« Je veux changer la conscience de mon prochain. Pour atteindre ce but, je dois me servir des moyens acoustiques de notre temps. » Prononcés en 1975, ces mots de Luigi Nono (Venise, 1924 - Venise, 1990) résument parfaitement la démarche d’un compositeur qui se définissait comme un « musicien-militant », choisissant délibérément de ne faire aucun départ entre le musical et le politique. Pour Nono, changer la conscience d’autrui revint ainsi à transformer sa perception du monde, via sa musique, en s’attachant à faire émerger les « infinis-possibles » du son. En tâchant d’établir des rapports intrinsèques entre formes de l’écriture et dimension politique dans l’œuvre de Luigi Nono, nous tentons de montrer dans cette thèse comment le compositeur s’employa, à travers sa musique — et notamment grâce à son travail sur la perception auditive —, à rejoindre ce que depuis son activité de militant communiste il essaya également de faire : élargir, altérer, multiplier le monde, en faire épanouir tous les possibles, le rendre plus juste aussi, et faire sourdre de nouvelles utopies à partir du laboratoire expérimental de ses compositions.Construit autour d’éléments biographiques et de textes fondamentaux du compositeur que nous tentons de faire dialoguer avec un certain nombre de penseurs du 20ème siècle — d’Adorno à Merleau-Ponty, en passant par Deleuze, Marcuse, Benjamin, Bloch ou encore Bachelard — notre travail s’adosse avant tout aux compositions du Vénitien. Nous en proposons le panorama le plus complet possible, tout en focalisant notre attention sur certaines œuvres en particulier (chronologiquement : Due espressioni [1953] ; Liebeslied [1954] ; Canti di vita e d’amore [1962] ; La Fabbrica illuminata [1964] ; Como una ola de fuerza y luz [1971] ; …sofferte onde serene… [1976] ; Fragmente-Stille, an Diotima [1979-1980] ; Das atmende Klarsein [1981] ; ¿Dónde estás hermano? [1982] ; Prometeo [1981-1985]), selon la relation qu’elles entretiennent avec chacun des trois thèmes que nous développons : perception, altérité et utopie. / "I want to change the consciousness of my fellow human beings. To achieve this purpose, I must use the acoustic means of our time." Delivered in 1975, these Luigi Nono's words perfectly summarize the approach of a composer who defined himself as a "musician-activist" deliberately choosing not to make any difference between music and politics. For Nono, changing the consciousness of others, via his music, means changing their perception of the world by applying himself to bring out the "infinite possibilities" of the sound.This thesis tries to show intrinsic relationship between writing forms and political dimension in Luigi Nono’s works. So this contribution will endeavour to explore how the composer exerted himself through his music – particularly thanks to auditive perception – to link up with what he tried to do as a communist militant: widen, alter, multiply the world, make it open out all possibilities, make it fairer too, and arise new utopias from the experimental laboratory of his compositions.This work is built around biographical elements and fundamental texts of the composer which I try to make converse with a number of thinkers in the 20th century from Adorno to Merleau-Ponty, including Deleuze, Marcuse, Benjamin, Bloch or still Bachelard. It mainly leans on the Venetian’s compositions of which I propose the most complete panorama as possible, particularly focused on some chosen works: chronologically Due espressioni (1953); Liebeslied (1954); Canti di vita e d’amore (1962); La Fabbrica illuminata (1964); Como una ola de fuerza y luz (1971); …sofferte onde serene… (1976); Fragmente-Stille, an Diotima (1979-1980); Das atmende Klarsein (1981); ¿Dónde estás hermano? (1982); Prometeo (1981-1985), by the relation they have each other with the three themes that I develop: perception, otherness and utopia.

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 2, 2001, June 18, 2001, Nov. 11, 2005, and Mar. 23, 2009. Includes bibliographical references (p. 32-34).

Zugl.: Berlin, Univ. der Künste, Diss., 2004

Thèse--Musicologie--Paris--CNSMDP, 1997. / Le vol. 4 contient des textes en italien, espagnol, allemand et anglais avec la trad. française en regard. Bibliogr. f.552-565. Index.

Diss.--Bochum, 1996. / Bibliogr. p. 302-305.

No description available.

