A viola chegou ao Brasil com os portugueses e desde então é citada em documentos históricos, mas sem uma descrição detalhada de modo a permitir uma identificação precisa, já que a palavra viola é empregada para inúmeros instrumentos. No entanto, podemos constatar características semelhantes nas violas brasileiras colhidas em campo, na primeira década do século XX, e nas violas portuguesas colhidas em campo, nesta mesma época, e destas com violas portuguesas do século XVI e do século XVIII que chegaram até nós. Na região Centro- Sul do Brasil, a viola caipira, principal instrumento das práticas musicais tradicionais desta região, é adotado para outros estilos de música e sofre significativas modificações provindas da luteria violonística. Neste sentido, iremos mostrar que, na década de 1960, uma série de acontecimentos musicais envolvendo este instrumento, uns isolados, uns derivando de outros, vão construindo o estabelecimento da viola como importante instrumento da música brasileira atual. Dentro desta perspectiva, tivemos de nos defrontar com o preconceito, ainda existente, à palavra caipira e, para tal, buscamos reflexões de importantes estudiosos sobre o que diz respeito ao mundo do caipira: sua fala, seus costumes, sua música; seu passado e seu presente. No caso específico da música, para termos uma visão crítica atual, enviamos a pergunta \"música caipira - o que é e o que não é?\" a pessoas de diferentes áreas culturais ligadas ao universo caipira. Na análise das respostas, verifica-se o quão diverso é o entendimento sobre a música caipira. Retomando o tema central de nossa tese, o avivamento da viola caipira só foi possível graças ao interesse de um público consumidor de arte, da mídia radiofônica e da indústria da cultura. Para analisarmos este fato, mostramos as estratégias e o papel de diretores e produtores artísticos em levar ao disco as práticas musicais ligadas à viola. Com as condições primordiais estabelecidas, música, público e mídia, a partir da década de 1980 verifica-se o processo de consolidação da viola caipira em um cenário que envolve a escritura da arte, recitais e concertos de violeiros solistas, gravações de discos e vídeos, a viola nos conservatórios e escolas de ensino, pesquisas de campo, Festivais e Seminários por toda a região caipira, publicações de livros e métodos de ensino, teses acadêmicas, a viola na música concertante e, por fim, a viola na universidade, consolidando de forma definitiva a viola caipira na música brasileira da atualidade, colocando-a em um outro patamar artístico. Finalmente, em meados da segunda década do século XXI, podemos dizer de um cenário bastante consolidado. A viola, definitivamente, se estabelece como importante instrumento da música brasileira e a amplidão de seu uso é facilmente verificada - dos lundus de mestres violeiros às composições para viola e orquestra sinfônica. / The viola caipira came to Brazil with the Portuguese and has since been cited in historical documents, but without a detailed description to enable accurate identification, since the word is used to numerous instruments. However, we can see similar characteristics in Brazilian violas harvested in the first decade of the twentieth century and in the Portuguese violas harvested at this same time, and of those with Portuguese violas from the sixteenth and the eighteenth century that have survived to this date. In the Center-South region of Brazil, the viola caipira, the main instrument of traditional musical practices in the region, is adopted for other styles of music and undergoes significant changes stemmed from guitar making. In this sense, we will show that in the 1960s a series of musical events involving this instrument, some isolated, some deriving from others, are building the establishment of the viola as an important instrument of contemporary Brazilian music. Within this perspective, we had to cope with the prejudice that still exists regarding the word caipira, and for that we sought reflections of leading scholars on what concerns the caipira world: its speech, customs, music, past and present. In the specific case of music, to have an updated critical view, we sent the question \"caipira music - what is and what is not?\" to people from different cultural areas related to the caipira universe. In analyzing the responses, it appears how manifold is the understanding of caipira music. Returning to the central theme of our thesis, the revival of the viola caipira was only possible thanks to the interest of a consumer public of art, the radio media and the culture industry. To analyze this fact, we show the strategies and the role of artistic directors and producers to take to the disc musical practices related to the viola. With the basic conditions laid down, music, public and media, from the 1980s on, there is the consolidation of the viola in a scenario that involves the writing of art, recitals and concerts of solo viola players, recording of albums and videos, the viola in conservatories and schools of education, in field research, in Festivals and Seminars throughout the caipira region, in publications of books and teaching methods, academic theses, the viola in concertante music, and finally, the viola in the university, consolidating definitively the viola in Brazilian music today, putting it in another artistic level. Finally, in the middle of the second decade of this century, we can speak of quite a strengthened scenario. The viola caipira has definitely been established as an important instrument in Brazilian music and the breadth of its use is easily verified - from the lundus of the of viola players to the compositions for viola and symphony orchestra.

