Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2002. / Vita. Includes bibliographical references.

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2002. / Vita. Includes bibliographical references.

Submitted by André Repizo Marques null (andre_repizo@hotmail.com) on 2017-08-15T21:43:11Z No. of bitstreams: 1 Dissertação Interpretações da música de Ernesto Nazareth.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-08-22T18:21:14Z (GMT) No. of bitstreams: 1 marques_ar_me_ia.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) / Made available in DSpace on 2017-08-22T18:21:14Z (GMT). No. of bitstreams: 1 marques_ar_me_ia.pdf: 9010999 bytes, checksum: 20ee7a255dc41896bc0cd69b3d8fa928 (MD5) Previous issue date: 2017-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A presente dissertação tem por propósito investigar a diversidade de interpretações da obra de Ernesto Nazareth, cuja performance tem sido realizada tanto por pianistas eruditos como por rodas de choro. Tal diversidade nos leva a algumas questões que permeiam este trabalho: quais são as ferramentas auditivas e interpretativas de que dispomos para fruição e construção de uma performance das músicas de Nazareth? Tais ferramentas existem em função da obra escrita ou do ambiente, da instrumentação ou do meio social em que a música é tocada? Como era atuação de Nazareth como pianista e compositor? Como era a prática musical dos pianistas desse período? O que nós temos que levar em conta a partir da história da música popular urbana do Rio de Janeiro para abordar essa música? Para tanto, o trabalho analisa a interpretação de quatro músicos: Jacob do Bandolim, na gravação da música Confidências; Carolina Cardozo de Menezes com seu arranjo para Odeon; Hércules Gomes com seu arranjo de Odeon; e Sônia Rubinsky, na gravação de Batuque. Ainda nesta investigação, a presente pesquisa estuda o período em que Ernesto Nazareth compôs suas músicas e a relação do compositor com os grupos de choro. / The present dissertation aims to investigate the diversity of Ernesto Nazareth interpretations, whose music has been performed by classical pianists and choro groups. Such diversity leads us to some questions that permeate this work: what are the auditory and interpretative tools available to us to enjoy and build a performance of Nazareth’s music? Do such tools exist in function of the written music or the environment, instrumentation or social surroundings in which the music is played? How was Nazareth acting as a pianist and composer? How was the musical practice of the pianists of this period? What do we have to take into account from the history of popular urban music in Rio de Janeiro to address this song? Therefore, the work analyzes the interpretation of four musicians: Jacob do Bandolim, on the recording of the song Confidências; Carolina Cardozo de Menezes on her arrangement for Odeon; Hercules Gomes on his arrangement for Odeon; and Sônia Rubinsky, on the recording of Batuque. Still in this investigation, the present research studies the period in which Ernesto Nazareth composed his songs and the relation of composer with choro groups.

