Dissertations / Theses: 'Antoine, 1896'

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Rochefort, Sophie. "La signification du marquage des canadianismes par l'italique dans la première édition de Menaud, Maître-draveur, de Félix-Antoine Savard." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26385/26385.pdf.

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Fricaudet, Xavier. "Blanc et Demilly : une unique signature (1891-1985), (1892-1964) /." Lyon : X. Fricaudet, 2003. http://catalogue.bnf.fr/ark:/12148/cb39289168p.

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Tank, Niza de Castro 1931. "A obra vocal de camara de Antonio Carlos Gomes." [s.n.], 1989. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284305.

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Orientador: Etienne Ghislain Samain
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Não informado
Abstract: Not informed.
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Zacaïr, Philippe. "Antonio Maceo Grajales (1845-1896) : biographie guerrière et politique." Paris 3, 1999. http://www.theses.fr/1999PA030134.

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Ne en 1845 a santiago de cuba, dans une famille de gens de couleur libres, antonio maceo grajales a profondement marque l'histoire de cuba dans la seconde moitie du 19eme siecle. Son role de premier plan dans les luttes politiques et guerrieres qui ont conduit l'ile de cuba a briser violemment le lien colonial qui l'unissait a l'espagne, a fait de maceo un heros largement celebre par tous les cubains. Aussi, l'historiographie cubaine regorge d'ouvrages biographiques consacres a un heros a qui elle a donnee une dimension largement mythique. Cette these n'est pas qu'une nouvelle biographie d'antonio maceo grajales. Elle part de l'idee que le heros cubain ne contribua pas seulement a rendre possible l'emergence de la nationalite cubaine, mais porta egalement un voeu politique original : l'antillanite. A travers quelques episodes marquants de sa trajectoire politique et militaire, nous chercherons a mieux connaitre ce produit et ce militant conscient de l'identite caribeenne.

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Virmond, Marcos da Cunha Lopes. "Construindo a Opera Condor : o pensamento composicional de Antonio Carlos Gomes." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285002.

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Orientador: Lenita Waldige Mendes Nogueira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Condor, estreada em 1891 no Teatro alla Scala de Milão, foi a última ópera escrita por Antônio Carlos Gomes. O estudo dos documentos textuais indica que o processo composicional envolveu a elaboração de um rascunho para canto e piano, a orquestração, uma extensa revisão final e a inclusão de um balé um ano após a estréia. A análise do rascunho, documento inicial da criação, revela alternativas composicionais que foram descartadas pelo autor se comparadas com o resultado definitivo tomado da edição para canto e piano de 1891. Usando-se esses documentos textuais, acrescidos do manuscrito autógrafo e da cópia profissional, foi possível reconstituir várias dessas alternativas ao longo do primeiro ato, analisa-las e discutir as possíveis razões para a conduta do compositor. Analisou-se também os aspectos de exotismo e orientalismo inerentes ao libreto abordados musicalmente por Gomes. Como resultado, verifica-se que Gomes construiu Condor ao longo de quatro fases: elaboração do rascunho, orquestração, uma revisão e introdução do Balé. As modificações promovidas indicam necessidade de condensação do discurso musical, reorganização do discurso harmônico e otimização do discurso dramático em paralelo ao discurso musical. A abordagem musical do orientalismo em Condor é refinada e sutil, quase imperceptível, mas com suficiente densidade para criar uma cor local efetiva. Revela-se, assim um compositor cioso da qualidade de seu produto final e com expressiva competência técnica enquanto operista, atento ao ambiente cultural de sua época, criativo, inovador e com importante contribuição para a evolução do melodrama italiano em seu período de transição até o surgimento da giovane scuola
Abstract: Condor, premiered in 1891 at Teatro alla Scala in Milan, was the last opera by Antonio Carlos Gomes. The study of the textual documents reveal that the compositional process included the elaboration of a piano vocal sketch, the orchestration, an extensive revision and a later inclusion of a ballet one year after the premiere. Analysis of the sketch, the initial document for the creation, reveal compositional alternatives that were discharged by Gomes when compared to the printed piano vocal score issued in 1891. With these textual documents and the autograph manuscript and the hard copies, it was possible to reconstruct many of these alternatives along the firs act, to analyze them and to propose possible reasons for such compositional options. It was also analyzed the exotic and oriental aspects due to the libretto and its musical treatment by Gomes. As a result, it is seen that Gomes has elaborated Condor in four phases: a piano vocal sketch, the orchestration, a revisions and addition of a ballet. The modifications introduced are related to the need of condensation of the musical discourse, reorganization of the harmonic discourse and optimization of the dramatic discourse in parallel to the musical discourse. The musical approach to orientalism in Condor is subtle and careful, without obvieties, but with enough density to create an effective ambience. It is found in Gomes a composer concerned with the quality of his final product and with expressive technical skills as an opera composer, attentive to the cultural
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Duménil, Lorraine. "L'agir poétique chez Antonin Artaud et Henri Michaux." Paris 7, 2011. http://www.theses.fr/2011PA070098.

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A quelles conditions la poésie peut-elle constituer une disposition de l'action humaine ? Mus par une commune nécessité de remédier au malaise existentiel qui les étreint, Antonin Artaud et Henri Michaux attribuent à leur entreprise poétique une finalité proprement vitale : « guérir la vie », lutter contre ce qui les oppresse, changer de corps et d'esprit. Or un tel impératif engage une redéfinition radicale de la Poésie. Le geste d'Artaud et de Michaux a la particularité d'opérer sur un plan bien plus large que celui de l'écriture, dans la perspective d'un « champ élargi » de la Poésie qui investit une multiplicité de dispositifs : poèmes mais aussi dessins, peintures, pratiques performatives inspirées du théâtre, de la danse ou de la musique. Pour « guérir la vie », ce continuum artistique opère sous la forme d'une production inlassablement reconduite d'exorcismes, dans le même temps qu'il ouvre l'espace d'une construction de soi qui engage une ontologie de l'altération. Attentive à la performativité des différentes configurations artistiques, la présente étude fera de l'expérience poétique - entendue comme une pratique incarnée - le cœur de sa réflexion. Or, s'il est vrai qu'une expérience n'engage a priori que celui qui en est le sujet, elle ne trouvera toutefois à se réaliser pleinement que dans la mesure où elle sera reprise et traversée par d'autres, c'est-à-dire reçue et reconduite par un public : l'agir poétique est un espace d'action partagé
Under which conditions can Poetry constitute a provision of the human action? Driven by a shared need to heal the existential ailment which seized them, Antonin Artaud and Henri Michaux allot to their poetic endeavor a vital purpose. This purpose — "to cure life" - means to fight against oppression, to change body and spirit. But such a goal requires a radical redefinition of Poetry. Artaud and Michaux's gesture is particular in the way that it operates on a broader level, from the perspective of an « expanded field, » which comes through in many forms: poems - yes, but also drawings, paintings, performances, theater, dance and music. In order to « cure life », this artistic continuum requires perpetual exorcisms. But, at the same time, it calls for a construction of Self which is engaged in an ontology of alteration. Paying attention to the performativity of the various artistic configurations which play out in these works, the present study will mainly focuses itself on the notion of « poetic experience ». But however deeply personal this experience is, its meaning will come out when taken and reinterpreted by others. For « poetic acting » can only be conceived through the form of a shared space of action

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Six, Jean-François Ancel Alfred. "Un prêtre, Antoine Chevrier : fondateur du Prado, 1826-1879 /." Paris : Éd. du Seuil, 1986. http://catalogue.bnf.fr/ark:/12148/cb350633523.

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Silveira, Lage André. "Antonin Artaud : le corps et le langage." Paris 8, 2004. http://www.theses.fr/2004PA082410.

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La question de départ de cette thèse est l’étude du rapport entre le corps et le langage. L’œuvre d'Artaud produit une pensée du corps indissociable d’une pensée du langage, l’une et l’autre s’inscrivant dans une perspective radicalement critique. A partir des premiers écrits poétiques d’Artaud, je tente d’interroger le rapport entre la naissance d’une œuvre et le discours sur sa défaite, montrant en quoi l’œuvre d’Artaud rend indissociable création et ratage. La terrible conscience que l’écriture d’Artaud témoigne de ce qui la menace nous conduit à la considérer comme le lieu particulier d’un combat où une expérience de pensée épouse une expérience radicale du langage. Et les problèmes que l’œuvre d’Artaud ne cesse de relancer d’un texte à l’autre s’organisent autour de quelque chose dont le nom, le statut et la place restent toujours improbables, sinon toujours à venir. Dans un deuxième temps, j’oriente mon analyse vers les écrits d’Artaud consacrés au théâtre, en partant de l’idée que sa poétique du théâtre dépasse une théorie du théâtre, ouvrant le champ d’une réflexion sur le langage et sur l’art en général. Les notions d’intonation, de scansion, en travail dans sa poétique du théâtre, me semblent fondamentales pour comprendre l’articulation du corps au langage, mais aussi pour appréhender l’ensemble de sa pratique de l’écriture. Dans un troisième temps, j’interroge l’œuvre d’Artaud en tant que réflexion sur le statut du corps et son identité. Le corps de l’homme est le terrain et l’enjeu de l’œuvre d’Artaud : le corps de la langue autant que le corps anatomique est à refaire. Il y a un combat déclaré chez Artaud. A l’intérieur du langage. Et cet état de guerre constitue les conditions et les moyens du langage qui devient un langage-force, un langage-coup, un langage-cri, un langage qui, traversant et débordant les mots, manifeste l’aventure d’une vie par l’écriture, l’aventure rythmique d’un sujet dans sa quête effrénée d’un langage qui lui est propre.

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Majdalani, Charif. "Les glossolalies d'Artaud." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10079.

