Memoria (licenciado en ciencias jurídicas y sociales) / Desde siempre ha existido la necesidad del desvalido de implorar protección a la autoridad, desde siempre ha existido la necesidad de brindarla. Es así como aparece el Derecho de Petición en la historia, como el instrumento a través del cual el sujeto en condición de desmedro vela por sus intereses y los de sus cercanos. Este trabajo pretende describir los orígenes históricos de tal instituto en nuestro ordenamiento jurídico, particularmente la manera en que fue concebido en dos períodos trascendentales de la historia como lo fueron el Indiano y el de forjamiento de nuestra República, período este último que termina por consolidarse con la Carta Fundamental de 1833. Optamos arbitrariamente por este criterio debido a que, con posterioridad a la Constitución Política de 1833, los textos constitucionales sólo se limitan a consagrar este derecho en los mismos términos sin abordar otros aspectos de forma o de fondoNote1. . Desde siempre ha existido la necesidad del desvalido de implorar protección a la autoridad, desde siempre ha existido la necesidad de brindarla. Es así como aparece el Derecho de Petición en la historia, como el instrumento a través del cual el sujeto en condición de desmedro vela por sus intereses y los de sus cercanos. Este trabajo pretende describir los orígenes históricos de tal instituto en nuestro ordenamiento jurídico, particularmente la manera en que fue concebido en dos períodos trascendentales de la historia como lo fueron el Indiano y el de forjamiento de nuestra República, período este último que termina por consolidarse con la Carta Fundamental de 1833. Optamos arbitrariamente por este criterio debido a que, con posterioridad a la Constitución Política de 1833, los textos constitucionales sólo se limitan a consagrar este derecho en los mismos términos sin abordar otros aspectos de forma o de fondoNote2

La thèse porte sur la réflexion de Ratzinger sur la "raison". La critique de la raison moderne, ainsi que l'éléboration d'un modèle alternatif de raison, permet de cerner les enjeux de la théologie de Ratzinger et de saisir le fil conducteur de ses nombreuses batailles. / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Orientador: Luiz Cesar Marques Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-18T19:25:44Z (GMT). No. of bitstreams: 1 Byington_ElisaLustosa_D.pdf: 11767756 bytes, checksum: cc888a875e1153c43477a94f879eb9be (MD5) Previous issue date: 2011 / Resumo: A primeira edição de "As Vidas dos mais excelentes arquitetos, pintores e escultores italianos de Cimabue aos nossos dias", escrita por Giorgio Vasari (1511-1574), arquiteto e pintor de Arezzo, é publicada em 1550. Ela é marcada pelas questões que animavam a Academia Florentina (1541) - a questão da historia, da língua vernácula e da sua difusão - e pela "disputa entre as artes", conforme proposta por Benedetto Varchi (1503-1565) nas célebres "Duas Lições". A segunda edição das "Vidas", publicada em 1568, será marcada por outra academia e por nova versão da "disputa"; i.é, pela Academia delle Arti del Disegno e o texto "Una Selva di Notizie", escrito por Dom Vincenzo Borghini(1515-1580), lugar-tenente da nova academia, rediscutindo a hierarquia entre as artes. Para a nova Academia, fundada em 1563, e para o texto "Una Selva di Notizie" (1564), a referência e modelo eram aqueles, institucional e intelectual, da década de "40. Tanto a academia dos artistas, fundada pelo próprio Vasari junto com o filólogo Borghini, seria inspirada na Academia Florentina, conforme declarado por eles, quanto a retomada da "disputa entre as artes" pelo lugar-tenente da Academia do Desenho, fazia referência à Lição de Varchi e às cartas escritas pelos artistas em resposta ao debate de quase vinte anos antes. Tais aspectos institucionais, e as distintas características do debate intelectual, influenciam respectivamente cada uma das edições com idéias que procuramos ressaltar e analisar no âmbito da política cultural do duque Cosimo I / Abstract: The first edition os the "Lives of the most excellent architetcts, painters and sculptors from Cimabue to ourdays" written by Giorgio Vasari (1511-1574), architect and painter of Arezzo, is published in 1550. It is marked by questions that directed the Florentine Academy (1541) - the question of history, of the vernacular ando its dissemination - and by the "dispute between the arts", as proposed by Benedetto Varchi (1503- 1565) in the famous "Due Lezzioni" (Two Lessons). The second edition of the "Lives", published in 1568, is marked by another Academy and by new version of the "dispute"; i.e. by the Academia delle Arti del Disegno and the text "Una Selva di Notizie", written by Don Vincenzo Borghini(1515-1580), lieutenant of the new Academy, rejudging the hierarchy between the arts. For the new Academy, founded in 1563, and the text "Una Selva di Notizie" (1564), the reference and model were those, institutional and intellectual, of the "40s. Both the academy of the artists, founded by Vasari himself along with the philologist Borghini, would be inspired by the Florentine Academy, as stated by them, as the resumption of the "dispute between the arts" by the Lieutenant of the Academy of drawing, made reference to the Lesson of Varchi and letters written by the artists in response to the debate of almost twenty years before. Such institutional aspects, and the distinct characteristics of the intellectual debate, influence respectively each of editions with ideas that emphasize and analyze the cultural policy of the Duke Cosimo / Doutorado / Historia da Arte / Doutor em História