Cette thèse tente de comprendre la pratique de délivrance et de possession matérielle à l'église Internationale de Nazareth appartenant à la mouvance pentecôtiste charismatique. Elle convoque dans cette entreprise certains discours qui accompagnent ce phénomène. La souffrance constitue l'axe principal du discours de délivrance auprès des fidèles et la motivation de l'éradiquer des travailleurs de Dieu. Cette pratique telle qu'elle est vécue au sein de l'Eglise Internationale de Nazareth, se présente dans l'imaginaire des fidèles et du collège pastoral, comme étant une libération de la souffrance, du malheur et de l'emprise de Satan sur les corps et sur la vie des individus, en leur permettant d'accéder au salut, qui passe par la possession matérielle, à partir des prières adressées à Dieu. Ces faits se déploient dans un contexte caractérisé sur le plan économique et social par les mises en oeuvre des politiques d' « ajustement structurel » et de leurs effets disruptifs sur les sociabilités familiales, de voisinages ou professionnelles, ainsi que sur les rapports à soi, au corps propres, aux corps des choses. L'église apporte des solutions spirituelles et matérielles à des nouvelles façons d'être et de vivre qui, elles, permettent de résoudre des problèmes que rencontrent les fidèles qui se rendent en son sein. La délivrance pour ces fidèles est un moyen de s'en sortir, un support au changement de vie, le moyen de remplacer des modèles qui ne fonctionnent plus, à partir d'un travail sur le corps et sur la vie de l'individu. Cette dernière passe non seulement par un discours sur la sorcellerie, qui s'impose comme une réalité quotidienne de la vie sociale et les rapports humains, y compris en milieu urbain, mais également par la guérison divine miraculeuse et l'exorcisme qui fournissent un schéma explicatif majeur de l?environnement social. L'Eglise Internationale de Nazareth, dans son dispositif évangélique, nourrit l'imaginaire sorcellaire, voire le réactive et l'intègre dans son processus de possession matérielle, tout en prétendant lutter contre lui. Cette lutte et ce contrat « spirituel » contre le Mal, sont des catégories génériques, qui en font une réalité quotidienne et le principe explicatif de la souffrance et du malheur. Et la fréquence des pratiques d'exorcisme et des affaires de sorcellerie au sein de cette institution religieuse charismatique, participe d'une mondialisation de l'imaginaire sorcellaire. / This thesis attempts to understand the practice of deliverance and material possession at the International Church of Nazareth. This church is part of the charismatic Pentecostal movement. The thesis looks at certain discourses linked to this phenomenon. Suffering is the main theme of this discourses of deliverance amongst its followers as well as the eradication of suffering from God's workers. At the International Church of Nazareth, this practice is seen by its followers and the pastoral college as the liberation from suffering, adversity and Satan's hold on the individual's body and life in general. This liberation allows them to attain salvation, which includes material possession, through prayers addressed to God. These events take place in a context characterized by the implementation of "structural adjustment" policies which have a disruptive effect on family, social and professional life, as well as on the individual's connection with himself, his body, other people's bodies as well as objects. The Church provides spiritual and material solutions to these new ways of being and living and which help to resolve problems that the followers encounter. For them, deliverance is a way of coping; it supports them in their changed lives and provides a way of replacing models which don't work anymore. It involves work on the body and in the life of the individual. The latter comprises not only a discourse on witchcraft - which is a reality in daily social life and human relations also in an urban setting - but also a miraculous divine healing session and an exorcism which provide an important explanatory schema of the social environment. The International Church of Nazareth, within its evangelical plan, nourishes this idea of witchcraft, and even revives it and integrates it in its process of material possession, while claiming to fight against it. This struggle and the "spiritual" warfare against Evil are generic categories. They are a daily reality and help to explain suffering and adversity. The frequency of these exorcisms and matters regarding witchcraft within this charismatic religious institution helps with the globalization of the imaginary world of witchcraft

[pt] Esta pesquisa aborda a questão de segurança pública no Rio de Janeiro a partir da perspectiva de cultura cívica, como elaborado por autores como Alexis de Tocqueville (2000), Almond e Verba (1963), Putnam (1993), José Álvaro Moisés (2010), e Elisa Reis (1995). Mais especificamente, ela procura entender os resultados das várias tentativas de reformas policiais que usaram o modelo de policiamento comunitário sem de fato mudar a estrutura do aparato de segurança no estado. Feitas estas análises, a pesquisa tentará colocar os Conselhos Comunitários de Segurança do Rio de Janeiro e CONSPERJ dentro do contexto das reformas policiais no estado para entender por que que este modelo foi escolhido e o que de fato mudou na política de segurança política com esse programa. O intuito maior é entender o papel da cultura cívica nas escolhas políticas em relação à segurança pública no estado. Muitas pesquisas já elaboradas2 focam nas dificuldades estruturais e culturais dentro da corporação policial, e uma pesquisa que também considera o papel da sociedade civil carioca pode fornecer uma perspectiva importante sobre as influências na segurança pública no estado e as saídas possíveis para um modelo de segurança mais justo e menos opressivo. / [en] This study addresses public security in Rio de Janeiro from the perspective of civic culture, following along the lines of Alexis de Tocqueville (2000), Almond and Verba (1963), Putnam (1993), José Álvaro Moisés (2010), and Elisa Reis (1995). More specifically, it seeks to understand the result of various police reforms which modeled themselves on community policing without truly changing the structure of the State s public security institutions. The study will attempt to place CONSPERJ and the Rio de Janeiro Community Security Councils within this content in order to understand why this model was chosen and what it managed to change regarding public security policy in the state. The study also seeks to understand the role that civil society plays in RJ public security policy decisions. Many studies have already focused on the cultural and structural difficulties faced when attempting police reform in the state, and a study on how civil society influences this process can provide an important perspective on public security in the state as well as potential models for a fairer, less oppressive model of public security.