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Apres un chapitre inaugural consacre a un expose de la notion de glossalalie dans l'histoire religieuse occidentale, dans les religions chamaniques et en psychiatrie, nous introduisons l'etude des glossolalies d'artaud par une lecture globale de l'oeuvre de ce poete a partir des theses psychanalytiques de melanie klein. Nous tentons de montrer que l'oeuvre d'artaud est toute entiere comme le recit d'un vazste "combat schizoide" livre contre la realite et le couple "peremere" consideres comme "mauvais objets" au sens kleinien du terme et surtout que les glossolalies incluses dans cette oeuvre constituent une des modalites de ce combat, le "mauvais objet" etant ici incarne par la langue maternelle - en l'occurence le francais. Apres avoir demontre que les sons dans lesquels sont generalement investies les pulsions agressives anales, uretrales et phalliques constituent les armes essentielles d'artaud dans ce reglement de compte linguistique, nous procedons a une analyse detaillee des diverses strategies et modes d'agressivites mis en oeuvre dans chaque sequence glossolalique. L'etude de la poetique des glossolalies d'artaud (leur rythme, leur musicalite) forme la derniere partie de ce travail
The first chapter of this thesis is bended to an account of the notion of glossolalia in the history of occidental christianity, in the chamanic religions and in psychiatry. We begin the study of the glossolalias of antonin artaud by a global study of artaud's works based on psycho-analytic thesis of melanie klein. We try to prove that artaud's texts relate a "xhizoid fight" against reality and against the couple "fother-mother" (pere-mere) considered like "bad objects" according to the kleinian meaning of the word. The glossolalias included in those texts seemed then to be a part of this fight, mother tong playing the part of "bad object". After demonstrating that artaud's principal arms in this fight are the sounds in which aggressive anal, urethral and phallic impulses are invested, we detail the various aggressive strategies used in each sequence. The last part of the thesis is composed of a poetics study of the glossolalias (in other words their rythm and their musicality)

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Brangé, Mireille. "La séduction du cinéma : de la pratique du septième art et de ses implications sur les idées theâtrales de Pirandello, Artaud et Brecht." Rouen, 2006. http://www.theses.fr/2006ROUEL541.

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Hommes de théâtre majeurs au XXe siècle, Pirandello, Artaud et Brecht, cinéphiles, pratiquèrent le cinéma en scénaristes et critiques. Ils songèrent aussi à passer derrière la caméra et à jouer leurs scénarios. Leurs travaux originaux et leurs adaptations sont emblématiques de la passion de nombre d'écrivains dans l'entre-deux guerres, mais aussi des bouleversements que cet art de masse industriel et mondialisé fit subir aux hommes de lettres, à leur situation dans le champ littéraire, à leur statut de créateurs, à leur écriture. Leurs idées cinématographiques furent à la fois liées à leur époque et puissamment originales. Si le parlant et le poids de l'industrie contribuèrent à les éloigner de leurs espoirs, les trois auteurs ne se replièrent qu'apparemment sur le théâtre. Même s'ils feignaient d'ignorer le cinéma, il était présent dans leurs approches théâtrales, dans leurs mises en scènes et leurs ambitions communes de révolutionner le drame traditionnel
Pirandello, artaud and Brecht played a major role in theatre in the 20th century ; they also liked cinema as film enthusiasts and practiced it as scriptwriters and reviewers. They also sought to go behind the camera and play their scripts. Their original work and their adaptations symbolise the passion that a lot of writers experienced between WWI and WWII, but also the upheaval that this industrial art for the masses brought about for men of letters, for their situation in the literary world, for their status of creators, and for their style of writing. Thier cinematographic ideas both rooted in their time and were extremely original. If talking films and the weight of the industry contributed in dismissing their cinematographic hopes, the three writers chose theatre only apparently. For even if they pretended to ignore cinema, it was nonetheless present in their approaches to theatre , in their ways of directing and in their common ambitions to revolutionize the traditional drama

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Arai, Kiyoshi. "Le problème de l'expression chez Antonin Artaud." Paris 4, 2003. http://www.theses.fr/2002PA040177.

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Partant des ruines de la détermination de l'expression comme extériorisation d'une " substance intérieure ", Artaud cherche toute sa vie une nouvelle idée de l'expression, ainsi qu'un nouveau moyen d'expression. Nous retraçons d'abord le processus suivant lequel il élabore sa poétique du rêve en construisant la métaphysique de l'expression. Or, à partir de 1937, à mesure que sa crise d'identité s'aggrave, sa valorisation du rêve cède la place à celle du délire. Dans la deuxième partie, nous examinons la poétique du délire d'Artaud qui consiste en une production de sa propre " réalité " et en ce " travail de corporisation " dans lequel, d'après lui, le corps imperceptible émet des corps matériels pour se manifester. Cette conception de l'expression dirige Artaud vers une " autre façon d'écrire " fondée sur l'impuissance du langage et sur la polysémie incontrôlable des signifiants, et se réalisera dans ce langage glossolalique apprenant aux mots " une manière de nouveau comportement "
After experiencing the collapse of the traditional concept of expression as the exteriorisation of the "internal substance", Artaud searches all his life for a new idea and a new way of expression. The first part of this dissertation traces the process in which he elaborates the poetics of dream from 1923 to 1936 by constructing the metaphysics of expression. But from 1937 on, as the crisis of his identity deepens, his focus shifts from the valuation of dream to that of delirium. The second part examines the poetics of delirium developed in his last years; it produces his own "reality" and describes "corporealisation", the process in which an imperceptible body emits material bodies to manifest itself. This concept of expression conducts Artaud to the "other way of writing" based on the powerlessness of language and on the uncontrollable polysemy of the signifiants. This idea is realised in his "glossolalia", a language in which words attain "a manner of new behaviour"

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Marcerou, Philippe. "André Antoine, fondateur et directeur du Théâtre Antoine (1897-1906) : thèses présentée et soutenue le 4 mars 2002." Besançon, 2002. http://www.theses.fr/2002BESA1021.

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André Antoine (1858-1943) a créé le Théâtre libre en 1887, une scène d'amateurs, où, s'inspirant des recommandations de Zola, il a renouvelé le répertoire, regroupé les comédiens en une troupe homogène, fait émerger la fonction d'un metteur en scène chargé de coordonner la représentation. En 1897, Antoine fonde un théâtre privé, le Théâtre Antoine, qu'il dirige de 1897 à 1906. Il y poursuit du Théâtre libre, menant de front une ambition artistique, une ambition financière et une ambition personnelle, se fixant pour objectif de faire "un théâtre littéraire à bon marché", qui offre au public "du bon théâtre, bien joué". Le théâtre Antoine produit un théâtre du quotidien qui décrit la société, en montre les limites et en dénonce les scandales. Le drame et la pièce sociale (Brieux, Curel, Ibsen, Hauptmann) tiennent la première place jusqu'en 1902. Après cette date, Antoine crée surtout des pièces à grandes mises en scène (La Terre, Le Roi Lear). . .

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Lelièvre, Delphine. "Les manuscrits des Cahiers de Rodez, ou l'épiphanie d'une poétique de la voix et du sujet." Paris 7, 2002. http://www.theses.fr/2002PA070068.

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Grâce à un travail de déchiffrement des manuscrits effectué sur microfilms et originaux, ce travail propose une nouvelle lecture des textes de la période asilaire. Les méthodes empruntées à la critique génétique permettent de rendre compte d'un matériau hors-normes et exceptionnel. A partir d'un travail formel, la réflexion s'engage à prouver que les " Cahier de Rodez " sont à lire avant tout comme un nouveau Théâtre de la Cruauté, une nouvelle scène de théâtre virtuelle. C'est à partir d'un examen minutieux des formes manuscrites de l'écriture artaudienne que nous entendons prouver l'émergence d'un sujet poétique prégnant dans l'écriture et faire sortir les écrits asilaires de la classification trop facilement utilisée de " textes illisibles "
This work offers a new reading of the texts written during the asylum period, made possible by the dicephering of these manuscripts on both microfilms and original copies. The methods borrowed from genetic criticism (analysis of manuscripts) reveal outstanding and exceptional material. Based on a formal study, my reflexion aims at proving that the Cahiers de Rodez are to be read as a new Théâtre de la Cruauté and a new virtual theatrical stage. Such a close examination of Artaud's manuscript pages will lead me to prove the emergence of a pregnant poetic subject in his writing. I will show that the qualification of the asylum texts as "unreadable material" is unfounded

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Poutier, Irène. "Ecrits sur la peinture et dessins d'Antonin Artaud : vers l'invention d'une pré-cosmogonie." Besançon, 2003. http://www.theses.fr/2003BESA1014.

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Après avoir défini les grands traits du projet artistique artaldien, nous étudions un grand nombre de textes d'Artaud sur la peinture et nous dégageons, à partir de l'étude de quelques œuvres représentatives de peintres évoqués par Artaud, les raisons qui le poussent à rejeter des périodes artistiques comme le Cinquecento. Nous procédons de même pour les peintres ou courants artistiques pour lesquels Artaud s'enthousiasme, ce qui permet d'expliciter les idées maîtresses du poète sur la finalité de l'art et de la peinture. Nous montrons enfin de quelle façon, dans l'imaginaire d'Artaud, le théâtre, la peinture et les propres dessins du poète forment un ensemble qui tend vers la construction d'une pré-cosmogonie. Au-delà de la dénonciation farouche d'Artaud, dans et hors des murs de Rodez, contre un Dieu tyrannique et jaloux, nous mettons en évidence que la ligne et le trait, l'écriture et le dessin, le théâtre et la peinture tendent vers un espace de pensée et de vie nouveau et original
Firstly, we define the main features of Artaud's artistic work, the genesis of which can be found in his writings on theatre. We then go on to study Artaud's written pieces on paintings. We expose the reasons why Artaud rejected certain artistic periods, such as the Cinquecento, through a study of works of art that characterize them. We adopt the same manner in dealing with the painters and artistic periods for which Artaud felt a great enthousiasm. This enables us to explain the poet's fundamental ideas on the aims of art and painting. Finally, we show how, according to Artaud's imagination, theatre, painting and Artaud's own drawings form a coherent whole which leads towards what we call a " pre-cosmogony ". From both within and outside the confines of the Rodez asylum, Artaud ferociously condemns a tyrannical and jealous God. Beyond this denunciation, we show how sentences and brush strokes, writing and drawing, theatre and painting converge to create a space for ideas and living that is both new and original

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Bouthors-Paillart, Catherine. ""Êtredir" sa supplication psychotique : approche de l'énonciation chez Antonin Artaud." Paris 7, 1992. http://www.theses.fr/1992PA070068.

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A partir de l'hypothese d'un diagnostique clinique de structuration psychotique de la personnalite d'antonin artaud, ce memoire propose l'analyse des modalites de l'enonciation artaldienne (enonciation ecrite et orale, gestuelle enonciative), en tant qu'elles apparaissent conditionnees par ce mode de structuration psychique specifique, et tente de reperer dans les textes d'antonin artaud les indices-symptomes linguistiques de sa "suppliciation" psychotique
This thesis takes as its startins point the hypothesis of a clinical diagnosis of the psychotic structuring of antonin artaud's personality. It analyses antonin artaud's various modes of expression (written and oral expression, and body language) inasmuch as they appear to be conditioned by this specific type of psychic structuring, and studies the writings of antonin artaud in an attempt to locate the linguistic symptoms-clues of his psychotic agony

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Jaime, Carbonel Alejandro. "El Mapa del Perú de Antonio Raimondi. La resistencia del Paisaje." Master's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/13297.

