Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T18:28:05Z No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-28T10:52:13Z (GMT) No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) / Made available in DSpace on 2016-01-28T10:52:13Z (GMT). No. of bitstreams: 1 hugoandrefloresfernandesaraujo.pdf: 1169515 bytes, checksum: d151b1391f0902b45ab676a543d72cc7 (MD5) Previous issue date: 2014-02-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Após a aclamação de D. João IV uma série de medidas foi adotada para garantir a permanência da nova dinastia à frente do trono português. Nesse contexto as guerras passam a ser eventos constantes e por conseqüência produziram transformações de ordem política, econômica e social. No Estado do Brasil a presença holandesa era efetiva desde 1630, fato que ameaçava a unidade da América Portuguesa, e por conseqüência gerava interferências na economia lusobrasileira, pois os holandeses controlavam rentável produção açucareira. O governador geral era o representante do rei no Estado do Brasil, como tal era imbuído de poderes extraordinários nos campos da justiça, fazenda e milícia. Estes poderes lhe conferiam a autoridade para governar o Estado do Brasil. A insurreição dos moradores de Pernambuco e de outras áreas ocupadas pelos neerlandeses iniciou o processo que levou a capitulação definitiva dos invasores estrangeiros. O governo geral atuou em conjunto com os luso-brasileiros de Pernambuco para derrotar os holandeses. Nosso objetivo é analisar quais foram as medidas tomadas pelo governo geral no tocante a gestão da guerra, bem como caracterizar como eram estabelecidas as relações com os poderes locais. / After the acclamation of D. João IV a series of measures were adopted to ensure the permanence of the new dynasty ahead of the Portuguese throne. In this context the wars become constant events and consequently produced changes in politic, economic and social order. In the State of Brazil the Dutch presence was effective since 1630, a fact that threatened the unity of Portuguese America, and consequently generated interference in Luso- Brazilian economy, because the Dutch controlled the profitable sugar production. The general governor was the king’s representative in the State of Brazil, as such was imbued with extraordinary powers in the fields of “justiça”, “fazenda” and “milicia”. These powers gave it the authority to govern the State of Brazil. The uprising of the people of Pernambuco and other areas occupied by the Dutch started the process that led to the final capitulation of the foreign invaders. The general government acted in conjunction with the Luso-Brazilian from Pernambuco to defeat the Dutch. Our goal is to analyze what were the measures taken by the general government regarding the management of the war, as well as characterize how were established relations with the local authorities.

Le corpus du projet repose sur les Cartapácios de Coimbra, un ensemble de manuscrits du milieu du XVIIe siècle, résolument passionnants et pratiquement inédits, issus de Santa Cruz et conservés à la Bibliothèque Générale de l’Université de Coimbra. Le présent travail s’inscrit dans un projet de recherche multidisciplinaire en cours à l’Université de Coimbra (Mundos e Fundos | CECH), et se concentre sur l´un des seize manuscrits de cette collection : le manuscrit musical 51 (MM 51). Il constitue la première étude détaillée d’un cartapácio comportant également son édition critique complète. Cette étude monographique engage également une confrontation permanente avec les quinze autres cartapácios et avec son contexte spécifique portugais et ibérique.D’après notre étude philologique, le MM 51 s’avère un cahier d’usage personnel d’un musicien à l’œuvre. Il contient un répertoire très varié regroupant des œuvres sur textes latins et sur textes vernaculaires. Les propositions polyphoniques que le manuscrit offre sont multiples et variées, souvent au sein d’une même œuvre, et appartiennent à un langage typiquement ibérique. La majorité de la musique est écrite à huit voix, toujours en polychoralité et accompagnée d’un guião, avec divers contrastes produits notamment par un style concertato.Le travail est fondé sur une approche positiviste, philologique et critique, le tout enrichi par une expérimentation analytique et sensible du répertoire, grâce au laboratoire musicale de la Capella Sanctae Crucis.Notre thèse espère ainsi contribuer à enrichir les fondements d’une meilleure connaissance de l’activité musicale du XVIIe siècle portugais. / This study is based on Cartapácios de Coimbra, an ensemble of practically unstudied seventeenth century music manuscripts preserved at Coimbra’s University Library (Biblioteca Geral da Universidade de Coimbra). It is part of a multidisciplinary research project currently in progress at University of Coimbra (Mundos e Fundos | CECH). The research is concentrated on one manuscript among the sixteen that constitute this collection: musical manuscript 51 (MM 51). This study is the first ever detailed study over one cartapácio including its complete critical edition. Although focussing primarily on one cartapácio, a comparative analysis with the respect to the other fifteen cartapácios was also conducted, and located in the specific Portuguese and Iberian context.According to our philological study, the MM 51 seems to be a notebook for private use of a working musician. It contains a very diverse repertoire comprising both vernacular and Latin works. The polyphonic settings in the manuscript are multiple and varied, often within the same work, and belong to a typically Iberian language. The majority of the music is written for eight voices, always in polychorality and accompanied by a guião, with various contrasts produced in particular by a concertato style.A positivist, philological and critical approach was taken in the research, which was supplemented by an experimental performance of the repertory, thanks to the musical laboratory Capella Sanctae Crucis.It is hoped that this thesis study will substantially enrich the knowledge base of Portuguese seventeenth century musical activity.

The dissemination of monastic culture int he Grand Duchy of Lithuania had a profound effect on the country’s cultural life. By the seventeenth century quite a few Christian religious orders had sent their members to settle here. Since the Christianization of the Grand Duchy of Lithuania in 1387 monastics became instrumental in creating, preserving and enhancing the institutions of religious and secular learning and in transmitting Western cultural goods, artefacts, and intellectual skills. When the first Franciscan and Dominican friars settled in the territory of pagan Lithuania in the beginning of the thirteenth century, they sought acceptance within the local society and laid foundation for the arrival of Roman Catholic Church in theselands. The official Christianization of the Grand Duchy of Lithuania led to even more active expansion of monastic networks and activities. The latter extended to various domains of culture and social life, catering to theneedsofdifferentclasses. Living in isolated communities, some of them under a strict rule,monks and mendicant friars were harbingers of Western civilization in many areas of the country’s life (like medicine, agronomy, gastronomy) and social domains, including learning and arts.

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My paper investigates Peter Paul Rubens’ female portraits in terms of the male and female gaze, psychoanalytic analysis, and historical context. My research will support the idea that Rubens painted women in a sexualized manner based on what Foucault coins the male gaze.[1] The paintings evaluated in this project include portraits of Rubens’ wives, Isabella Brandt and Helene Fourment, and portraits of wealthy patrons such as Marchesa Brigida Spinola Doria, Anne of Austria, and Marie de’ Medici. It is incorrect to view these paintings as pure, complete depictions of identity because women in this time were always defined and observed by men.[2]However by deconstructing the male gaze and also acknowledging the role of the active female gaze of the subjects of these works, a more complex construction of female identity is uncovered. Throughout history the feminine has been generalized to be passive and silent. My project aims to build on recent feminist scholarship that works to uncover more responsible and representative descriptions of the images of women in history. [1]Michel Foucault, “Discipline and Punish” from Literary Theory: An Anthology, ed. by Julie Rivkin and Michael Ryan, (Malden: Blackwell Publishing Ltd., 2004), 549-565. [2]Patricia Simons, “Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture,” edited by Norma Broude and Mary Garrard, The Expanding Discourse: Feminism and Art History (New York: Harper Collins, 1992): 44.

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