La purification est une métaphore désignant le moteur de la philosophie de la religion de Hegel. Elle est d’abord à l’œuvre dans la création de la Nature qui se consume pour produire la conscience de soi divine à travers l'esprit humain. En second lieu, elle s’opère dans l’objectivation des productions spirituelles de l’homme qui sont purifiées jusqu'à ce que l’Esprit soit auprès de soi dans le christianisme. La troisième purification est morale et trouve son fondement dans la Genèse, le judaïsme étant le premier à avoir identifié l'unité des natures humaine et divine. Le mythe témoignera également de la culpabilité en tant que l'homme n'exprime pas immédiatement sa divinité, mais sa finitude. La réalisation du divin impliquera donc la purification de la naturalité au profit de la substantialité. Le christianisme explicitera cette tâche par l’héroïsme de Jésus et cet héroïsme se perpétuera jusqu’à ce qu’émergent un individualisme moderne et une religion assurant la cohésion sociale : le protestantisme luthérien. Cet individualisme sera toutefois défectueux puisqu’il produira éventuellement davantage d’égoïsme que de réconciliation, ce qui donnera lieu à certaines critiques de l’analyse hégélienne du christianisme. En effet, Hegel croit toujours que la vitalité religieuse est nécessaire au fonctionnement de l’État, bien qu’elle soit dorénavant incapable de diffuser les sentiments de culpabilité et de responsabilité dans le corps social. Néanmoins, comme les valeurs du christianisme ont été épurées de leur contingence en passant dans les mœurs et dans l’État, il s’avérera que le corps social peut se passer d’une tradition religieuse vivante / Purification is what moves the content of Hegel’s philosophy of religion. It is first active in the creation of Nature, which consumes itself in order to liberate the divine self-consciousness through human spirit. Secondly, it is active in the process of the objectivation of human spiritual productions, which are purified until Spirit comes to know itself in the world. The third form of purification is moral and gets its theoretical foundation in the Genesis. According to Hegel, Judaism was the first belief system to identify the unity between divine and human natures; however, the myth is also about the birth of guilt as man does not immediately express his divinity, but his finiteness. As such, the divine process implies purification from naturality in favour of substantiality. Christianity will explicit this task through Jesus’s heroism and heroism in general will maintain itself until the rise of modern individualism and the rise of a religion capable of producing social cohesion—Lutheran Protestantism. However, individualism will eventually show its defectiveness since it will create more egoism than reconciliation. This problem will be the opportunity to criticize Hegel’s analysis of Christianity. Indeed, it seems that Hegel came to believe that religious vitality was necessary to the State's proper functioning, even though Christianity is no longer capable of creating guilt and responsibility by itself. Nevertheless, as Christian values are now purified forms their contingencies and are now recuperated by customs and the State, it appears that society can now function without such a tradition.

Partindo da discussão sobre a autobiografia nas artes visuais, esta pesquisa se divide em duas partes. Na primeira delas, são tratadas as questões teóricas relativas ao que se entende por Corpo em Trânsito, possível modo de operar da relação entre artista-obra e observador quando o trabalho artístico é dotado de potências autobiográficas, as quais se apresentam na obra através de um corpo. O foco, nesse sentido, é o Corpo em Trânsito. Na segunda parte, são propostas abordagens de trabalhos de artistas brasileiros produzidos entre os anos 1980 e o início do século XXI, tendo em vista a aplicação do Corpo em Trânsito. O foco, então, torna-se pensar com o Corpo em Trânsito. Foram escolhidas, para esta parte, produções de Nazareth Pacheco, Fernanda Magalhães e Leonilson, sendo cada artista tratado em um capítulo. / Based on the discussion of the autobiography in the visual arts, this research is divided into two parts. In the first, are treated the theoretical questions concerning what is meant by the Body in Transit, the modus operandi of the relationship between artist and observer force when the artwork is endowed with powers autobiographical, which are present in the work through a body. The focus in this sense is the body in transit. In the second part, are proposed approaches to the work of Brazilian artists produced between 1980 and the beginning of the century, with a view to implementing the Body in Transit. The focus then becomes thinking with the body in transit. Were chosen for this part, the production of Nazareth Pacheco, Fernanda Magalhães and Leonilson, each artist being treated in a chapter.