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La siguiente investigación reflexiona sobre la pertinencia de plantear al Mapa del Perú (1880-1890) de Antonio Raimondi como un producto artístico, analizando los procesos involucrados en su elaboración, así como los alcances y discursos políticos que genera como documento e imagen oficial. Así, la imagen cartográfica se configura en una dimensión simbólica que sobrepasaría su funcionalidad científica. Para ello, presentaremos el pensamiento y contexto de la época en la cual se desarrolló este proyecto cartográfico, contenido en la gran obra enciclopédica de Raimondi titulada El Perú. Este proyecto inaugura una era de especifidades y actualizaciones, producto de una necesidad de rigor científico para el desarrollo del programa progresista de las élites gobernantes de la joven república. En este contexto, veremos que la información visual sobre el territorio peruano inclinaba su producción hacia la esfera racional y científica, dejando paulatinamente de lado, las subjetividades históricas de la representación. En la primera parte de esta investigación revisaremos este escenario en el cual la figura de Raimondi surge como autoridad, así como el pensamiento que despliega en los años de trabajo en el Perú bajo un esquema positivista. En el segundo capítulo revisaremos los antecedentes y los referentes del autor, bajo los cuales su obra toma forma. Analizaremos las metodologías de trabajo que ejecuta en su proyecto y la manera en que los aspectos sensibles se encuentran presentes durante esos procesos. El tercer capítulo enfatiza el sustrato simbólico que contiene su proyecto cartográfico. De esta manera, la lectura del Mapa del Perú desde la historia del arte se hace pertinente, permitiendo rescatar una cualidad estética latente y velada por la etiqueta científica. Abrir 3 esta ventana a nuevas posibilidades de interpretación, nos permite pensar sobre la manera en que el Mapa del Perú de Antonio Raimondi resulta un testimonio de la conjunción de fines artísticos, científicos y políticos en una sola imagen total, es decir, una abstracción en la cual rescatamos un aspecto sensible fundamental en la mirada de su autor: El Paisaje. Así, el Mapa puede ser leído como un documento oficial que revela una resistencia artística en medio de un contexto racional y positivista –a escala global- y que obedece a un determinado proyecto de país regido por una concepción funcional y utilitaria del territorio y la naturaleza.
Tesis

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Belhaj, Laïla. "Antonin Artaud et la notion de sacré." Paris 1, 1995. http://www.theses.fr/1995PA010587.

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L'unité de l'homme est à la source de cette quête permanente de l'auteur, qui entreprit de longues recherches sur les cultes, les civilisations, les rites, les mythes. Autant de lexèmes appartenant au registre du sacré. Notre recherche aura comme l'un des axes principaux, cet attrait d'Antonin Artaud pour ces bases vivantes de culture, dont la notion semble d'après lui s'effriter en occident. Chez Artaud il y a une connaissance approfondie des textes traitant du sacré, de la métaphysique, de l'ésotérisme, on est alors loin d'une attitude fétichiste ou apologétique. Toute l'originalité de notre travail sera basée sur cet attrait pluridisciplinaire et intercivilisationnel qu'Artaud lui-même chérissait, tout comme le théâtre qu'il préconisait tend à faire la somme de tous les moyens d'expression : peinture, poésie, danse, transe. Sur son sillage nous essaierons de cerner le problème de la dynamique du sacré dans toute sa possibilité d'agir sur l'évènement mimétique, et spectaculaire, en dehors aussi d'une destination directe religieuse. Il faudra chercher aussi à comprendre pourquoi notre recherche nous induit à définir comme sacrés des phénomènes qui nous attirent par leur convergence dynamique. Trois thèmes unissent la dramaturgie d’Artaud à sa métaphysique: la vocation sacrée du théâtre, le retour aux origines, la mise en scène comme langage constitutif du théâtre. Le théâtre est un art sacre par essence, s'il a cessé de l'être en occident, il faut le resacraliser : toutes les idées cosmogoniques liées au chaos, au devenir, à la création, qui sont toutes d'ordre cosmique telles qu'elles existent dans les vieux fonds métaphysique de certaines civilisations
Man's unity is the source of the theme of this author who did the long research on the cults. Civilisations; the ceremonies and the myths. So many lexemes belong to the sacred. This research will have that interest of Antonin Artaud as one of the main themes based on the vital culture of which the concept seems to disappear in the west. Antonin Artaud has profond knoledge of the texts on sacred, the metaphysics and the esoterism. Nevertheless, his attitude is far from being fetichist or apologist. Originality of this research will be based on this interdisciplinary and intercivilizational theme ich Artaud himself cherished, like the theater that he praised makes the totality of the modes of expression: painting, poem, dance and transe. In his traces, we will try to definne the problem of the dynamics of sacred that can react to the mimetic and spectacular events without religious purpose. Also we have to find out why we arrive at the definition of the phenomenon which leads us by dynamic convergence as sacred. This time unite the dramaturgy of Artaud to his metaphysics : the sacred vocation to the theater, the return to origin, the direction as a constructive language. The theater is the sacred out in essence and if it stopped to be sacred in the west. It should make it sacred again. All the ideas of cosmogoniy related to the chaos, the becoming, the creation are the cosmis orders such that these exist in the old background of metaphysics of certain civilisations which have this "cosmic cruelty "and" magic action" of the life. The study of the streams of the civilisation from which the modern world came

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Nathan, Robert C. Pérez Louis A. "Imagining Antonio Maceo memory, mythology and nation in Cuba, 1896-1959 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1317.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Apr. 25, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.

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19

McCachren, Jo Renee. "Antoine Reicha's Theories of Musical Form." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330751/.

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Antoine Reicha stands as an important figure in the growing systematization of musical form. While Traite de melodie (1814) captures the essence of eighteenth-century concern with tonal movement and periodicity, Reicha's later ideas as represented in Traite de haute composition musicale (1824-26) anticipate descriptions of thematic organization characteristic of his nineteenth-century successors. Three important topics emerge as crucial elements: melody, thematic development, and schematic categorization of complete pieces.

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Rey, Agnès. "Antoine Vitez et Louis Aragon : une filiation revendiquée." Paris 3, 2001. http://www.theses.fr/2001PA030024.

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La rencontre d'aragon, son pere spirituel, influence antoine vitez : sa creation joue avec la memoire et le temps, art de la demesure en effervescence permanente. Une filiation familiale tronquee le pousse a elaborer son uvre poetique et theatrale telle une memoire en devenir dont l'invention continuelle est le moteur. Comme aragon, il convoque sa memoire, celle du monde et de la culture : nul refus du present ou de l'avenir mais detour pour affronter le monde. Hommes presses obsedes par la fuite du temps, ils plongent ainsi dans une ivresse creative, transformant le temps en personnage theatral. Dans la filiation d'aragon, les perturbations et les destructions du temps, les spectres dedoubles du vieillard hantent vitez qui pense le theatre en prisme de la mort. L'art devient alors le cur de ses interrogations dans des spectacles testamentaires : hantise dynamique du temps et de la mort, temoin la pratique de la variation. Un mouvement perpetuel anime donc leur creation, mue par l'invention et la recherche. Pratiquee par aragon et vitez des les annees soixante, la technique de la deconstruction qui estompe la frontiere entre theorie et pratique le prouve. Forge par aragon et adopte par vitez, le concept du << mentir vrai >> qui joue de l'intertextualite, de l'ambiguite entre fiction et autobiographie et exacerbe le simulacre se revele neanmoins une constante esthetique : artifice et theatralisation exposent une demesure qui travestit la realite. Tel aragon, brassant la memoire et le temps dans un mouvement continuel, vitez pratique donc une esthetique du monumental, reve prometheen du grand uvre.

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21

Montini, Simona. "Théâtre Libre di André Antoine [1887-1894] : Teoria e practica de la messinscena." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030052.

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L’objet de la thèse est l’illustration des traits distinctifs du travail d’André Antoine au Théâtre Libre. Sa modalité de mettre à la scène est présentée dans son cadre historique à la confluence de nombreux facteurs et elle est lue comme un nœud où plusieurs éléments arrivent à converger. L’analyse des constantes du devenir scénique et des modalités opératives sont mises en rapport avec sa sollicitation continuelle de tous les aspects de l’expérience théâtrale, dictée par l’aversion pour un type de théâtre dépourvu de souffle artistique et ensuite, en dernière analyse, de vérité. On expose la construction de l’espace scénique, inspirée par son attention à l’aspect visuel de la scène, et ses liaisons avec la dramaturgie. Du côté de la dramaturgie on considère le rapport entre Antoine et les auteurs, sa conception dramatique, la constitution du répertoire, l’éclectisme, le caractère de laboratoire et sa contribution à la recherche de la nouvelle formule dramatique. Du côté de la construction de l’espace scénique on considère les décors, les accessoires, l’action des figurants et les effets d’éclairage. On analyse aussi le rôle du Théâtre Libre en rapport avec l’univers théâtral environnant, au moyen d’une réflexion à propos du sens attribuable à son amateurisme, d’une confrontation avec les cercles d’amateurs contemporains et d’un examen de son public. Enfin, on envisage la manière de jouer d’Antoine, sa méthode de construction du personnage et le travail de la troupe
This thesis focuses on the distinctive features of André Antoine’s work at the Théâtre Libre. His staging practice is examined in its historical framework, located at the confluence of various factors, and read as a knot in which several elements come to converge. The constants of his scenic research and of its operative modes are analysed in relation to his ceaseless questioning of the theatrical experience in all its aspects: this approach springs from Antoine’s hostility to a theatre completely devoid of artistic inspiration and, ultimately, of truth. The thesis describes his use of the scenic space, suggested by his attention to the visual aspect of the stage, and its relationships with dramaturgy. As for the dramaturgy, the relations between Antoine and the authors are studied together with his dramatic theory, the making of his repertory, his eclecticism, his experimental attitude and the participation of Théâtre Libre in the search for a new dramatic form. As for the shaping of the scenic space, the thesis examines sceneries, props, the role of walk-ons and light effects. The analysis also takes into account the role of the Théâtre Libre in relation to the contemporary theatrical world, focusing on the meaning of Antoine’s amateurism, on a comparison with the contemporary amateur groups and on the composition of his public. The final part of the thesis is devoted to Antoine’s acting features, to the method through which he built characters and to his company’s work

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Zacchi, Vanderlei Jose. "Discurso, poder e hegemonia : dilemas do professor de lingua inglesa." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269232.