Ce mémoire s’inscrit dans le cadre disciplinaire d’études théâtrales. Son but est d’approfondir les connaissances concernant le théâtre d’évangélisation du XVIe siècle qui s’est développé au Japon après l’arrivée de missionnaires jésuites en 1549, afin de mieux saisir l’envergure et les éléments qui le définissent. En premier lieu, ce type d’art dramatique est situé dans le contexte du théâtre religieux européen du XVIe siècle en considérant, en plus, sa relation avec le théâtre d’évangélisation en Nouvelle Espagne. Ensuite, en tenant compte des investigations de Bourdon, Leims, Rubiera et Ruiz-de-Medina et après une analyse des quatre principaux recueils de lettres des missionnaires jésuites au Japon, nous dédions notre recherche à la lecture intégrale du seul parmi ces-derniers traduit entièrement en castillan : Cartas que los padres y hermanos de la Compañía de Jesús que andan en los reinos del Japón escribieron a los de la misma Compañía, desde el año de 1549 hasta el de 1571 (Alcalá, 1575), avec l’objectif d’extraire et analyser toute l’information pertinente reliée à l’art dramatique évangélisateur. En plus, nous effectuons une comparaison du segment principal de texte épistolaire concernant ce théâtre (De una [carta] del hermano Juan Fernández, de Bungo para los padres y hermanos de la Compañia de Jesús, a ocho de octubre de mil y quinientos y sesenta y uno) qui est identifiable dans les quatre principales collections de correspondance mentionnées ci-haut, afin de confirmer la possible divergence du contenu qui circulait dans les différentes compilations publiées. Les résultats de cette recherche permettent de mettre à jour l’information disponible reliée au théâtre missionnaire japonais du XVIe siècle. En plus, ceux-ci offrent de nouvelles possibilités d’étude principalement à travers l’édition critique de Ruiz-de-Medina et à l’aide du recueil de missives d’Évora (1598). / This thesis explores a topic attributed to the field of theatre studies. Its purpose is to deepen the knowledge concerning the evangelization theater of the 16th century that developed in Japan after the arrival of Jesuits in 1549, in order to better grasp the scope and the elements that define it. Firstly, this type of dramatic art is studied within the context of the European religious theatre of the 16th century and in relation to the New Spain evangelization theater. Then, considering the investigations of Bourdon, Leims, Rubiera and Ruiz-de-Medina and after analysis of the four main collections of Jesuit letters in Japan, we dedicate our research to the only work, of those four, written entirely in Castilian: Cartas que los padres y hermanos de la Compañía de Jesús que andan en los reinos del Japón escribieron a los de la misma Compañía, desde el año de 1549 hasta el de 1571 (Alcalá, 1575), with the purpose of extracting and analysing all relevant information related to evangelisation dramatic art . In addition, we make a comparison of the main segment of epistolary text concerning this theatre (De una [carta] del hermano Juan Fernández, de Bungo para los padres y hermanos de la Compañía de Jesús, a ocho de octubre de mil y quinientos y sesenta y uno), which is identifiable in the four main correspondence collections mentioned above, in order to confirm possible content discrepancies. The results of this research allow to update the available information related to Japanese missionary theatre of the 16th century, as well as to identify potential new study paths primarily through analysis of the critical edition of Ruiz-de-Medina and the missive collection from Évora (1598). / Esta memoria se inscribe en el marco disciplinar de los estudios teatrales. Su objetivo es profundizar en el conocimiento del teatro de evangelización del siglo XVI desarrollado en Japón después de la llegada de los misioneros jesuitas en 1549, para comprender mejor su significación y los elementos que lo definen. En primer lugar, este tipo de arte dramático se sitúa en el contexto del teatro religioso europeo del siglo XVI, considerando, además, su relación con el teatro misionero en Nueva España. A continuación, teniendo en cuenta las investigaciones de Bourdon, Leims, Rubiera y Ruiz-de-Medina, y tras un análisis de las cuatro principales recopilaciones de cartas enviadas por los misioneros jesuitas desde Japón, se dedica la atención a la lectura integral de la única de estas últimas traducida al castellano (Cartas que los padres y hermanos de la Compañía de Jesús que andan en los reinos del Japón escribieron a los de la misma Compañía, desde el año de 1549 hasta el de 1571, Alcalá, 1575), con el objetivo de extraer y analizar toda la información pertinente relacionada con el arte dramático evangelizador. Además, se realiza una comparación del segmento principal de texto epistolar relativo a este teatro (De una [carta] del hermano Juan Fernández, de Bungo para los padres y hermanos de la Compañía de Jesús, a ocho de octubre de mil y quinientos y sesenta y uno), que es identificable en las cuatro principales colecciones de correspondencia mencionadas anteriormente, con el fin de observar la posible divergencia del contenido que circulaba en las diferentes compilaciones. Los resultados de la presente investigación permiten actualizar la información disponible relacionada con el teatro misionero japonés del siglo XVI y ofrecen posibles nuevas pistas de estudio principalmente a través de la edición crítica de Ruiz-de Medina apoyándose, además, en la colección de misivas de Évora (1598).