Au cœur de l’élan moderniste qui anime le XXe siècle, l’expression « théâtre musical » devient l’étendard d’une recherche esthétique de nouvelles formes de rencontre scénique entre le théâtre et la musique. Que l’objectif soit de moderniser l’opéra, de le remplacer, de réformer le théâtre ou de créer un nouveau genre à mi-chemin entre les deux arts, les collaborations rassemblant compositeurs et hommes de théâtre entendent présenter des œuvres actuelles, qui balaient les modèles esthétiques jusqu’alors dominants. Si l’approche du théâtre musical est complexe tant il s’avère polymorphe, le contexte social et la proximité des artistes avec le milieu activiste nous invitent à considérer également les œuvres selon leurs qualités militantes et/ou politiques. À l’heure où les sociétés européennes sont ébranlées des guerres mondiales et des modèles totalitaires qui donnent lieu à une instabilité sociale importante, l’espace esthétique pluridisciplinaire du théâtre musical se révèle propice à la réflexion philosophique et à l’expérimentation des modalités de protection et d’émancipation du politique. L’utopie artistique, qui incite à repenser les cadres formels du théâtre musical, dans lequel les disciplines sont travaillées selon un système de relation égalitaire et d’autonomie des voix, cultive aussi des modèles d’utopie politique. Ainsi, après avoir exploré les ambitions esthétiques du théâtre musical et leur traduction dans les œuvres, nous ne manquons pas d’étudier sa relation dialogique avec la pensée politique qui lui est contemporaine. C’est en effet parce que son espace artistique (processus et productions) convoque l’utopie politique pour relever les défis esthétiques de la pluridisciplinarité, que le théâtre musical devient le lieu privilégié d’une réflexion philosophique sur la pratique militante et sur les moyens de l’exercice politique, ainsi que sur l’idéal démocratique dont nous sommes aujourd’hui les héritiers. / At the core of the modernist impetus that animates the 20th century, the phrase “musical theatre” becomes the emblem of the aesthetic search of new ways of mixing theatre and music on the stage. Whether the aim is to modernize the opera, reform the dramatic art, or create a new genre halfway between both arts, composers, dramatists and producers collaborate to produce modern works and dispense with the old prevailing aesthetic model. Approaching musical theatre is quite a challenge, as it is so polymorphic; and the social context and the artists’ closeness to the activists’ world invite us, when examining their works, to consider their militant and political standpoints. At a time when European societies are weakened by World Wars and totalitarian regimes that give rise to an important social instability, the multidisciplinary aesthetic space of the musical theatre turns out to favour philosophical thought and the experimentation of methods for the protection and the emancipation of politics. The artistic utopia, which encourages us to reconsider the formal pattern of musical theatre where the arts are used on equal terms and the voices are independent, also promotes a political utopia. Then, after exploring the aesthetic ambitions of musical theatre and how they are technically expressed in the works, we are sure to study their intricate two-way relationship with contemporary political thought. Because its artistic space (process and productions) uses political utopia to take up the aesthetic challenge of multidisciplinarity, musical theatre turns out to be the ideal place for a philosophical appraisal of the militant practice, of the degree of political exercise as well as of the democratic ideal it has passed on to us.

This essay discusses the work of the Venetian composer Luigi Nono (29 January 1924 - 8 May 1990) in the context of Marxist aesthetics. Nono is the most explicitly political member of the Darmstadt generation. A card-carrying member of the Communist party whose titles and texts often directly refer to political personages and events, Nono bids the listener or critic to confront the problematic of political expression in instrumental music, a subject of inquiry at least as old as Plato (to whom Nono explicitly refers in Fragmente , his late string quartet that is the subject of examination here) and of crucial relevance since World War II, the cold war, and the rise of mass media. Yet the majority of literature devoted to his work has largely ignored the question of where his work and philosophical attitude locate themselves within the four major strands of Marxist aesthetics. The relationship between Nono's his work and his political perspective is either treated in an imprecise, undisciplined fashion, relying on cliches of existentialism, mysticism, or vaguely defined alternative modes of perception to stand in for the notion of opposition (Nono's fascination with Hölderlin is often invoked); or the element of ideology is ignored altogether, and the works are submitted to traditional post-serial analysis of compositional technique. Whereas both of these approaches do shed light on a challenging body of work, a brief examination of the four major models of a Marxist approach to art - the Marx/Engels, the Benjaminian, the Adorno,and the Bloch/Jameson - and the attempt to contextualize Nono's work within or against them situates this complex personality within the universe of the poltical talis qualis. A narratological take on Nono's late sting quartet Fragmente provides a demonstration of invoking literary theory to create a productive analogy between political readings of instrumental music and that of other artforms. Various analytic techniques employed by critical theory - techniques examining communication, culture, and political consciousness which themselves are drawn from linguistic and analytic philosophy, symbolic interactionism, structural linguistics, hermeneutics, semiology, poststructural psychoanalysis, and deconstruction - may not simply be borrowed by the musicologist. These strategies can be fruitfully transposed, in the mathematical sense, wherein a limited number of elements within the critical structure are exchanged provided that others are fixed. The essays explores one example of such an exchanged element: Nono's use of polyvalent quotations. Other elements are available to the musicologist via the classic Husserlian move of Einklammerung, the "phenomenological reduction." Jameson had no particular personal or professional association with Nono, and Jameson has no important writings on music. Nevertheless, Jameson was Nono's historical contemporary; Jameson was born only ten years after Nono; and Nono's work is much closer to the Bloch / Jameson model than that of Adorno, the passionate anti-bourgeois devotee of the Second Viennese School; or that of Benjamin, the passionate anti-bourgeois proponent of the "fragment," the thinker who plays the most superficially salient role in Nono's work. Jameson's 1981 book The Political Unconscious, written at the same time Nono wrote Fragmente, describes three non-dialectical analytical approaches, or "horizons," shared by the critic, the spectator, and the artist: the political, the social, and the historical. They form concentric circles. By situating Nono's work within Jameson's theory, Nono is revealed, far from the mystical/naive poet in the style of a Rothko or a Tarkovsky, as a wily, canny dramatist whose technique is conservative and neoromantic, if never regressive, always consciously bent against the postmodernity, properly speaking, of Cage.

