Orientador: Mauro William Barbosa de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T09:42:49Z (GMT). No. of bitstreams: 1 Lolli_PedroAugusto_M.pdf: 242147 bytes, checksum: 746a7d8d5115955e5c8ded13832c1f9e (MD5) Previous issue date: 2005 / Mestrado / Antropologia Social / Mestre em Antropologia Social

After the conclusion of World War II, Richard Strauss’s activities and compositions came under intense scrutiny as scholars tried to understand his position with respect to the National Socialist regime. Their conclusions varied, some describing Strauss as a Nazi sympathizer, some as a victim of Nazism, with others concluding that Strauss was neither a sympathizer nor a victim, merely politically naïve. Among the latter was Strauss’s friend and biographer, Willi Schuh, who ardently defended the composer’s activities during the Nazi period. While Schuh asserted that Strauss’s music had no direct political ties to the “Third Reich”, Strauss’s 1938 opera, Friedenstag, demonstrates that he was, in fact, politically aware and capable of composing a work replete with conscious political overtones. The correspondence between Strauss and his Jewish librettist, Stefan Zweig, shows that Strauss deliberately chose to compose Friedenstag in the face of his disillusionment with the Nazi government. Although initially hailed as the first Nazi opera, elements of Friedenstag’s political message resist appropriation by Hitler’s regime. While addressing the pro-Nazi implications through a close study of the libretto and score, this thesis will argue that Friedenstag was composed as a tribute to peace and a response to the increasingly hostile political climate.

Die zentrale Fragestellung dieser Arbeit ist, welche Impulse der Konzertagent Hermann Wolff (1845-1902) dem Berliner Musikleben im Zeitraum zwischen der Gründung seiner Konzertdirektion 1880 und seinem Tod 1902 gab. Um diese Frage zu beantworten, werden seine Tätigkeit und sein Wirkungskreis untersucht und Umfang, Grad sowie die Natur seines Einflusses ausgewertet. Diese Arbeit weist nach, dass sich der Einfluss seiner Tätigkeit auf das Berliner Musikleben nicht nur in der Quantität der stattgefundenen Konzerte, sondern auch in ihrer künstlerischen Qualität und in ihrem Inhalt (Programmgestaltung, Aufführende, Konzertstätten, Programmhefterstellung usw.) zeigt. Sie legt auch dar, dass er zwischen den damaligen europäischen Musikmetropolen einen Personen- und Informationsaustausch vermittelte und dadurch bei der Entstehung eines Standards im Konzertleben eine wichtige Rolle spielte.

A performance tradition stemming from the 19th century permitted lied accompanists to deviate considerably from the notated score when a flexible reaction to concrete performance situations was necessary. In this article some of these ‘accompanist’s licences’, as well as their decreasing acceptance in 20th century’s performance style, are described according to written sources. A comparative analysis of recordings of the lied “Zueignung” op. 10 No. 8 by Richard Strauss illustrates exemplarily the decline of ‘accompanist’s licences’ during the decades after 1900. Finally, the results are interpreted against the background of general developments in musical performance style.

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.

No description available.