No description available.

[pt] A presente tese tem como Leitmotiv o discurso fundador de Hans Staden acerca da terra e do homem no Brasil quinhentista. A passagem do século XV para o século XVI foi marcada pela descoberta e conquista do Novo Mundo. O processo colonizador dessas terras empreendido pelos europeus se deu, contudo, não apenas por meio de práticas de coerção e violência sobre os povos nelas existentes, mas também através da produção de consensos e convencimentos, sempre mediada pela construção de uma imagem do outro. A literatura da época, sobretudo os relatos de viagem, fornece amplo material a partir do qual se pode apreender essas imagens e compreender, por meio de ferramentas analítico-discursivas, o processo de construção imagética que se fazia do outro. Dentre as narrativas que chegaram até os dias de hoje, a wahrhaftige Historia und Beschreibung... de Hans Staden exerceu, sem dúvida, grande ressonância no imaginário social. Partindo, portanto, da Análise do Discurso de linha francesa, em especial das contribuições de Michel Pêcheux e Eni Orlandi, procura-se aqui analisar a narrativa elaborada por Staden, suas concepções acerca da terra e do homem no Brasil quinhentista, o processo de produção de sentido(s) desse discurso fundador e suas implicações no ensino do português como segunda língua para estrangeiros (PL2E). / [de] Die vorliegende Doktorarbeit hat als Leitmotiv den Gründungsdiskurs von Hans Staden uber Land und Mensch Brasiliens im 16. Jahrhundert. Der Übergang vom 15. zum 16. Jahrhundert ist von der Entdeckung und Eroberung der neuen Welt gepragt worden. Der von den Europäern unternommenen Kolonialisierungsprozess dieser Länder erfolgte jedoch nicht nur durch Zwangs- und Gewaltpraktiken gegenüber den darauf bestehenden Völkern, sondern auch durch die Herstellung von Konsens und Überzeugungen, die stets durch die Konstruktion eines Bildes des Anderen vermittelt wurden. Die Literatur der Zeit, insbesondere die Reiseberichte, bietet reichlich Material, woraus man solchen Bildern erfassen und den Konstruktionsprozess von Bildern des Anderen durch analytisch-diskursive Werkzeuge verstehen kann. Unter den Erzahlungen, die am heutigen Tag angekommen sind, hat die wahrhaftige Historia und Beschreibung… Hans Stadens groBe Resonanz in der sozialen Vorstellungskraft zweifellos ausgeübt. Ausgehend von der Diskursanalyse der franzosischen Linie, insbesondere aus den Beiträgen von Michel Pêcheux und Eni Orlandi, zielt die vorliegende Arbeit darauf ab, die von Hans Staden ausgearbeitete Erzählung, ihre Vorstellungen über Land und Mensch Brasiliens im 16. Jahrhundert, den Prozess der Produktion von Bedeutung(en) dieses Grundungsdiskurses und ihre Auswirkungen auf den Portugiesisch Unterricht als Zweitsprache fur Auslander (PL2E) zu analysieren.