Este trabalho se propõe a analisar alguns dos aspectos da obra tardia do compositor veneziano Luigi Nono (1924-1990), a partir da leitura de três obras: Fragmente-Stille, an Diotima para quarteto de cordas, Das atmende Klarsein para flauta baixo, coro e processamento em tempo real, e Omaggio a György Kurtág para contralto, flauta, clarinete baixo e processamento em tempo real. As três diferentes análises têm como foco três importantes princípios da poética tardia de Luigi Nono: as idéias de fragmentação, de limite e de suspensão. / This research studies some aspects of Luigi Nonos (1924-1990) late work. It is based on analysis and interpretation of three important works of the Venetian composer: Fragmente-Stille, an Diotima, for string quartet, Das atmende Klarsein, for bass flute, double-bass, choir and live electronics, and Omaggio a György Kurtág, for contralto, flute, bass clarinet and live electronics. Each of these investigations focuses on three important principles of Nonos late poetics: the ideas of fragmentation, limit and suspension.

Made available in DSpace on 2016-01-26T12:51:47Z (GMT). No. of bitstreams: 1 anacarolinabterzian_tese.pdf: 3328386 bytes, checksum: 0bae9bd7c5453a781cfbba32fac30196 (MD5) Previous issue date: 2013-11-08 / Fundação de Amparo a Pesquisa do Estado de São Paulo / Introduction. Yellow Fever Virus (YFV) causes a hemorrhagic fever and it is the prototype of genus Flavivirus. Kunjin virus (KUNV) is naturally attenuated and is used to develop vaccine candidates against more pathogenic WNV strains. Flavivirus replication is a complex mechanism that involves interaction between viral RNA and cellular and viral proteins. The NS5 protein is the largest and highly conserved viral protein and it is critical for many functions, including replication, RNA capping and virus-host interactions. Once protein-protein interactions present basic importance for the activation, the regulation and the control of diverse enzymatic functions related to these interactions, the identification and the characterization of them are essential for a better comprehension of the pathogenesis and for the rational design of drugs for YFV. Previously, it was identified that the cellular protein p54nrb/NonO interacts with the RNA dependent RNA polymerase domain of YFV NS5. The p54nrb/NonO protein is a nuclear transcription factor associated with nuclear membrane and exhibits multifunction characteristics in nuclear processes in eukaryotic cells, in frequent association with the U1A and PSF proteins. Interaction between NS5 and p54nrb/NonO may influence localization and transport of proteins and viral RNA within the cell. Objective. The purpose of this study was to confirm the interaction between p54nrb/NonO and YFV and KUNV NS5 and determine the role of p54nrb/NonO on viral replication. Material and Method. Co-immunoprecipitation, mass spectrometry and indirect immunofluorescence assays were realized to confirm the interaction and co-localization between the proteins. To determine the effect on viral replication, the p54nrb/NonO and PSF were overexpressed in cellular culture, as well, the silencing of p54nrb/NonO. After, the replication level was determined by Tempo Real PCR, plaque assay, measuring of β-galactosidase and luciferase activity assays. Results. Immunofluorescence assays showed co-localization of p54nrb/NonO with YFV NS4 in the perinuclar region and with NS5 in the nucleus. In contrast, KUNV NS5 co-localized with p54nrb/NonO in the perinuclear region and co-precipitated with p54nrb/NonO. The co-precipitation between p54nrb/NonO and NS5 YFV was not identified. Again, it was identified by mass spectrometry analysis the co-precipitation of p54nrb/NonO by monoclonal antibodies to KUNV NS5 protein. The p54nrb/NonO overexpression did not affect the YFV and KUNV replication, however, PSF overexpression