Orientador: Iumna Maria Simon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-14T00:33:58Z (GMT). No. of bitstreams: 1 Siscar_Marcos_M.pdf: 6530119 bytes, checksum: 894163fd3cbf5d25161befd2143879a6 (MD5) Previous issue date: 1991 / Resumo: Este é um trabalho de tradução comentada de uma antologia de poemas do poeta Francis Tristan Corbiere. A primeira parte (Estudo Crítico) apresenta a obra do poeta, sua originalidade e seu sentido de negação geral da literatura e dos valores da França burguesa do século XIX. Vendo no acaso o senhor de todas as vontades, Corbiere nega a possibilidade de comunicação e, exilado entre os exilados, define-se como um morto ainda em vida, que sofre a desagregação de sua própria identidade. Contra a presunção dos poetastros do seu tempo, Corbiere faz uma opção clara pela vida, pela não-arte, aproximando-se dos personagens semi-humanos das paisagens pobres da sua Bretanha. A provocação e a ironia é a reação a esse estado de coisas. O uso do jogo de palavras e de associações verbais diversas funcionam como recurso paródico típico da poesia de Corbiere e esse é o aspecto privilegiado na tradução dos poemas para o português, na segunda parte (Antologia de Poemas) / Abstract: Not informed. / Mestrado / Mestre em Teoria Literaria

Nos referiremos en este documento a la teoría y la práctica del Ars Combinatoria, particularmente en dos de autores,  Ramón Llul y Tristan Tzara. Ramón Llul, beato del siglo XII, cuyo pensamiento ha sido instruido por la rama teológica de escolástica medieval de orientación platónica, la cual comprende la totalidad de la creación, organizada de manera sinfónica, construida según una voluntad inicial, y ordenada según los principios de una inteligencia superior e inmanente. Para Llul, el Ars Combinatoria constituye un método con el cual el buen cristiano puede desentrañar los misterios de la creación, discriminar la verdad de la falacia y razonar sobre la naturaleza divina manifestada en el universo. El paralelo lo constituye el poeta rumano Tristan Tzara, quien en la combinatoria encuentra una nueva forma de experimentación literaria. Fundamentalmente constituida por el azar y expuesto en su Instructivo para componer un poema Dada (1920), se comprende en esta operación un intento de recusación de toda forma, jerarquía y orden social, practicada en una de las divisas fundamentales y garantía de orden y estructura: el lenguaje. El trabajo de Tzara, en forma similar a lo que sucede con Llul, produce encadenamientos o secuencias organizadas por alguna clase de criterio, con la diferencia de que, en el caso del rumano, todo sucede por puro y simple azar, condición que queda expresada en la ausencia de revelación y orientación. No se hace visible lógica alguna dentro del juego tzariano como tampoco puede existir una lógica detrás de la conversión del suelo europeo en el escenario catastrófico de la guerra, llevado por la prensa y las campañas nacionalistas a la categoría de espectáculo mundial.

This study focuses on the taxonomy, biogeography and biological aspects of the fishes of Tristan da Cunha and Gough Island in the cental South Atlantic Ocean. Oceanographic measurements were undertaken to determine the position and nature of the Subtropical Convergence (STC) in the vicinity of the islands. The Tristan da Cunha group is thought to be situated on the northern edge of the STC while Gough Island is situated on the southern edge of the front. The seasonal environmental cycle at the islands is characterised by an annual sea surface temperature fluctuation of approximately 5 °C and an annual change in stratification of the water column. It is suggested that this increase in stratification at the STC, brought about in the summer by insolation warming the surface layers of the ocean, enhances primary production. The STC is identified as a unique habitat for fishes and as an important barrier to dispersal of species in the Southern Ocean. The present study has produced 18 new distributional records from the shelf waters of Tristan da Cunha and Gough Island. The fish fauna known from the shelf waters of these islands is reviewed, and a diagnosis, synonymy, and in some cases an illustration are provided. For certain species, brief notes on their biology, relative abundance and seasonal distribution are included. An analysis of the ichthyofaunal relationships between shallow water areas in the vicinity of the STC has resulted in the identification of a characteristic neritic STC ichthyofauna. The circumglobal distribution of many of these species is thought to be a consequence of a dispersive pelagic phase in their life-cycles. Biological processes in fishes at these islands are temporally and spatially affected by seasonal changes in oceanographic conditions. Seasonal sea temperature variation was identified as being an indicator of other oceanographic phenomena that may affect processes such as growth, reproduction and feeding in fishes at the islands. Most species have a summer spawning season and growth rate increased during the summer months. It was hypothesised that enhanced primary production and a related increase in food quality and availability during the summer were the major factors temporally regulating the growth and reproduction of fishes at the islands. Twenty families of neritic fishes have been recorded in the shelf waters of Tristan da Cunha and Gough Island. Most families are represented by only one species. Because of this a wide range of life-history strategies are apparent in the fauna. Nevertheless, there are a number of common life-history characteristics shared by most of the neritic species. Firstly, the early lifehistory of many species included an extended pelagic phase which might have facilitated colonisation throughout the STC zone in the past, thereby regulating extant species diversity in this region. Secondly, the common occurrence of an extended summer breeding season and iteroparity suggested that these characters also contributed to survival in what is considered to be an unpredictable environment. It would appear that these common characteristics hold the key to the success of many fishes in the STC zone. This study has contributed to our understanding of oceanic island ecosystems and has revealed distributional patterns of fishes that were unknown previously. By focusing on the biological processes of selected species the regulatory role played by local environmental conditions became apparent. The results of this study are also relevant to proposed conservation measures for Tristan da Cunha and Gough Island.