En el Perú, en el año 2014, aproximadamente la mitad del producto bruto interno fue producido por un tercio de la población en un lugar específico llamado Lima Metropolitana. Los historiadores, economistas y otros científicos sociales han tratado de explicar fenómenos como este, los cuáles se presentan en muchos países alrededor del mundo, en especial, los del mundo no desarrollado. De esta manera han surgido varias explicaciones acerca de por qué las ciudades se hacen tan grandes y cómo es que logran concentrar la población y actividad económica de un país.

This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris.                      To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of  Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study.                                When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus.  A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of  succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809.                                                       Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit.         Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.

La presente ricerca si concentra sul gruppo dei santi martiri nell’affresco del Giudizio Universale dipinto da Michelangelo Buonarroti per la parete d’altare della Cappella Sistina. Il gruppo riveste un ruolo importante nella composizione sia per quanto concerne l’inedita iconografia e rilevanza nel contesto dell’Ultimo Giudizio sia per ciò che riguarda i significati dell’affresco. La presente indagine si propone attraverso una ricostruzione della committenza papale dell’opera, divisa tra Clemente VII e Paolo III, di contestualizzare la presenza dei martiri nell’iconografia del Giudizio ponendola a confronto con la tradizione figurativa precedente e relazionando, infine, il tema del martirio ai protagonisti di questa commissione, nel più ampio quadro della Chiesa del XVI secolo. / This research focuses on the martyrs’ group depicted by Michelangelo Buonarroti in the Sistine Chapel’s Last Judgment. This group has an important role in the composition thanks to its new iconography in the Last Judgment subject and to its significance in the meaning of the fresco. This thesis, reconsidering the papal patronage of pope Clement VII and Paul III, wants to underline martyrs’ role in Last Judgment iconography, comparing it with the previous figurative tradition and to relate the theme of martyrdom with the protagonists of this artistic commission into the wider context of sixteenth century Church.

The subject and the scope of this study are the role(s) of the Spirit-Paraclete in John 16:4b-15. The methodology applied is socio-rhetorical criticism as developed by Vernon K. Robbins. The fourth Gospel is called the `spiritual Gospel.' Its pneumatic connotations are not only related to its presentation of Christ but also to its frequent references to the Spirit and its cognates. Jesus' Spirit-Paraclete teaching in his Farewell Discourse is a prominent example of this. Its pneumatological content is, however, problematic. This is demonstrated by the various attempts of Johannine scholars. In addition, methodologies, goals and the scope of these studies vary. It was observed that if scholars suggest a role for the Spirit-Paraclete, they usually use `either-or' language, pointing out one role while excluding other possible roles from their conclusions or merely list explicitly mentioned functions of the Spirit-Paraclete. This study is a response to this present situation. It deals with the last two Spirit-Paraclete sayings of Jesus in his farewell address to determine the role(s) of the Spirit-Paraclete, applying the comprehensive reading model which has not been applied to this text before. The hypothesis was that if a more comprehensive methodology is applied to the narrative, a more comprehensive understanding of the text would be gained. We applied multidisciplinary socio-rhetorical criticism which takes into account narrative-rhetorical, intertextual, social-cultural, ideological and sacred aspects of the text while not neglecting contexts in which the story took place, was recorded and is interpreted. Findings were that the roles of the Spirit-Paraclete go beyond mere theological and spiritual significance to touch sociological and psychological aspects of human experience. Thus, the roles of the Spirit-Paraclete are multidimensional. These roles are also integrated with each other. Together they support and point to one major role of the Spirit-Paraclete, which does not, however, downplay his other roles. The central role of the Spirit-Paraclete in John 16:4b-15 is to be the divine presence who forms a performing community of the disciples called the people of the Spirit. / New Testament / D. Th. (New Testament)