s major novels. Aside from the point-of-view, they examine the author’s most striking utilization of other narrative tools in relation to the individual novels. These tools, of course, vary in accordance with the themes and messages of the books. Throughout the study, the narrative strategies are considered against the reception of Remarque’s novels which, in addition to comparisons to the work of other authors, serve to place Remarque in the context of his literary contemporaries and the time at which he wrote his novels.

This Diploma thesis focuses on the investigation of impact of French Revolution into the development of political views of three Englishmen who represent three levels of view of revolutionary events: idealistic, radical and critical. Helen Maria Williams (1761-1827) represents an idealistic school of thought especially within the idea on universal citizenship and messianism of French Revolution. Simultaneously, she also represents some opinions of female population and their expectations relating to the status of women. Thomas Paine (1737-1809), a member of Convention and a supporter of the Girondists is an example of a radical religious view. The last of the trio is a physiocrat and a writer Arthur Young (1741-1820) who visited France before the Revolution. He became a witness and also a critic of the early revolutionary events. Key Words Helen Maria Williams, Thomas Paine, Arthur Youn, The French Revolution.

O objetivo desta pesquisa é apresentar e analisar a primeira novela do autor russo soviético Valentin Raspútin, Dinheiro para Maria, publicada originalmente em 1967. A tradução em português do objeto de estudo é acompanhada de notas contextuais, tanto históricas quanto tradutórias. Para aprofundarmos mais o assunto, é apresentado um breve histórico da coletivização das terras na URSS e as condições sociais e artísticas que permitiram o florescimento da \"prosa de aldeia\". Além disso, são apontados alguns dados biográficos do autor e alguns aspectos de sua obra que o enquadram nesse movimento artístico. Finalmente, são analisadas as diversas camadas cronotópicas da novela e seu caráter dialógico. / The aim of this research is to present and analyze the first novel by Soviet Russian author Valentin Rasputin, Money for Maria, originally published in 1967. The Portuguese translation of the object of study is accompanied by contextual notes, both historical and translational. To further explore the subject, a brief history of the collectivization of land in the USSR and the social and artistic conditions that allowed the flourishing of \"village prose\" is presented. In addition, some biographical data of the author and some aspects of his work that fit him in this artistic movement are pointed out. Finally, the various chronotopic layers of the novel and its dialogical character are analyzed.

Este estudo propõe uma reflexão sobre as narrativas de homens denunciados por crimes previstos pela Lei 11.340/2006 (denominada também como Lei Maria da Penha), encaminhados à ONG Coletivo Feminista Sexualidade e Saúde, em São Paulo, para participar do Programa de Responsabilização de Homens Autores de Violência contra a Mulher. Nesta pesquisa, visualizoa questão da violência de gênero sob um ângulo ainda pouco explorado, uma vez que meu olhar situa-se não sobre as denunciantes (não raramente cristalizadas como vítimas), mas sobre os denunciados/agressores. No decorrer do trabalho, demonstrocomo as narrativas verbalizadas nas reuniões do referido grupo reflexivo evidenciam ideias sobre masculinidade, feminilidade, violência, família econjugalidade, além questionarem a legitimidadeda Lei 11.340/2006, através da desestabilizaçãoda categoria vítima. O estudoigualmente visa contribuir com uma discussão metodológica no tocante aos limites e às experimentações do trabalho de campo, produzindo ao mesmo tempo uma reflexão sobre as/os antropólogas/os enquanto sujeitos generificados. / This study proposes a reflection on the narratives of men accused of crimes stipulated by the Law 11.340/2006 (also known as \"Maria da Penha Law\") who were sent to the NGO Coletivo Feminista Sexualidade e Saúde, in São Paulo, to participate in the \"Accountability Program for Male Perpetrators of Violence against Women\". In this research, I see the gender-based violence issue from a perspective yet to be fully explored, since my focus is directed not towards the complainants (not rarely crystallized as \"victims\"), but the reported/\"aggressors\". Throughout this dissertation, I show how the narratives verbalized during the Program\'s meetings highlight ideas about masculinity, femininity, violence, family and conjugality, as well as question the legitimacy of the Law 11.340/2006 through the destabilization of the \"victim\" category. Furthermore, this investigation aims to contribute to a methodological discussion about the limits and experimentations of fieldwork, producing at the same time a reflection on anthropologists as \"gendered\" subjects.

Este trabalho trata da relação entre arte e tecnologia e das possibilidades de representação utilizadas nas digigrafias da artista plástica Maria Bonomi, nascida na Itália, mas radicada em São Paulo desde a infância, e que atua como gravadora, pintora, professora, muralista, figurinista, cenógrafa etc., com reconhecido destaque por suas gravuras e pelas obras de grande porte em espaços públicos e que apresenta novas interfaces estéticas com o uso das tecnologias digitais e eletrônicas, potencializando a imaginação e as mediações simbólicas. Esta tese utilizou-se da pesquisa bibliográfica e da coleta de depoimentos da artista para sustentar as discussões sobre os novos caminhos da arte através da utilização dos meios digitais, buscando compreender em que medida o computador contribui na ampliação da potencialidade das técnicas tradicionais de criação artística possibilitando articulações e mediações entre a tecnologia e a arte. / This work deals with the relationship between art and technology and the possibilities of representation used in the digigraphies of the plastic artist Maria Bonomi, born in Italy, but based in São Paulo since childhood, and who acts as a recording company, a painter, a teacher, a muralist, scenographer, etc., recognized by his engravings and large works in public spaces, which presents new aesthetic interfaces with the use of digital and electronic technologies, enhancing imagination and symbolic mediations. This thesis was based on the bibliographical research and the collection of testimonies of the artist to support the discussions about the new paths of art through the use of digital media, trying to understand to what extent the computer contributes to the amplification of the potential of traditional techniques of artistic creation enabling articulations and mediations between technology and art.