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Orientador: JoAnne Busnardo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho se propõe a discutir os dilemas do professor de língua inglesa diante da posição de hegemonia desse idioma no mundo atual. Primeiramente foi feita uma análise de discursos diversos a respeito do inglês no mundo, globalização e ensino de língua inglesa. Com base nas teorias de Antonio Gramsci e Mikhail Bakhtin, esses discursos foram classificados como hegemônicos, os quais buscam a manutenção do poder dominante, ou contra-hegemônicos, que buscam transformar o estado vigente. Posteriormente foram realizadas entrevistas com professores de língua inglesa da rede municipal de ensino de Belo Horizonte - MG, para avaliar como esses discursos são assimilados no meio educacional. Chegou-se à conclusão de que esses professores são amplamente influenciados pelos discursos a que estão expostos, tanto hegemônicos quanto contra-hegemônicos. Como resultado, foram constatadas inúmeras contradições nas falas dos professores, que são também a expressão concreta de seus dilemas. Essas contradições e dilemas constituem a interdiscursividade, ponto de intersecção entre os enunciados em conflito. A interdiscursividade é efeito do caráter dinâmico e inacabado tanto do discurso quanto do sujeito. Na orquestração de vozes alheias, os professores entrevistados nem sempre foram bem-sucedidos na autoria de um discurso próprio. Os discursos hegemônicos, sendo eles também inacabados, deixam em aberto a possibilidade de transformação, vislumbrada nos depoimentos de alguns professores que mencionaram o ensino crítico como uma forma de contra-discurso
Abstract: This dissertation seeks to discuss the dilemmas of English teachers as a result of the hegemonic position occupied by the English language in the current world. Firstly an analysis of several discourses regarding English in the world, globalisation and English language teaching was carried out. Taking the theories of Antonio Gramsci and Mikhail Bakhtin as a basis, those discourses were classified as hegemonic, which seek to maintain the dominant power, or counter-hegemonic, which seek to transform the status quo. Subsequently English teachers of Belo Horizonte's local public schools were interviewed, in order to evaluate how those discourses are assimilated in the educational sphere. As a conclusion, it was found that these teachers are largely influenced by the discourses that they are exposed to, both hegemonic and counter-hegemonic. Consequently a number of contradictions in the teachers' speeches were noticed, which are also the concrete expression of their dilemmas. These contradictions and dilemmas constitute the interdiscourse, a space where conflicting utterances intersect. Interdiscourse is thus the effect of the dynamic and open character of both the discourse and the subject. In the orchestration of the voices of others, the interviewees were not always successful in authoring their own discourses. Since the hegemonic discourses are themselves also open and in flux, they offer the possibility of change, envisaged in the accounts of some teachers who mentioned critical teaching as a type of counter-discourse
Mestrado
Ensino-Aprendizagem de Segunda Lingua e Lingua Estrangeira
Mestre em Linguística Aplicada

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23

Lee, Namjai. "Anton Bruckner's Treatment of the Credo Text in His Last Three Masses." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500366/.

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In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies.

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24

Sarges, Maria de Nazare dos Santos. "Memorias do "velho" intendente : Antonio Lemos- 1869-1973." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280055.

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Orientação: Sidney Chalhoub
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed
Doutorado
Doutor em História

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25

Duval, Laurent. "Les Cenci d'Antonin Artaud, un théậtre cruel? : suivi de Le Foyer - texte dramatique." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83178.

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The thesis is divided in two sections; the first section consists in a critical document while the second presents my own creative writing, a play intitled Le Foyer. My use of theatrical writing in Le Foyer sought to privilege certain litterary techniques and dramatic processes elaborated by Antonin Artaud (1896-1948) in his manifesto The Theatre and his Double (1938). The thesis' theoretical section explores various issues at stake in my creative writing exercise: the link between the play Les Cenci and Artaud's metaphysic is questionned. I aimed to demonstrate how Les Cenci is an improbable example of the concept of Theatre of Cruelty. I stressed the liberties the playwright has taken with his theory when putting it into practice in a first attempt to create total theatre.

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Fernandes, Renato César Ferreira. "Oligarquia e transformismo = a crítica de Gramsci a Michels." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281624.

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Orientador: Álvaro Gabriel Bianchi Mendez
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta dissertação teve como objetivo debater a crítica de Antonio Gramsci a Robert Michels. A análise foi desenvolvida sobre a crítica a três conceitos-processos de Michels: da lei férrea da oligarquia nos partidos políticos, da elite carismática e do conceito de elite política. Para esta pesquisa, foi preciso recuperar as formulações de Michels à luz do seu tempo, refletindo sobre as transformações no pensamento do autor na história política do início do século: da sua crítica à socialdemocracia até o seu apoio ao fascismo. Já em Gramsci, a reconstrução teórica se deu a partir dos Cadernos do Cárcere, principal obra em que o autor desenvolve a crítica a Michels. Esta crítica nunca foi sistematizada e, por isso, foi preciso passar por uma reconstrução dos principais conceitos do comunista italiano buscando clarificar as diferenças. Tanto Michels quanto Gramsci formularam suas ciências políticas sobre a divisão entre dirigente e dirigidos. Mas a construção teórica desta divisão, nestes autores, é oposta. A partir desta divergência foi possível demonstrar que a crítica de Gramsci revela as limitações do texto de Michels. Neste sentido, chegamos à formulação de que o conceito gramsciano de transformismo apareceu como uma superação teórica da oligarquização presente na teoria de Michels
Abstract: This dissertation aimed to discuss Antonio Gramsci's critique to Robert Michels. The analysis was undertaken on the critique to three concept-processes of Michels's: the iron law of oligarchy in political parties, the charismatic elite and the concept of political elite. For this research, it was necessary to recover Michel's formulations in the light of his time, reflecting about the changes in the author's thought in the political history of the beginning of the century: from his critique on the social democracy to his support for the fascism. However, according to Gramsci, the theoretical reconstruction was made from the Prison Notebooks, the main work in which the author develops a critique to Michels. This critique was never systematized and, therefore, it had to undergo a reconstruction of the main concepts of the Italian Communist seeking to clarify the differences. Both Michels and Gramsci formulated their political sciences concerning the division between leader and led. But the theoretical construction of this division, according to these authors, is opposite. From this divergence was possible to demonstrate that Gramsci's critique reveals the limitations of Michels's text. In this sense, we come to a conclusion that the Gramscian concept of transformism emerged as a theoretical overrun oligarchization in Michels's theory
Mestrado
Ciencia Politica
Mestre em Ciência Política

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Chamard, Sablier Pascal. "Le corps et le rythme chez Artaud et Céline ou « La tragédie de la matière »." Paris 3, 2007. http://www.theses.fr/2007PA030062.

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Céline et Artaud, connus comme romancier et homme de théâtre français du XX°siècle, sont en fait deux poètes maudits qui ont permis le passage de la littérature et de la langue françaises, du XIX° siècle au XXI°. Principalement écrits entre les années trente et soixante, les quarante volumes qui constituent l’ensemble de leurs oeuvres font passer l’écriture du monde des idées vers celui du corps, dans le but, semble-t-il, de retrouver le rythme vital perdu depuis longtemps. Pour le linguiste Emile Benveniste : « le rythme est une manière de fluer », c’est à dire un état de conscience de l’équilibre de l’instant. L’ensemble de ce travail montre que Céline et Artaud font le même constat que le corps ordinaire est promis à la déchéance, à moins que par la grâce de l’écriture et pendant un court instant, il soit transfiguré en corps qui danse. Dieu étant « mort », « malade » ou « en réparation », pour Artaud et Céline, seule la danse permettra désormais, par l’écoute et le rythme, d’accéder à la grâce
Céline and Artaud, well known as French 20th century novelists and playwrights, were actually two "poètes maudits" (accursed poets). The forty volumes that compose the corpus of their works were principally written between 1930 and 1960 and remove writing from a world of ideas to a world of the body, so that long-lost vital rhythm could, in theory, be restored. As the linguist Emile Benveniste stated: "Rhythm is a way of flowing", or a state of awareness of the instant's balance. This work tries to show that Céline and Artaud began with the same observation: the ordinary body is doomed to deterioration unless, through the grace of writing and for a brief instant, it is transfigured into a dancing body. Since Artaud and Céline saw God as "dead", "ill" or "being repaired", then only dance could ensure an access to grace, through rhythm and attentive listening

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28

Slegers, Cees. "Antoon Coolen, 1897-1961 biografie van een schrijver /." Maastricht : Maastricht : Universiteit Maastricht ; University Library, Maastricht University [Host], 2001. http://arno.unimaas.nl/show.cgi?fid=7044.

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Nebot, Nebot Vicente José. "Antonio de Zayas. Poética y poesía parnasianas (1892-1902)." Doctoral thesis, Universitat Jaume I, 2014. http://hdl.handle.net/10803/276158.

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A) Introducción
La Tesis Doctoral estudia la obra poética de Antonio de Zayas Beaumont, duque de Amalfi (1871-1945), comprendida entre 1892 y 1902, Poesías (1892), Joyeles bizantinos (1902) y Retratos antiguos (1902), precedida de una biografía del autor. Poeta de notable repercusión entre la juventud modernista de principios de siglo XX y diplomático de una ascendente carrera profesional. Para el análisis de la obra de Antonio de Zayas se sitúa la misma en su momento literario. Los años de mayor relevancia del autor se desarrollan en la etapa finisecular, donde tuvo una importante participación en la cultura de entre siglos y en la renovación literaria que supuso el Modernismo, y publica las obras más representativas del Parnasianismo hispánico.