Cette recherche, traitera de la perception qu’ont les infirmières, œuvrant en milieu pédiatrique, de leur apport dans le processus de consentement aux soins et des enjeux éthique qui en découlent. L’analyse de leurs commentaires, fait voir une extension de la définition, plus classique, du concept même de consentement, pour y inclure la dimension d’un processus enclenché et poursuivi dans le dialogue et la né-gociation; un consentement sans cesse à répéter, à renégocier. Les participantes ne parlaient guère d’autonomie mais parlent surtout de ce consen-tement aux actes de soins, actes individuels, voire routiniers. Le but recherché par l’infirmière est moins une permission donnée par le patient pour que le soignant fasse son travail en toute immunité sur le plan légal, qu’une collaboration pour permettre une cogestion de la maladie. Très souvent, les infirmières discutent de l’importance qu’a pour elles le travail d’équipe, comme la façon logique de concevoir leur travail. Il devient logique aussi d’étendre aux parents et à l’enfant la participation à l’équipe thérapeutique. Ce n’est pas dire que tout se passe sans heurt. L’enfant peut s’opposer, ou le parent. Les conflits de valeurs surgissent: conflits et détresse morale suscités chez l’infirmière par la confrontation à des croyances et des valeurs culturelles et reli-gieuses différentes de celles auxquelles l’infirmière adhèrerait plus facilement. Mais souvent, l’infirmière fait montre d’une grande sensibilité culturelle et religieuse; et il lui arrive de faire appel à des collègues qui pourraient, plus qu’elle, connaître les sys-tèmes de valeurs qui posent question. Nous nous sommes servi d’un ensemble de référents interprétatifs initiaux à titre d’un cadre conceptuel intégrant des notions tirées du modèle de soins infirmiers de Corbin et Strauss, ainsi que de la perspective proposée par l’interactionnisme symbo-lique. / This research will address the perception that nurses working in a pediatric setting have of their contribution to the process of consent for care. Data analysis reveals an extension of the more conventional definition: here, the very con-cept of consent is perceived as to include the dimension of a process initiated and continued in dialogue and negotiation. Participants hardly spoke about autonomy but mostly of constantly repeated and renegotiated consent to individual or even routine acts of care. The intent of the nurse is less to obtain the patient’s permission for the caregiver to do his or her job with immunity, in legal terms; it is more to empower the child and his or her parents so as to obtain a collaboration to enable co-management of the disease. Very often, nurses discussed the importance for them of teamwork as the logical way to design their work. It is also logical to extend to parents and children an invitation to partici-pate in the therapeutic team. This is not to say that everything always goes smoothly. The child or the parent may raise opposition. Value conflicts then arise: conflicts and moral distress among nurs-es generated by the confrontation of beliefs and cultural and religious values differ-ent from those the nurse would more easily be comfortable with. But often, the nurse demonstrated a great cultural and religious sensitivity, and even would seek advice from colleagues who could know, more than she, about the value systems that raise questions. We used a set of interpretative initial referents as a conceptual framework that inte-grates concepts from the nursing model of Corbin and Strauss, as well as from the symbolic interactionism perspective.

Une des caractéristiques des entreprises multinationales est leur implantation dans des pays divers géographiquement et culturellement. Les services de communication interne sont représentés majoritairement comme la solution pour susciter l’adhésion à la culture d’entreprise et pour développer une synergie autour de celle-ci en dehors des considérations culturelles de chacun.Le discours dominant veut que la culture d’entreprise soit acceptée de la même façon par l’ensemble des salariés, notamment grâce à la communication interne qui y est définie comme un acteur stratégique jouant un rôle dynamique dans le quotidien de l’entreprise. L’objectif de cette thèse est de contraster les discours sur la communication interne avec les conclusions tirées de l’observation des tâches assurées par ses responsables dans trois filiales d’entreprises multinationales, en particulier pour constater à quel point les questions interculturelles font partie de leur quotidien. Il s’agit également de contraster les discours qui représentent l’entreprise comme une organisation à l’ordre social statique, basé sur une culture d’entreprise consolidée, avec le quotidien des salariés qui essaient de se trouver un espace d’expression de leur différence culturelle face à la culture de l’entreprise, ce qui remet en cause l’idée de l’environnement interne d’entreprise solide et inerte.Pour faire ressortir les écarts entre les discours et la réalité du travail dans l’entreprise multinationale, nous avons construit un cadre conceptuel basé sur la théorie de la régulation sociale de J.-D. Reynaud, en faisant l’hypothèse que la communication entre la culture de l’entreprise et les cultures des salariés se manifesterait via un jeu de règles permanent, et sur la théorie de l’ordre négocié de A. Strauss qui représente l’organisation en construction permanente de son ordre social basé sur la négociation des compromis entre acteurs. Les concepts du pouvoir et des représentations sociales sont utilisés pour renforcer l’idée selon laquelle toute interaction au sein de l’entreprise ne peut exister sans la présence des différentes manifestations de ces deux concepts.Pour formuler des conclusions, nous avons adopté une méthodologie de recherche basée sur l’étude de cas durant laquelle nous avons eu recours à l’observation participante, aux entretiens semi-directifs et à l’analyse du contenu des publications de la communication interne. / One of the characteristics of multinational enterprises is their implementation in countries geographically and culturally diverse. Internal communication services are represented mostly as the solution to build support for the corporate culture and to develop synergy around it beyond workers' cultural considerations. The dominant discourse states that the corporate culture is to be accepted in the same way by all employees, notably through internal communication services, which are defined as a strategic actor playing an active role in everyday business. The objective of this thesis is to contrast the discourse of internal communication services with the conclusions drawn from the observation of tasks performed by its officials in three subsidiaries of multinational companies, in particular to see how cross-cultural issues are part of their daily lives. It aims also at contrasting how discourses that represent the company as an organization whose static social order is based on a consolidated corporate culture, with employees trying to find a space to express their cultural difference against the company culture in their daily life. In order to highlight the gaps between the rhetoric and reality of working in a multinational enterprise, we assembled a conceptual framework based on J.-D. Reynaud's theory of social regulation, assuming that communication between the corporate culture and the cultures of the employees would manifest itself through a set of permanent rules, and A. Strauss' negotiated order theory, which represents the organization permanently constructing its social order through the negotiation of compromises between actors. The concepts of power and social representations are used to highlight the idea that any interaction within the company can not exist without the presence of different manifestations of these two concepts. In order to draw conclusions, we have adopted a research methodology based on case studies. We have therefore used participant observation, semi-structured interviews and content analysis of the publications of internal communication services.

Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets. / Musicology / M.Mus.

Thesis (DLitt (Ancient Studies))--University of Stellenbosch, 2006. / This study accounts for the forms and functions of the similes in the Book of Hosea. It proposes new tools for textual criticism, biblical interpretation, and understanding Biblical Hebrew (BH) worldview. Chapter One presents the task we have chosen for ourselves, its nature, some obstacles from other areas of scholarship, and the foundational notions of embodiment and Prototype Theory. Chapter Two presents principles drawn from Cognitive Semantics and Cognitive Syntax. A weakened version of the Lakoff-Johnson conceptual metaphor theory is adopted, and the key notions of embodiment and judgments of prototypicality are presented. Elements of Conceptual Blending are presented and adapted for simile analysis. Finally, text-based differences between metaphors and similes are discussed. Chapter Three presents cognitive cultural constructs of Strauss and Quinn: cultural schemas, cultural exemplars, cultural models, and cultural themes. Strauss and Quinn’s conclusions about metaphors’ use in everyday speech are shown to agree with our postulation of speaker assessment of the hearer’s ability to process utterances before they are produced. This postulation allows us to erect one part of a theory of simile. Chapter Three then integrates metaphor with the Strauss-Quinn cultural meaning model, and then with Boroditsky’s Weak Structuring view of metaphor. The effect is to provide a reasonable basis, amenable to empirical investigation, for the investigation of both metaphor and simile. Finally, the notions of embodiment and prototypicality are applied to the Strauss-Quinn model. Chapter Four presents various assumptions and conclusions that are later used to analyze Hosea’s similes. These include: (1) elements of Floor’s (2004a) model of Information Structure for BH narrative, with modifications and additions for poetry; (2) three cognitive types of similes in Hosea, posited for working purposes; (3) an adaptation of the conceptual blending apparatus to similes; (4) hypotheses to account for the distribution of similes versus that of metaphors in BH poetry, and to account for patterned differences in how various kinds of concepts are combined and manipulated; (5) an integration of these patterns with the three simile types; and (6) correlation of the cultural constructs of cultural schema, cultural theme, and cultural model with Hosea’s similes and metaphors. Chapter Five presents a number of scholarly views of the Book of Hosea, and characterizes the principal authorities cited in the next chapter. Chapter Six deductively applies all the foregoing theory to an examination of Hosea’s similes. Other observations are made inductively: (1) kinaesthetic image schemas’ role in Hosea’s poetry; (2) systematic difference in the use of similes versus metaphors in image elaboration; and (3) Information Structure’s role in simile analysis. Chapter Seven summarizes this study’s research and conclusions concerning, e.g., (1) the criteria for accounting for the embodiment and judgments of prototypicality characterizing Hosea’s similes; (2) the dependence of Hosea and his audience upon knowledge of themselves and their environment for their view of YHWH; and (3) the aid brought by a cognitive theory of similes in the task of textual criticism. Chapter Eight discusses prospects for further research and possible implications for translating Hosea’s similes and metaphors.