This thesis embodies a comprehensive analysis of the assimilation of Southern and Eastern European immigrant groups in the United States. Despite being considered racially distinct upon arrival en masse in the period 1880-1920, assimilation theorists posited that these white ethnic groups would be quickly absorbed into the prevailing white population. With the aid of Americanization campaigns targeting immigrants and their offspring, it appeared as though ethnic attachments had progressively declined with each successive generation. However, an explosion of white ethnic sentiment and activity in the 1960s and 1970s suggested otherwise, and led many to believe that white ethnic identities had not been entirely forsaken and were in fact being revived by the grandchildren and great-grandchildren of the immigrants. This view is fundamentally questioned within this thesis which argues that, due to a multitude of forces and factors, white ethnicities could not have been revived in any meaningful sense. Significant attention is drawn to America’s racialised history and racebased social framework within which white ethnics categorically benefited from being classified as ‘white’. Also examined are factors such as generational distance from the point of immigration, language loss, upward mobility, and intermarriage, which together facilitated the comprehensive assimilation of white ethnic groups into the majority white population in the decades leading up to the alleged “ethnic revival.” The upsurge in white ethnic sentiment in the 1960s and 1970s is therefore argued to have transpired due to the chance convergence of a number of different factors, and given the continued classification of Americans as belonging to one of five racial groups, this thesis concludes that white ethnicities stand little chance of surviving in the long-run within a society in which race continues to hold significant sway.

This dissertation argues that female piety and mission practices shaped the Evangelical Protestantism and the missionary movement that emerged from the Réveil [Revival] in nineteenth century France. It shows that women through their writings, their philanthropic initiatives, and their focus on education and social renewal on behalf of children laid the foundation for French Protestant mission and outreach. This study fills a gap in Anglophone scholarship on the role of women in French Protestant mission history and the history of the nineteenth century Evangelical Revival in France. After the Reformation, Protestant women preserved the Huguenot cultural identity of Protestants both at home and abroad. This continuity was manifested in the nineteenth century when the countries of the Huguenot Refuge sent missionaries of the Evangelical Revival back into France. The ethos of Jan Hus’ Dcerka [The Daughter] present in the work of French Protestant women in philanthropy, education, and social renewal demonstrates the continuity in piety and outreach from the Reformation to the nineteenth century. After the founding of the Paris Evangelical Missionary Society in 1822, the Paris Mission women’s committee, led by Albertine de Broglie and Émilie Mallet, played a crucial role in promoting missions by mediating regional and class differences between Protestants. Late eighteenth century female initiatives on behalf of vulnerable women and children laid the foundation for the work of missions because, through them, women developed networks that served the goals of philanthropy, fundraising, and infant education. Infant school education, pioneered in the Lesotho Mission by Elizabeth Lyndall Rolland, was essential to women’s mission practice. The infant school pedagogy of Johann Heinrich Pestalozzi and Jean-Frédéric Oberlin, with its religious teaching, the centrality of the female role, and the emphasis on kindness was the key component in the work of the Lesotho Mission. In the 1830s, the arrival of missionary wives launched the work of the Lesotho Mission and energized French Protestant faith. In the 1840s, women once again sparked spiritual renewal with the creation of deaconess communities in Paris and Strasburg that served as models of Christian unity and self-sacrificial service. Overall, women’s piety and outreach were sources of revitalization in the Reformed Church and influenced early Evangelical Protestantism in nineteenth century France. Women’s mission practices that focused on works of mercy, education, and the nurturing of Christian families served as catalysts for renewal.

This thesis examines the early works of the Scottish novelist, playwright, would-be screenwriter, commentator and political agitator, James Barke, to argue that he was a more significant figure on the Scottish literary scene than his place in the canon would suggest. The purpose in so doing is to suggest that his writing was symptomatic of a modernisation in Scottish society and letters during the 1930s. In prosecuting this endeavour, the research considers four aspects of the author's early output: the political dimension; his aesthetic sensibilities; the impact and representation of the city; and finally the part played by the experience and influence of the cinema. Equally, it is argued that these novels are emblematic of both the author's own migration from country to city and the longer-term transformation of Scotland's demography from largely rural-dwelling to largely urban-dwelling. The theoretical method engages with a Marxist critique and anchors Barke's early novels to his constantly evolving political commitment which tracks, but does not entirely subscribe to, the development of a broad range of Leftist ideologies of the era. The jump-off point and principal underpinning of the research is an appreciation of James Barke's Major Operation (1936) as a Scottish novel of significance for its literary innovation, approach to, and rendering of, Scottish urban modernity. In the thoroughgoing 2002 analysis of the field in Scottish Literature edited by Douglas Gifford, Major Operation is identified as one of the Scottish novels 'extending its perspective of ironic social realism to the city' and a novel that 'had no time for non-political and non-economic considerations.' This thesis contends that this is to diminish the scope of Major Operation's engagement with innovative forms and considerations of the dichotomies that comprise the modern city. I argue that, inspired by the stylistic achievements of James Joyce, in many respects Ulysses and Major Operation are contiguous, each author concerned with a ‘peripheral’ city in an Empire, each coloured by its national tradition, residual parochial features, idiolect and political situation. In a bold literary form, Barke's novel celebrates and critiques Glasgow in a manner unsurpassed in Scottish letters, his approach to modern urban Scotland in his early novels being a uniquely informed and cosmopolitan one.