B) Metodología
Los escasos y breves estudios sobre la obra poética de Antonio de Zayas coinciden en destacar el injusto olvido de su figura en la Historia de la Literatura y su adscripción casi exclusiva al Parnasianismo entre las diversas formas que adoptó el Modernismo hispánico. Entre sus primeros críticos, figuran las reseñas elogiosas de los hermanos Machado, Manuel y Antonio, o Ramón Pérez de Ayala. Entre los círculos modernistas se aplaude la novedad de su poesía, como expresan las evocaciones de Francisco Villaespesa o Rubén Darío. La edición de una antología poética en 1980 por J. M. Aguirre despertará tímidamente los estudios sobre el escritor en algunos artículos publicados en los años sucesivos y establecerá sus principales características, que tienen en su parnasianismo el motivo más destacado: Luis Antonio de Villena (1981), Fernando González Ollé (1982), Allen W. Philips (1989), Roberto Mansberg Amorós (1992), y la edición crítica de una antología poética a cargo de Amelina Correa (2005). Más recientemente, los artículos de Juana María González Martínez (2007) y Carlos Primo (2010).
El análisis de este trabajo se documenta con las obras del propio escritor, los estudios que de él se han elaborado, semblanzas del Modernismo y su época, y otros materiales bibliográficos.

C) Conclusiones
"Poesías" (1892): obra muy cercana a sus modelos decimonónicos, pero interesante porque pueden rastrearse algunas de las futuras inclinaciones del autor, como son los temas históricos y ecfrásticos. "Joyeles bizantinos" (1902): análisis del poemario en relación a su estilo parnasiano y sus confluencias simbolistas, orientalistas y decadentistas.
"Retratos antiguos" (1902): La estética parnasiana preside el motivo de la écfrasis. Se estudian las correspondencias poético-pictóricas.
La obra poética de Antonio de Zayas se adscribe, con los poemarios de 1902, "Joyeles bizantinos" y "Retratos antiguos", con la renovación literaria del Modernismo hispánico y resulta un caso único y esencial para el estudio del parnasianismo y el tratamiento de la écfrasis.

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Sommella, Valentina. "Il volto della lettera : Antoine Berman lettore del "Compto del traduttore" di Walter Benjamin." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0154.

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L'ouvrage d'Antoine Berman a acquis tout de suite une place remarquable parmi les travaux consacrés aux problèmes de la traduction. Mais la traductologie bermanienne peut se révéler aussi particulièrement précieuse pour le discours philosophique, et c'est précisément ce que je tenterai de montrer dans ma thèse à travers l' analyse d'un séminaire que Berman a tenu au Collège International de Philosophie pendant le semestre hivernal 1984-85 consacré à la lecture de la Tâche du traducteur de Walter Benjamin, à savoir "le" texte philosophique par excellence du XXème siècle sur la traduction, Dans ce "dernier" texte de Berman (dont j'ai préparé récemment l'édition avec Isabelle Berman), reviennent presque tous les thèmes principaux de sa réflexion traductologique, en s'articulant de manière originale et trouvant dans la pensée benjaminienne leur fondation philosophique accomplie. Berman dans son commentaire arrive à la conclusion que la traduction est dans son essence Darstellung, et cette même notion revient maintes fois dans ses écrits. Cependant, il semble négliger le fait que précisément le problème de la Darstellung représentation el exposition est pour Benjamin une question philosophique cruciale. Mon hypothèse est que si on lit la proposition bermanienne de penser la traduction comme Darstellung à la lumière de la portée spéculative que ce concept a dans la pensée benjaminienne où il est rien d'autre que la forme et la méthode de la philosophie la traduction pourrait acquérir un rôle de premier plan au sein du discours philosophique, comme pratique capable d'indiquer à la pensée la possibilité d’une expérience plus originaire du langage
Antoine Berman's work has acquired a preeminent position within translation studies from the very beginning. I intend to show that his '"traduetologie" or theory on translation is also fully part of the philosophical discourse. I will start my discussion by analyzing the content of the lecture that Antoine Berman heId at the College International de Philosophie during the winter semester of the 1984 - 1985 academic year dedicated to the reading of « The task of the translator » by Walter Benjamin that is considered the 20th century's masterpiece of philosophical thinking on translation. The text of this lecture that I recently edited together with Isabelle Berman - is the last in Berman's production. It contains almost ail the topics of his “traductologie" and is a very original work philosophically based upon Walter Benjamin's thought on translation. Berman comes to the conclusion that. In its essence, translation is Darstellung, in the sense of representation and explanation. This is something that he often repeats. However he seems to fail to underline that the very concept of Darstellung is a crucial philosophical matter for Walter Benjamin. My hypothesis is that if we see Berman 's work in the light of the concept of Darstellung that in Walter Benjamin 's thinking is considered nothing else than the method and the form of philosophy - then we may also admit that translation could acquire a preeminent role within the philosophical discourse. Translation may thus be considered a practice that can relate to thought with the capacity to show and suggest the possibility of an experience that is well more original than language

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Armendarez, Christina Marie. "The Development of Works for Choir and Brass: A Study of Four Representative Works." Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26528.

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As brass instruments evolved from crude instruments limited to only a few notes into instruments that could play melodic passages within the vocal range, they began to be paired with the voice. The development traced in this paper will focus primarily on the addition of brass instruments with a choral ensemble from the late Renaissance period through the Modern period. Insight into the historical use of brass and the evolution of choral and brass music allows us to better understand the genre and how subject matter, text, and/or the occasion for which the compositions were composed often influenced the composer’s decision to add brass. Four representative pieces will be studied: In Ecclesiis by Giovanni Gabrieli (c.1554-1612); Herr, unser Herscher by Heinrich Schütz (1585-1672); Ecce Sacerdos by Anton Bruckner (1824- 1896); and Ode a la Musique by Frank Martin (1890-1974).

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Fayolle, Vincent. "Décrire le texte comme événement : enjeux d'une approche interprétative : réflexion menée à partir d'un choix de lettres écrites par Antonin Artaud." Paris 5, 2003. http://www.theses.fr/2003PA05H028.

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Cette thèse souhaite mettre en évidence le fait que l'analyse linguistique d'un texte (écrit publié) doit prendre en compte l'hétérogenèse du sens qui s'y manifeste à partir d'un effort de conceptualisation concernant la notion d'interprétation. Un tel effort passe par exemple par un dialogue conséquent avec la tradition herméneutique représentée par Humboldt ou Schleiermacher. Ces premières réflexions rendent alors possible l'analyse des singularités langagières propres à un texte donné (nommé "système-texte" et déterminé comme "objet de l'analyse") à partir de la détermination de trois domaines principaux et de leurs corrélations : le domaine des genres et des micro-genres, le domaine de l'énonciation représentée. On tentera ici de mettre en place des éléments de méthode pour l'analyse. La mise en variation de la langue propre à un "système texte" peut alors s'analyser comme un style discursif, ensemble de mouvements mobilisant et reliant plusieurs dimensions sémiologiques et témoignant de la propriété événementielle (du travail de la langue et de la mise en mot par les affects extérieurs qui s'en saisissent et s'y déploient) de l'expression. La réflexion s'élaborera principalement à partir d'un corpus de neuf lettres publiées écrites par Antonin Artaud à Rodez
This thesis aims to show that the description of the heterogeneous characteristics of a text can only be achieved and completed by taking into account the concept of interpretation. One clarifies for example the possible relations between interpretation in linguistics and the tradition hermeneutics represented by Humboldt or Schleiermacher. One wants to as show as the taking into account of the event-driven character of a text requires a particular method. Analysis of the concept of interpretation and its importance for the linguistic reflexion show the different ways in which the linguist can take up the meaning of a text. This work considers the texts starting from three spheres : : genres, semantics and syntax and represented enunciation theories. Indeed, It's within the framework of these spheres that the texts draw their meanings. This analysis considers particularly nine letters from Antonin Artaud

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Almeida, Adriana Xavier de 1977. "Modinhas no Brasil Imperial : ornamentação sob a influência dos castrati." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285328.

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Orientadores: Helena Jank, Adriana Giarola Kayama
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho considera aspectos históricos e estéticos do bel canto e seu aculturamento no Brasil como recurso interpretativo na ornamentação e improvisação em modinhas luso-brasileiras. Foram observadas as práticas musicais no Rio de Janeiro durante a presença da Família Real e as influências europeias trazidas pela corte portuguesa e seus músicos, com ênfase na presença dos castrati. A partir de fontes primárias e secundárias, tratados e documentação escrita de época e posterior, propõe-se a realização de três modinhas: Beijo a mão que me condena de Padre José Maurício Nunes Garcia (1767-1830), Quem sabe?!... de Antônio Carlos Gomes (1836-1896) e estilísticos observados em cada uma delas
Abstract: This work considers historical and aesthetic aspects of bel canto and its acculturation in Brazilian as an performance resource for ornamentation and improvisation Luso-Brazilian modinhas. Musical practices in Rio de Janeiro during the presence of the Royal Family and European influences brought by the Portuguese court and his musicians, with emphasis on the presence of the castrati were observed. From primary and secondary sources, treatises and material of the time and later, it is proposed to realize three modinhas: Padre José Maurício Nunes Garcia¿s (1767-1830) Beijo a mão que me condena, Quem sabe?!..., Antônio Carlos Gomes¿ (1836-1896) and Emílio E. C. do Lago¿s (1837-1871) Último adeus de amor, according to technical and stylistic elements observed in each one
Mestrado
Praticas Interpretativas
Mestra em Música

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Copeland, Cristen Paige. "What Went Wrong? How Arrogant Ignorance and Cultural Misconceptions Turned Deadly at the San Antonio Courthouse, March 19, 1840." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6120/.

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Although the Council House Fight is well written about in the annals of early Texas history, this all-encompassing study will reveal a whole new picture. Unlike previous works that maintained one point of view, multiple perspectives were analyzed and explored to allow a more comprehensive view of the Council House Fight to emerge. Primary focus on social and cultural misunderstandings, as well as the mounting hostility between the Penateka Comanche and Texians across the frontier, will demonstrate their general distrust and hatred of the other. Detailing their complicated relationship will prove that neither the Texians nor the Comanche were without blame, and both shared responsibility for the deterioration of events on and before March 19, 1840.

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Mansella, Diletta. "La mise en scène comme lieu de la transformation de la répétition en acte singulier." Paris 8, 2012. http://www.theses.fr/2013PA084001.