showed inhibitory effect on viral replication. The RNA interference assays were inconclusive about the role of p54nrb/NonO silencing on YFV replication. Conclusion. p54nrb/NonO and KUNV NS5 interact physically and co-localize in the cytoplasm, while, the co-localization with YFV NS5 occcurs in the nucleus, although, there is no physical interaction between them. However, the overexpression of p54nrb/NonO does not affect the viral replication. PSF was confirmed as an interactive partern of p54nrb/NonO and, when it is overexpressed, it inhibits YFV and KUNV replication. / Introdução. O vírus da Febre Amarela (YFV) causa febre hemorrágica e é o protótipo do gênero Flavivirus. O vírus Kunjin (KUNV) é naturalmente atenuado e usado para o desenvolvimento de candidatos vacinais contra linhagens mais patogênicas do WNV. A replicação do Flavivirus é um mecanismo complexo que envolve interações entre o RNA viral e proteínas virais e celulares. A NS5 é a maior e mais conservada proteína viral e é crítica para muitas funções, incluindo replicação, capeamento do RNA e interação vírus-hospedeiro. Como interações proteicas são de fundamental importância para ativação, regulação e controle de diversas funções enzimáticas a elas relacionadas, fica clara a relevância da identificação e caracterização das interações participantes desse processo para uma melhor compreensão da patogênese e para o desenho racional de drogas para a febre amarela. Foi identificado previamente que a proteína celular p54nrb/NonO interage com o domínio RNA polimerase RNA dependente de NS5 de YFV. p54nrb/NonO é um fator de transcrição nuclear associada a membrana nuclear e apresenta características multifuncionais nos processos celulares em células eucariotas, ocorrendo frequentemente em associação com as proteínas U1A e PSF. Dessa forma, a interação entre p54nrb/NonO e NS5 pode influenciar a localização, transporte das proteínas e do RNA viral dentro da célula. Objetivo. O objetivo deste estudo foi confirmar a interação entre p54nrb/NonO e NS5 de YFV e KUNV, e determinar o efeito da interação sobre a replicação viral. Materiais e Métodos. Para tanto, experimentos de co-imunoprecipitação, espectrometria de massa e imunofluorescência indireta foram realizados para confirmar a interação e a co-localização entre as proteínas. Para determinar o efeito sobre a replicação viral, foi realizado, em cultura celular, a superexpressão p54nrb/NonO e PSF, bem como, o silenciamento de p54nrb/NonO. Posteriormente, a taxa de replicação viral foi determinada por técnicas de qPCR, ensaio de placa, mensuração da atividade de β-galactosidase e luciferase. Resultados. O ensaio de imunofluorescência mostrou co-localização entre p54nrb/NonO e NS4 de YFV na região perinuclear e com NS5 no núcleo. Em contraste, NS5 de KUN co-localizou com p54nrb/NonO na região perinuclear, e da mesma forma, NS5 de KUNV foi identificado co-precipitando p54nrb/NonO. Não foi identificada a co-precipitação entre p54nrb/NonO e NS5 de YFV. Novamente, p54nrb/NonO foi identificada co-precipitando com NS5 de KUNV pela análise por espectrometria de massa com o uso de anticorpo monoclonal para a proteína NS5 de KUNV. A superexpressão de p54nrb/NonO não mostrou afetar a replicação de YFV e KUNV, entretanto, a superexpressão de PSF mostrou efeito inibitório sobre a replicação viral. Os estudos com interferência de RNA, contudo, foram inconclusivos sobre o efeito do silenciamento de p54nrb/NonO sobre a replicação de YFV. Conclusão. p54nrb/NonO e NS5 de KUNV interagem fisicamente e co-localizam no citoplasma, enquanto que, a co-localização com NS5 de YFV ocorre no núcleo, embora não ocorra interação física. Entretanto, a superexpressão de p54nrb/NonO não afeta a replicação viral. PSF foi confirmada como parceira interativa de p54nrb/NonO e, quando superexpressa, inibe a replicação de YFV e KUNV.