No description available.

The `Tudor revival' of late nineteenth and early twentieth-century England saw unprecedented enthusiasm for the study and performance of English Renaissance music. The revival, which emphasized choral music, was characterized by a rich and interconnected fabric of events including manuscript discoveries, the publication of sundry new scholarly and performing editions, the founding of ensembles who specialized in early music, and an overall increase in the study and performance of Tudor music. Narratives of the Tudor revival have traditionally focused on the role of institutions and ensembles in London, thereby neglecting the important work that occurred elsewhere in the country. In order to more adequately represent the full extent of the movement, this study examines the previously unrecognized role of the institutions and ensembles of Oxford, demonstrating the many ways in which the foundation colleges, student societies, and civic ensembles and organizations helped to bring about the Tudor revival. The appendix contains previously unpublished documents from the Oriel College Archives in Oxford, primarily consisting of letters to and from Edmund Fellowes between 1897 and 1925.

When the Joffrey Ballet reconstructed the 1913 production of Le Sacre du printemps in 1987 and restaged Les Noces in 1989, the reception of these ballets drew upon the prevailing ideals of authenticity that also existed in music. The period’s Early Music revival emphasized the historically-informed performance of past music, using period instruments and techniques to approach an assumedly “authentic” performance. Over the course of twenty years in the late twentieth century the repertoire performed and recorded expanded chronologically closer to the present, challenging original conceptions that the nineteenth century was the benchmark for modern music and influencing the critical reception of later artistic works, including those of the Joffrey. Because the Joffrey’s productions took place at Hancher Auditorium at the University of Iowa in Iowa City, this thesis presents a reception history of them that highlights both a national and local, Iowan narrative. This history is informed by archival documents from the University of Iowa’s Special Collections on the Iowa Center for the Performing Arts and from Hancher Auditorium. Hancher’s collection of press releases, coupled with the newspaper and magazine clippings, contributed to the cultivation of the Joffrey’s public image and those of the two ballets. These works—specifically their scores by Igor Stravinsky and their original choreographers Vaslav Nijinky and Bronislava Nijinska—are seen as pioneers of modernism. Yet, the reception of their reconstructed ballets took place at the height of the Early Music movement’s popularity. Reviewers weighed in on Le Sacre du printemps’ authenticity and their discussion of Les Noces also emphasizes legacy—be it that of the Joffrey Company itself, the legacy of the sibling choreographers, or that of the two works within the ballet repertoire. A comparison of the reception of these two productions also reveals the distinctions between reconstruction and revival.

The conception of exhaustion was first used in the end of 1960 and was then used in a psychological context directed towards the working life. Eventually was the conception devided into two main categories: mental and somatic symtoms. Today research of exhaustion is mainly aiming towards recovering and returning to working life. This work sets out to analyse the importance and effects of social networks such as family, friends and professional relations in helping people who suffer from exhaustion to recover. The study is based on interviews with eith people who have suffered from exhaustion but today are recovered. To my aid I have used tree different questions: What part have the social network of family and friends ment to the recovery? What part has the professional relationships with doctors, therapists and curators ment to the recovery? How have you changed your life in order to maintain balance? The interviews pointed out the importance of the social relationships as support, feedback and understanding that the process takes time. Courses in handeling stress had a vital part in order to learn how to manage stress, meet people with similar problems and the guidace of professionals. An important issue to maintain health and to keep the life balanced is consious present and to learn to do one thing at a time. The content of the examination has showed me that it is important to set your own boundaries and not to compare to others. It is also importent to take control over your own choices which is not easy to handle in todays stressed socity.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.

On a small island in the Gulf of Saint Lawrence a distinct Francophone community has persisted for nearly three hundred years despite historical traumas and the pressures exerted by a majority Anglophone environment. The factors that have contributed to the persistence of this community are a matter of some debate, yet the cultural identity of the Acadians of Prince Edward Island in the twenty-first century appears to have remained intact. Contrary to a popular discourse of identity "revival," this distinct culture is neither a recent phenomenon nor is it something that is homogeneously pan-Acadian. While much popular and scholarly discourse on the Acadians centres on their tragic past and nationalist perspectives of Acadian identity construction, this dissertation focuses on how identity is created, perceived and expressed in a local context. Music plays a key role in articulating this local identity; it helps to create and maintain social relationships both within the community and with other cultural groups. The emergence of a distinct musical tradition has contributed substantially to the production and maintenance of cultural identity amongst these Island Acadians. Through case studies of specific performance contexts, individual musicians and professional groups, I examine current and ongoing processes of Acadian cultural definition and how musicians negotiate the dichotomy of traditional and modern performance contexts and forms of expression. I consider the musical alliances and exchanges that inform the experiences of these Islanders and how these intercultural encounters have influenced local musical practices and discourses about Acadian identity. My research demonstrates that contemporary cultural markers, and particularly music, are primary tools through which members of this invisible minority cultural group define and present their ethno-cultural identity both locally and to cultural outsiders.