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Les bribes éparses, disparates et hétérogènes des divers portraits d'Artaud, tracés dès la fin des années 60, sont les tasseaux à partir desquels s'est construit ce travail. La suspension du discours clinique y a toutefois laissé la place au surgissement de l'oscillation entre le médecin et le malade qu'Artaud a, lui-même, organisé dans ses textes. Nous avons lu le rapport complexe avec l'écriture qu'Artaud établit à l'aune du concept de divine folie. Cet abord du théâtre de la pensée d'Artaud ne diffère guère, d'ailleurs, d'une recherche sur son platonisme. De cette position nous avons pu construire deux triangles dont le premier, formé par la figure du médecin de soi-même, du malade et de l'écrivain de la page, s'oppose au second, formé par la figure du médecin de la société, de ses membres malades et du metteur en scène. Ces deux théâtres ont fait émerger le pouvoir pharmacologique qu'Artaud confère à l'art d'écrire la page et la scène ainsi que l'importante charge éthique et pédagogique de son projet. L'acteur, tel que l'espace littéraire nous le restitue, soigne les maux de la fragmentation et de l'intermittence de la pensée dont le malade et le médecin témoignent dans les textes de la première manière. L'athlétisme affectif accorde, à travers la circulation du souffle, les parties de l'âme : les émotions, le corps, la faculté langagière. L'art de la mise en scène vise l'accord des parts composant la cité par la purification des pulsions meurtrières qui traversent la société, produite par la contamination de la cruauté théâtrale. Le portrait que tracent les lignes de cette recherche est ambigu : Artaud y occupe la place du fou et celle du roi
The scattered, disparate and heterogeneous scraps of the diverse portraits of Artaud that have been drawn as early as the end of the 60’s are the brackets on which this work has been built. The suspension of clinical discourse has nevertheless given way to the appearance of an oscillation between the doctor and the patient that Artaud himself has organized in his writings. We have read the complex relationship that Artaud has built with writing, using the concept of divine madness as a point of reference. This approach of the scene of Artaud’s thinking is hardly any different from a research on his Platonism. From this stance, we have been able to draw two conflicting triangles: the first one is formed by the figure of one self’s doctor, of the patient and of the page’s author. The second one is formed by the figure of society’s doctor, of its sick members and of the director. These two theatres have made the pharmacological power, as well as the important ethical and pedagogic ones, that Artaud endows the art of writing the page and the stage with, emerge. The actor, as the literary space shows him, treats the ills of fragmentation and intermittence of thought that patient and doctor show in the texts of the surrealistic period. The affective athletics brings together, through breath circulation, the parts of the soul: emotions, body and language ability. The art of staging aims to bring together the parts making up the city by the purifying of murderous impulses that go through society. This purifying is produced by the contamination of theatrical cruelty. The portrait that the lines of this research draw is ambiguous as Artaud holds both the fool’s and the king’s places

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Chollet, Jacques. "Etude morphologique et sémantique de fidus, fidens, fidelis, infidus, infidelis, perfidus." Paris 10, 1986. http://www.theses.fr/1986PA100046.

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La diversité des formations adjectives et adverbiales étymologiquement apparentées à fides semblait ouvrir une voie nouvelle de recherche pour accéder à la substance sémantique de ce terme. L'introduction montre comment une certaine tradition remontant à l'enseignement des grammairiens anciens et en particulier à celui de servius avait fait négliger ce type d'étude. Une lecture plus attentive de toute la tradition amène à reconsidérer les conclusions généralement admises. La première partie présente un inventaire exhaustif du nombre des occurrences des formations étymologiquement apparentées à fides, des origines jusqu'aux premiers textes chrétiens. Les occurrences sont présentées en huit synchronies. Leur répartition entre les œuvres en prose et celles en vers est l'objet d'une étude statistique. Sont aussi répertoriés tous les emplois des degrés des adjectifs qui manifestent des différences sensibles. Dans la seconde partie, l'étude sémantique est menée de façon à dégager, à partir des emplois dans les textes, la substance sémantique des adjectifs et des adverbes telle qu'elle apparait chez les auteurs les plus anciens et telle qu'elle a évolué tout au long des périodes étudiées. Elle précise donc la spécificité de la substance sémantique de chacun des adjectifs et des adverbes et elle décrit comment, progressivement, dans certains types d'emplois (par métonymie, métaphore ou catachrèse), certains adjectifs ont pu avoir une substance sémantique si proche qu'elle a pu passer pour identique. Il apparait cependant clairement que c'est pour sa substance sémantique propre que les chrétiens ont retenu (in)fidelis. L'étude sémantique conduit à réexaminer les hypothèses étymologiques et en particulier celle d'A. Meillet. L'existence du couple credofides ne peut être justifiée par le skr. Sraddha- ni par conséquent la valeur religieuse héritée de fides. Fides peut être issu d'une ancienne forme d'instrumental singulier
The different adjective or adverbial forms of the etymological family of fides seemed to pave a new way of access to the semantical substance of this word. The introduction shows how a certain tradition dating back from the teaching of ancient grammarians and especially of servius had caused this kind of study to be ne lected. A more careful reading of the whole tradition leads to the reconsideration of the generally accepted conclusions. The first part provides an exhaustive list of the number of all the occurrences of the forms of the etymological family of fides, from the origins to the early Christian texts. The occurrences are classified into eight synchronies. Their distribution between prose and poetry is studied statistically. All the uses of the degrees of the adjectives, showing noticeable differences, are also catalogued here. In the second part, the semantical study allows revealing, from the uses in the texts, the semantical substance of the adjectives or adverbs, as it appears in the earliest authors and as it has evolved through all the studied periods. So it defines the specificity of the semantical substance of each adjective or adverb and it describes how gradually, in certain uses (by metonymy, metaphor or catachresis), some adjectives acquired a semantical substance so similar that it could seem identical. However it is obvious that the Christians have kept (in)fidelis for its own semantical substance. The semantical study leads up to re-examine the etymological hypotheses and especially that of A. Meillet. The skt. Sraddha- does not allow proving the existence of the couple credo - fides, nor consequently the inherited religious value of fides. It is possible that fides issues, by hypostasis, from an ancient form of singular instrumental

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Serabian, Hélène. "Le Journal du Père Antoine Garin 1844-1846. Une édition critique présentée avec commentaire, transcription et annotations." Thesis, University of Canterbury. Languages and Cultures, 2006. http://hdl.handle.net/10092/882.

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(English) Antoine Marie Garin (1810-1889) was a French Marist priest in charge of a mission station among the Maori people in Mangakahia (Northland) from 1843 to 1847. His personal diary, his ‘Notes de mission’ for the 1844-6 period, is a testimony to his years spent with the Maori and gives a day-to-day account of his evangelisation work. The individual reactions of the people he relates to, especially the Maori people, are reproduced with great care. The value of the document stems mainly from the careful record of the words and thoughts of the persons who Garin meets or the persons he lives with during his work. The quotations, often written in the original language, show the author’s desire to keep and reproduce the point of view of the Other. The sacred task of Garin was to convert the Maori people to Catholic Christianity, but his attitude towards evangelisation was relatively open for a nineteenth-century religious man. Although Garin did not exploit these ‘Notes’ for any published work about his mission, they were the documentary basis for a lecture he gave in 1876 in Nelson about the events of the Hone Heke war which Garin observed in 1845-6. Antoine Garin’s diary is also very interesting for its picture of the mission life of a French Catholic priest living in a Maori world shortly after the Treaty of Waitangi was signed in 1840, at a time when some Maori people were beginning to realise what the Treaty actually meant in their lives. The missionary work of these early French pioneers in the Maori mission is barely known. Finally, the ‘Notes de mission’ are an incredible testimony to Maori life and thought–processes at a time when Maori people were facing a flow of new ideas, new ways of living and new behaviours brought by the Europeans. This document, far from reproducing a culture from the outside, is an attempt to understand in depth and express the thinking of the Other. It will be analysed in the context of a modern post-colonial reading. A careful reading shows that cultural contact between European and Indigenous people was not a one-way process, but involved a two-way relationship in which the two sides of the contact were each involved in transformation and re-interpretation. This thesis presents a transcription of the ‘Notes de mission’ from the original manuscript for the years 1844 to 1846, along with explanatory notes on the text and its variations. Analytical chapters aim to place the document in the context of Garin’s life, the Catholic mission in New Zealand, the Maori reaction to Christianity in the nineteenth century, the events of 1845-6 and the methodology of writing a private journal.
(French) Antoine Marie Garin (1810-1889) était un prêtre missionnaire mariste chargé de la mission maorie de Mangakahia (Northland) de 1843 à 1847. Son journal personnel, intitulé « Notes de mission », pour la période 1844-6, est le témoin de ces années passées parmi les Maoris et retrace au jour le jour son travail d’évangélisation. Les réactions individuelles de ses interlocuteurs, surtout des personnes maories, y sont notées avec soin. L’intérêt du document réside principalement dans l’enregistrement minutieux des paroles des individus que Garin rencontre ou avec lesquelles il vit. Les citations, souvent faites dans la langue d’origine de l’interlocuteur, reflètent la volonté de l’auteur de conserver et de reproduire le point de vue de l’Autre. La mission sacrée de Garin était la conversion des Maoris, mais son attitude vis-à-vis de l’évangélisation était relativement ouverte pour un homme de religion du dix-neuvième siècle. Alors que Garin n’a pas utilisé ces Notes pour la publication d’un ouvrage sur son travail de mission, elles ont servi de source documentaire à une conférence qu’il a donné en 1876 à Nelson sur les événements de la guerre de Hone Heke et Kawiti dont Garin fut en partie le témoin. Le journal de Garin est intéressant aussi pour le rapport de la vie de mission d’un prêtre catholique français immergé dans le monde maori, peu après le Traité de Waitangi de 1840 et lors de la première prise de conscience, par une partie de la population maorie, de ses conséquences. Le travail missionnaire de ces pionniers de la mission maorie est peu ou mal connu. Enfin, ces Notes sont un témoignage exemplaire de la vie et de la pensée maories à une période où elle était confrontée à un afflux d’idées, de manières et d’attitudes nouvelles apportées par la présence européenne. Ce document, loin de dépeindre une autre culture de l’extérieur, est une tentative de comprendre en profondeur et d’exprimer la pensée de l’Autre. Il sera interprété dans le contexte d’une lecture post-colonialiste moderne. Une lecture attentive révèle que le contact entre Européen et peuple indigène n’est nullement un processus à sens unique, mais qu’il implique une relation à double sens, dans lequel les deux côtés des contacts sont eux-mêmes invariablement transformés. Cette thèse présente une transcription du texte manuscrit des « Notes de mission » pour les années 1844 à 1846, accompagnée de notes explicatives sur le texte et ses variations. Des chapitres analytiques visent à replacer le document dans le contexte de la vie de Garin, la mission catholique en Nouvelle-Zélande, la réaction maorie au christianisme au dix-neuvième siècle, les évènements de 1845-6 et la méthodologie d’écriture d’un journal personnel.