Partindo da discussão sobre a autobiografia nas artes visuais, esta pesquisa se divide em duas partes. Na primeira delas, são tratadas as questões teóricas relativas ao que se entende por Corpo em Trânsito, possível modo de operar da relação entre artista-obra e observador quando o trabalho artístico é dotado de potências autobiográficas, as quais se apresentam na obra através de um corpo. O foco, nesse sentido, é o Corpo em Trânsito. Na segunda parte, são propostas abordagens de trabalhos de artistas brasileiros produzidos entre os anos 1980 e o início do século XXI, tendo em vista a aplicação do Corpo em Trânsito. O foco, então, torna-se pensar com o Corpo em Trânsito. Foram escolhidas, para esta parte, produções de Nazareth Pacheco, Fernanda Magalhães e Leonilson, sendo cada artista tratado em um capítulo. / Based on the discussion of the autobiography in the visual arts, this research is divided into two parts. In the first, are treated the theoretical questions concerning what is meant by the Body in Transit, the modus operandi of the relationship between artist and observer force when the artwork is endowed with powers autobiographical, which are present in the work through a body. The focus in this sense is the body in transit. In the second part, are proposed approaches to the work of Brazilian artists produced between 1980 and the beginning of the century, with a view to implementing the Body in Transit. The focus then becomes thinking with the body in transit. Were chosen for this part, the production of Nazareth Pacheco, Fernanda Magalhães and Leonilson, each artist being treated in a chapter.

Partindo da discussão sobre a autobiografia nas artes visuais, esta pesquisa se divide em duas partes. Na primeira delas, são tratadas as questões teóricas relativas ao que se entende por Corpo em Trânsito, possível modo de operar da relação entre artista-obra e observador quando o trabalho artístico é dotado de potências autobiográficas, as quais se apresentam na obra através de um corpo. O foco, nesse sentido, é o Corpo em Trânsito. Na segunda parte, são propostas abordagens de trabalhos de artistas brasileiros produzidos entre os anos 1980 e o início do século XXI, tendo em vista a aplicação do Corpo em Trânsito. O foco, então, torna-se pensar com o Corpo em Trânsito. Foram escolhidas, para esta parte, produções de Nazareth Pacheco, Fernanda Magalhães e Leonilson, sendo cada artista tratado em um capítulo. / Based on the discussion of the autobiography in the visual arts, this research is divided into two parts. In the first, are treated the theoretical questions concerning what is meant by the Body in Transit, the modus operandi of the relationship between artist and observer force when the artwork is endowed with powers autobiographical, which are present in the work through a body. The focus in this sense is the body in transit. In the second part, are proposed approaches to the work of Brazilian artists produced between 1980 and the beginning of the century, with a view to implementing the Body in Transit. The focus then becomes thinking with the body in transit. Were chosen for this part, the production of Nazareth Pacheco, Fernanda Magalhães and Leonilson, each artist being treated in a chapter.

This research project concerns itself with the three disputed passages of Christian import as preserved in extant manuscripts of the AJ (Ἰουδαϊκὴ Ἀρχαιολογία a.k.a. Antiquitates Judaicae), viz.: AJ, XVIII, 3, 3 / 63 (i.e. the so-called Testimonium Flavianum), AJ, XVIII, 5, 2 / 116 -119 (i.e. the references to John the Baptist) and AJ, XX, 9, 1 / 200 - 203 (i.e. the references to James the brother of Jesus). Within the context of contemporary historicity research outcomes, and employing an interpretist/constructivist episteme, a series of critical analyses was undertaken aimed at verifying to what degree the three passages in question may be deemed to be in any way authentic and/or historically reliable. The result of the investigation proves beyond reasonable doubt that no reliable extra-biblical/scriptural accounts exist to support the historical existence of, inter alia, Jesus of Nazareth, James the Just or John the Baptist. Certainly, no such accounts ever appeared in Josephus’ original texts. Furthermore, and most importantly, the three passages are confirmed to be total forgeries initiated in the first four centuries of the Common Era most likely by Origen and Eusebius respectively. / PhD (Greek), North-West University, Potchefstroom Campus, 2015