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Thesis (doctoral)--Freie Universität Berlin, 1989. / Includes bibliographical references (p. 267-273).

Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.

Continuation elleptique du Tristan en prose, qui s’inscrit dans l’interstice séparant la naissance de Tristan du remariage de Méliadus avec la fille du roi Hoël, le Roman de Meliadus [1235-1240] est une œuvre fondamentalement ouverte, de par son inachèvement et de par le dialogue constant qu’il instaure avec les autres romans arthuriens. S’il revendique sa filiation et assume son statut de récit puîné, les réminiscences qu’il exhibe masquent aussi les gauchissements, les infléchissements qui lui permettent de faire du neuf avec du vieux. C’est ce jeu – aux deux sens du terme – que cette étude se propose de mettre en lumière et de voir fonctionner, non seulement dans le Roman de Meliadus proprement dit, mais également dans trois de ses relectures, qui actualisent et renouvellent la signification du roman en profondeur. La première est une continuation qui date de la toute fin du XIIIe ou du début du XIVe siècle et qui est aujourd’hui conservée par le seul manuscrit Ferrell 5. La deuxième actualisation retenue est celle qu’offre Meliadus de Leonnoys, l’imprimé publié en 1528 par Galliot du Pré, puis en 1532 par Denis Janot, fruit d’un minutieux travail de découpage et de remontage. La dernière enfin est l’extrait paru en 1776 dans la Bibliothèque Universelle des Romans sous le titre Méliadus de Léonnois. / An ellipitic continuation of the Prose Tristan, which inscribes itself in the space separating the birth of Tristan from Meliadus’ new marriage with king Hoël’s daughter, the Meliadus’ romance [1235-1240] is essentially an open text on account of its incompleteness and the dialogue it establishes with other arthurian romances. Even asserting filiation status, the reminiscences also show the reshaping and the inflection that allow the text to transform old into new. Analyzing this game is the central purpose of this work; to observe the operation in the Meliadus’ romance, as well as in three of its recuperations that profoundly renew the significance of the novel; beginning with a continuation from the end of the 13th century or the early 14th century, preserved nowadays in only one manuscript [Ferrel 5]; followed by the meticulous work of cutting and reassembling offered by the Meliadus of Leonnoys [printed by Galliot du Pré in 1528 first and again by Denis Janot in 1532] and finally an excerpt published in 1776 in the Bibliothèque Universelle des Romans with the title Méliadus of Leonnois.

Nous étudions le merveilleux dans deux récits médiévaux qui racontent la fable bretonne de Tristan et Yseut, le récit de Béroul et le récit norrois de Frère Robert qui suit la version courtoise anglo-normande de Thomas d’Angleterre. L’analyse nous montre que le récit norrois est plein de thèmes merveilleux dans les chapitres, comme des combats avec un dragon et des géants dans une forêt d’elfes. Cependant, le récit de Béroul ne contient aucun thème merveilleux, même si Béroul aussi fait référence à des éléments merveilleux comme le philtre, ce qui amène à la conclusion qu’il traite l’amour courtois mais d’une façon non merveilleuse. / We study the supernatural in two medieval narratives that tell the Breton fable of Tristan and Yseut, the narrative by Béroul and the Norse narrative by Brother Robert, which follows the Anglo-Norman courtly version of Thomas of England. Our analysis shows us that the Norse story is full of the supernatural themes throughout the chapters, e.g., fights with a dragon and giants in a forest of elves. Nevertheless, Béroul’s account contains no supernatural theme, although Béroul also refers to supernatural passages such as the potion, the conclusion being that hedeals with courtly love but in a non-supernatural manner.

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