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Meile, Daniela Antonia [Verfasser], and Albrecht [Akademischer Betreuer] Hirschmüller. "Binswangers Asyl Bellevue 1876 - 1880 / Daniela Antonia Meile ; Betreuer: Albrecht Hirschmüller." Tübingen : Universitätsbibliothek Tübingen, 2012. http://d-nb.info/1160600724/34.

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Reis, Claudio. "O nacional-popular em Antonio Gramsci." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280794.

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Orientador: Omar Ribeiro Thomaz
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O desenvolvimento do trabalho teve como ponto central o exame do conceito de "nacionalpopular" na obra do pensador italiano Antonio Gramsci, com destaque para a sua produção carcerária. Foi, portanto, a partir dos Quaderni del Carcere que se buscou compreender toda a complexidade de tal elemento conceitual. Com a presente pesquisa, o projeto de nação do autor italiano surgiu em sua ampla riqueza teórica, revelando que o seu entendimento se coloca como uma chave bastante importante para a compreensão da questão nacional contemporânea. Suas reflexões sobre esse assunto, certamente, estão entre as mais significativas do século XX. E, justamente, por isso, não podem deixar de ser apreendidas em profundidade. Por meio da relação entre o "nacional" e o "popular", Antonio Gramsci busca recriar o entendimento que se tem sobre as classes populares e também busca indicar uma nova forma de se relacionar com os subordinados.
Abstract: The reaserch development had as its central point the exam of the "popular national" concept in the work of the Italian thinker Antonio Gramsci, with remarks to his production in prison. Through Quaderni del Cárcere, this work seeks to understand all the complexity of that conceptual element. With the current research, the nation project of the Italian author emerged in its broad theoretical wealth, revealing that its understanding is a very important key to grasp the contemporary national question. His reflections about this subject are, certainly, among the most significant in the 20th century. And, precisely for that, they must be understood in their depth. Through the relationship between the "national" and the "popular", Antonio Gramsci tries to recreate the understanding about the working classes and he also seeks to indicate a new way of relationship with the subordinates.
Doutorado
Doutor em Ciências Sociais

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Giacobbe, Borelli Maia. "Scrivere sulla propria pelle : percorsi del corpo nella società contemporanea in relazione a testi, immagini e disegni degli ultimi cahiers d'Antonin Artaud." Paris 7, 2008. http://www.theses.fr/2008PA070094.

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La thèse, réalisée en co-tutelle entre Rome et Paris, se réfère aussi bien aux études ethnologiques qu'à celles de l'histoire du spectacle. Le thème est l'analyse des mutations dans la perception du corps des jeunes contemporains à travers la médiation poétique des textes, images et dessins des derniers cahiers rédigés par Antonin Artaud, qui regorgent de références à un rapport conflictuel avec une conception traditionnelle du corps. Dans ses derniers écrits, il concentre ses réflexions sur une action-langage, le discorps, qui devait lui permettre de se refaire un corps pour changer sa vie. Les textes des 17 derniers Cahiers d'Ivry, rédigés entre les mois de mars et juin 1948, ses derniers mois de vie, sont inclus dans un appendice à la thèse, avec leur traduction italienne et les entretiens réalisés avec les jeunes femmes rencontrées au cours des recherches. Après avoir été la coquille de l'âme chez Platon et la merveilleuse machine décrite par Descartes, le corps, qui, avec la révolution industrielle, n'est devenu guère plus d'un accessoire social des machines desquelles nous nous sommes entourés, s'apprête à être, dans la perception contemporaine, partout et à la fois inutile, obsolète, fragmenté et pulvérisé. Après avoir eu un corps comme instrument pour intervenir dans la réalité, on est passé à n'être rien d'autre que le corps. La possibilité de se refaire un nouveau corps, à travers l'auto-écriture corporelle, devient la dernière opportunité pour effectuer une transformation identitaire et entrer dans un meilleur rapport avec le monde. Artaud conclut : il faut s'y faire un corps qui tienne et qui résiste à tout dans le limité et l'illimité, le réel et l'irréalité. .
The thesis was carried out in the universities of La Sapienza in Rome and Paris 7, using both ethnologic studies and theater history. It is based on an analysis of changes in today's perception of body as seen by young people, with the poetic filter of texts, images and drawings taken from last cahiers written by Antonin Artaud. These notebooks are filled with references to a conflictuel relationship with the traditional conception of the body. In his last writings, he focused on what he called discorps, an action-language that could allow him to regenerate himself into a new body. The original texts from the last 17 Cahiers d'Ivry, written between January and March 1948, just before his death, are enclosed in the appendix, together with their Italian translation along with interviews made with young people involved in the research. The body, from being the soul’s shell in Plato, the wonderful machine of Descartes and merely a social prop for the technologies we made during the Industrial Revolution, is about to be considered useless, obsolete, scattered and crushed in world of today's digital perception. We moved from using the body as a tool to change reality to consider it being nothing more than a body. In young people's perception the possibility to reshape a new body through body writings seems to be the last chance given to obtain a better identity and improve their relationship with the world. Artaud concludes, Il faut s'y faire un corps qui tienne et qui résiste à tout dans le limité et l'illimité, le réel et l'irréalité. .

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Bertolini, Michele. "Le rapport entre forme et expression dans la perspective d'une esthétique morphologique : Konrad Fiedler et sa réception dans l'œuvre de Croce, Banfi et Cassirer." Paris, EHESS, 2006. http://www.theses.fr/2006EHES0095.

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Une théorie dynamique de l'expression rencontre sa légitimation épistémologique dans le noyau de la morphologie, pensée de la forme qui saisit la réalité par la vie des formes. L'œuvre de Fiedler (1841-1895), théoricien des arts plastiques, est abordée à partir des notions centrales de sa pensée : mouvement expressif, pure visibilité, intuition, présentation. Fiedler a étudié l'image dans son autonomie face à la sphère conceptuelle de la pensée discursive ; l'expérience intuitive peut se révéler par un mouvement d'extériosisation qui engage l'activité de la main, de l'œil, du corps. La question de l'expression déborde le cadre d'une théorie des arts pour se placer au cœur de l'interrogation des penseurs qui ont tenté une définition globale de la vie de la culture au début du XXe siècle : Croce, Banfi, Cassirer, lecteurs de Fiedler, voient dans l'expression un opérateur conceptuel problématique pour la fondation du système, saisi dans son articulation avec l'intuition et la perception
A dynamic theoryof art's finds its epistemological legitimation in the basic core of morphology : a thought of form catches the reality through the life of forms. The works of Konrad Fiedler (1841-1895), philosopher, theorist and art critic, are approached in this study starting from the essential elements of his thought : expressive movement, pure visibility, intuition, representation. The question of expression exceeds the plan of figurative art's theory putting itself in the middle of the investigation of philosophers who were looking for a global systematisation of cultural forms life in the first half of the twentieth century : Benedetto Croce and Antiono Banfi in Italy, Ernst Cassiner in Germany, as Fiedler's readers, following different ways, found in the expression, in his connections with the intuition and the perception, a conceptual operator at the same time conclusive and aporethic for the foundation of a philosophical system

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Penot-Lacassagne, Olivier. "Les metamorphoses de la croyance. Antonin artaud et les fictions de l'esprit." Paris 3, 2000. http://www.theses.fr/2000PA030157.

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Entre 1919 et 1939, dans ce "symposium imaginaire" ou pendant plus de vingt ans les plus grands esprits europeens se rencontrent, fleurissent les "discours de l'inquietude" (derrida). Autour des memes questions et des memes mots (europe, esprit, culture, orient, occident. . . ), requisitoires et rhetoriques se deploient et disent l'inadequation du sens et de l'actualite. L'oeuvre d'artaud partage, partiellement, les inquietudes que ces discours contiennent et les bouleversements qu'ils recelent mais bien qu'engage dans une revision generale des valeurs occidentales, artaud deserte l'espace critique de ses contemporains. Son geste de rupture, a la logique complexe, repose sur une certaine comprehension, evoluant texte apres texte, du rapport homme-monde. C'est ce geste, les croyances qu'il pourfend et celles qu'il affirme, que nous analysons.

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Jesus, Antonio Tavares de. "Escola e trabalho : aspectos pedagogicos da relação hegemonica em Gramsci." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253779.

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Orientador : Paolo Nosella
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Para Gramsci, a práxis revolucionária inclui, de maneira orgânica, o elemento cultural, o conhecimento, a escola como instrumentos de incorporação do homem individual ao homem coletivo. Meridioonalistas por nascimento procurou compreender os problemas do Mezzogiorno, sendo original à medida que acrescentou a sua vivência, mesclada de influencias sociais, religiosas e pedagógicas, as posteriores influencias político ideológicas provenientes das lutas operarias e da militância política. Tais elementos lhe proporcionaram uma visão dos problemas a nível nacional e internacional, impulsionando-o na busca dos instrumentos necessários para preparar a revolução operária-camponesa. A Escola considerada desde o inicio da tradição marxista, como principal instrumento de cultura, foi retomada por Gramsci como um dos principais instrumentos para o desenvolvimento de uma cultura socialista. Para o seu projeto de transformar a necessidade em liberdade, a escola burguesa é uma instituição a ser destruída, pois os interesses da classe proletária exigem uma nova cultura, uma nova escola. Somente a escola que tivesse como princípio o trabalho produtivo poderia satisfazer os interesses do socialismo. A escola única do trabalho que instruiria e educaria desinteressadamente o homem novo foi tema da reflexão teórica de Gramsci tanto em liberdade, como na prisão no caderno 12, ele manifestou, de modo particular, seu interesse pela educação, ou seja, pela formação do homem socialista, voltando sempre ao tema em outros Cadernos e Cartas. Porque a histórica, a escola pensada por Gramsci deveria acompanhar o desenvolvimento da sociedade, adaptando-se a cada estágio histórico. Como o trabalho, no tempo de Gramsci, chegara ao nível de desenvolvimento caracterizado no americanismo , ele defendia que o principio educativo da escola única era o trabalho industrial moderno, configurado na fábrica moderna. A escola de L¿Ordine Nuovo, a Escola de Partido, a Escola por Correspondência, são marcas da atividade prática e da militância política de Gramsci, enquanto nos permitem conhecer o significado de escola para ele. O socialismo visa superar através da escola única do trabalho industrial, as relações dicotômicas entre o trabalho intelectual e o trabalho manual, integrando todos os homens unilateralmente.. No socialismo, todos deveriam ser intelectuais, livres pela cultura, sem deixarem de ser trabalhadores ligados ao trabalho por uma necessidade histórica. Portando, a liberdade é o objetivo ultimo da escola de Gramsci
Doutorado
Doutor em Educação

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Santos, Sara Tatiany Curcio dos [UNESP]. "As periferias em Antonio Gramsci." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/88706.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Antonio Gramsci é um autor que pensa a partir do ponto de vista das periferias e dos subalternos. Suas reflexões foram fundadas numa sociedade marcada por um desenvolvimento econômico desigual e combinado e tem, como tema central, a Revolução Socialista nas periferias. A hipótese que procuramos demonstrar nesse trabalho é a de que, ao longo das reflexões do revolucionário sardo, existe uma dialética entre centro e periferia, na qual esta última se faz centro sempre que ela expressa uma inovação revolucionária. Para tanto, consultamos essencialmente os cadernos do cárcere (1929-1935), mas também os escritos políticos (1910-1926) e as cartas do autor (1926-1930), realizando um trabalho de exegese. A pesquisa parece demonstrar a pertinência da perspectiva gramsciana para pensar quem é a periferia, de uma forma dinâmica
This research aims to investigate the notion of periphery expressed by Gramsci, mainly in the prison notebooks (1929-1935), from the new Brazilian Edition, organized by Carlos Nelson Coutinho. However, the political writings were also consulted (1910-1926) and the letters of the author (1926-1930). The choice of edition is due to the fact that it represents, in an accessible way, the junction of the elements considered positive noted in previous editions. The research seems to demonstrate the relevance of Gramscian perspective to think dynamically the peripheral condition, which suggests we rethink concepts such as the notion of periphery

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Meza, Lopehandía Constanza. "Transferencias visuales: — una propuesta de dirección de arte para el guión Los 32 de Antonin Artaud." Tesis, Universidad de Chile, 2002. http://repositorio.uchile.cl/handle/2250/101570.

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Peralta, Ruiz Víctor. "Vargas Ezquerra, Juan Ignacio. Un hombre contra un continente. José Abascal, rey de América (1806-1816). Prólogo de Antonio R. Peña Izquierdo. León: Akrón Historia, 2010, 282 pp." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/122074.

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Ziegel, Aaron B. "Opening “the Door to This Intense and Passionate Musical Life”: A Survey of The Music of the Modern World, 1895–1897." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153238384.

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Bovo, Ana Paula Martins Correa. "Antonio Conselheiro : os varios." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269871.

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Orientador: Miriam Viviana Garate
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Tendo em vista a extensa rede textual produzida sobre o tema da Guerra de Canudos, o presente trabalho focaliza especialmente a produção romanesca, de modo a ressaltar o papel da literatura na representação dos acontecimentos. Através da análise da construção da figura de Antônio Conselheiro em alguns romances selecionados, pretende-se atingir o objetivo proposto
Abstract: In view of the extensive produced literal net on the subject of the War of Canudos, the present work focuses the romanesca production especially, in order to stand out the paper of literature in the representation of the events. Through the analysis of the construction of the figure of Antonio Conselheiro in some selected romances, it is intended to reach the considered objective
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária

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Tubino, Carmela de Lima. ""Antes de tudo é somente voz" : escrituras do grito em Antonin Artaud." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/165487.

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A tessitura deste texto tem seu início no encontro com a obra de Antonin Artaud e nas inquietações que surgem da experiência de uma leitura que se dá como se uma escuta fosse. Escuta-leitura que recolhe nas construções do poeta efeitos de testemunho acerca do momento de queda do sujeito, de desenlace da estrutura, tempo de soltura entre voz e palavra, quando o que emerge é o grito. Percorro, para isso, um caminho de leitura que se pretende um ensaio de escuta da narrativa de Antonin Artaud. Narrativa depositada nas cartas escritas por ele ao longo do seu período de internamento nos manicômios franceses entre os anos de 1937 e 1946. Leitura que toma as cartas como recorte norteador da pesquisa, mas que se mantém em interlocução com elementos de outras produções do poeta que se enlacem à escrita das correspondências. Diante do enclausuramento manicomial, das camisas de força, do eletrochoque, Artaud resistia amarrado à arte. O teatro irá compor um dos principais espaços fora da lógica manicomial. O artista, nas cartas, no teatro, nos poemas ou nos autorretratos, vive a busca por encontrar uma forma de transcrever o que é da ordem do grito. Este estudo acerca da voz e das tentativas de escritura do inominável conduz a uma pergunta auxiliar sobre o corpo. Questão que emerge na experiência clínica ao encontrar, no lugar de palavras articuladas a uma trama discursiva, algo que dá a ver a história de um sujeito através do que no corpo se cifra. Para compor essa trama entre o texto artaudiano e os interrogantes que emergem da clínica, busco nos fios da psicanálise a lalangue – articulador teórico que, em minhas elaborações, enlaça corpo e palavra, voz e escrita. É a partir de lalangue que me inclino em direção à obra de Artaud. Artaud encenou, desenhou, escreveu, gritou o grito. E assim, o grito, vestígio de real que irrompe na cadeia associativa em razão da desarticulação do discurso, pode fazer algo de uma travessia: do vazio da voz desancorada da palavra em um momento de queda do sujeito para um espaço/tempo de endereçamento e existência. Existência que se sustentará corporificada na obra de Artaud.
The woven of this text has its beginning in the work of Antonin Artaud and in the anxiety that arise from the reading-listen experience as if it were a listening. The listening-reading that gathers in the construction of the poet effects of the testimony regarding the moment of the subject fall, of the structure disconnection, of looseness time between the voice and the word, when what arise is the scream. For that, I laid a reading path that is a listening essay in the narrative of Antonin Artaud. This narrative is found in the letters which were wrote by him in his time as an intern in several French mental asylums, from 1937 to 1946. This reading makes his letters as the research compass, but maintain the connection to other work of this poet. Faced with the mental asylum enclosure, the straitjacket and the electro-shock, Artaud remained bound to the art. The theater will compose one of the spaces out of this asylum logic. In the letters, in the theater, in the poems or in the self-portraits, the artist lives to find a way to transcribe what is an scream instance. This study regarding the voice and the writing attempts of the unnamed, leads an auxiliary question about the body. This question arises in the clinical experience which finds, replacing the words from a discursive plot, something else that makes the subject history cyphered in the body. To compose this plot between the plot between the text from Artaud and the questioners that arise from the clinic, I turn to the threads of the lalanage psychoanalyses – theoretical articulator which in my reasoning, connects body and word, voice and writing. Since lalange that I tend to the work of Artaud. Artaud, played, draw, wrote and shout out the scream. With these actions the scream, trace of the real that irrupts in the association chain due to the disarticulation of the speech, can make the passage: from the voice emptiness unanchored from the word during the moment of the subject fall to a time/space of direction and existence. Existence that sustains itself embodied in the work of Artaud.

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SOUSA, Nágela da Silva de. "As contribuições de Antonio Gramsci para a educação e formação humana da frente única." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/12569.

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SOUSA, Nágela da Silva de. As contribuições de Antonio Gramsci para a educação e formação humana da frente única. 2013. 59f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2013.
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The dissertation aims to investigate the categories present in the work of the Italian revolutionary Antonio Gramsci, pinpointing his proposal of a united front and its educational construction in the perspective of the revolution; revisiting the contributions of theorists and scholars in line with the thought of Gramsci, as it relates to worker-peasant Alliance in view of proletarian revolution, Del Roio (2005) e Nosella (1992), for example. Based upon historical dialectic materialism, the paper followed a set of theoretical-bibliographic procedures of a classist character, adopting as its major reference, the production of Antonio Gramsci, a true militant theorist of proletarian cause, specifically his pre-prison work; and political writings, in general. In this way, we seek to historically retrieve the genesis and evolution of Antonio Gramsci’s thought, consolidated in his short life trajectory, highlighting elements linked to his family origin, as his theoretical-practical militancy, marked by a deep immersion in the political and social class struggles in Italy, in particular, his involvement with the problematics of the factories councils and the school of labor. Generally speaking, in the analysis of the context of the Southern Issue in Italy, expressed in political-geographical division, we feature the revolutionary conceptions of Gramsci, in function of subalternity. Attempting to understand the labour movement, we situate the French experience in the 19th century from the reference point of the 18 Brumaire of Louis Bonaparte, of Karl Marx, reporting the peasants struggles. Further on, from the Marxian ontology frame of reference, and understanding education as a complex founded by work, we focus upon the united front and its complexities, tracing the role of education and/or human formation for the constitution of a worker-peasant Alliance in the context of the Italian situation of the early 20th century, showing the character at the same time particular and universal of Gramscian contributions.
O presente trabalho dissertativo tem por objetivo investigar as categorias presentes na obra do revolucionário italiano, Antonio Gramsci, acerca da frente única e sua formação educacional na perspectiva da revolução; revisitando, ainda, as contribuições de teóricos e estudiosos do pensamento de Gramsci sobre a aliança operário-camponesa diante da revolução proletária como, por exemplo, Del Roio (2005) e Nosella (1992). Tendo por base teórica o materialismo histórico dialético, realizou-se um trabalho a partir de procedimentos teórico-bibliográficos de caráter classista, adotando como revisão principal, a produção de Antonio Gramsci, especificamente nas obras pré-carcerária e nos escritos políticos, que se constitui, rigorosamente, um teórico-militante da causa operária. Deste modo, buscamos fazer um resgate histórico da gênese e processualidade do pensamento de Antônio Gramsci, consolidadas em sua curta trajetória de vida, recuperando elementos vinculados à sua origem familiar, como a sua militância teórico-prática, marcada pela profunda imersão na luta política e social na Itália, em especial, seu envolvimento com a problemática dos conselhos de fábricas e da escola do trabalho. Em linhas gerais, na análise do contexto da Questão Meridional, expressada na divisão político-geográfica, destacamos as concepções revolucionárias de Gramsci, na função dos grupos subalternos. Na compreensão do movimento operário, situamos a experiência francesa no século XIX a partir de O 18 Brumário de Luís Bonaparte de Karl Marx, relatando a luta dos camponeses. Posteriormente, partindo da ontologia marxiana e entendendo a educação como um complexo fundado pelo trabalho, dissertamos sobre a frente única e suas complexidades, traçando o papel da educação e/ou formação humana para a constituição de uma aliança operário-camponesa diante da conjuntura italiana do início do século XX, mostrando o caráter ao mesmo tempo histórico/particular e universal das contribuições gramscianas

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Dissertations / Theses on the topic 'Antoine, 1896'

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