Dissertations / Theses: 'Eduardo (1946-....)'

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Scareli, Giovana. "Santo forte : a entrevista no cinema de Eduardo Coutinho." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251699.

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Orientador: Cristina Bruzzo
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Trata-se de uma investigação sobre o filme brasileiro Santo Forte de Eduardo Coutinho, a partir de estudos sobre o diretor, sua vida e obra, com destaque para esse filme e suas formas de produção, enfocando diferentes aspectos ligados às entrevistas: as relações de poder, os contrastes entre o público e o privado; a organização espacial, a presença dos aparelhos de TV e seus diferentes usos, o efeito da câmera, as inserções, as fotografias e, em especial, o investimento diferenciado do diretor para cada personagem no momento da entrevista. Tal investimento no momento do encontro, permite à pessoa entrevistada que seja valorizada e vista como um indivíduo singular, promovendo no caso do filme, uma maior aproximação entre o espectador e a pessoa, para a qual, o cotidiano e a religiosidade estão fortemente misturados.
Abstract: This is a research on the of Brazilian film Santo Forte Eduardo Coutinho, from studies on the director, his life and work, and in this film and its forms of production, focusing on different aspects of interviews: the relationship of power, the contrasts between the public and private, the spatial organization, the presence of the apparatus of TV and its various uses, the effect of the camera, the inserts, the photographs and, in particular, investment director of the differential for each character in the moment the interview. This investment at the meeting, allows the person interviewed who is valued and seen as a singular individual, promoting the film in the case, greater rapprochement between the spectator and the person to which the daily life and religion are strongly mixed.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação

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Almeida, Francisco Eduardo Alves de. "O poder marítimo sob o ponto de vista estratégico entre 1540-1945:uma comparação entre concepções de Alfred Mahan(1840-1914) e Herbert Richmond(1871-1946)/Francisco Eduardo Alves de Almeida." Rio de Janeiro:UFRJ.Instituto de Filosofia e Ciências Sociais, 2009. http://repositorio.mar.mil.br/handle/ripcmb/26358.

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Orientador : Francisco Carlos Teixeira da Silva
Dissertação (mestrado) - Universidade Federal do Rio de Janeiro, Instituto de Filosofia e Ciências Sociais, 2008.
Inclui bibliografias.
Documento disponível em meio magnético na Seção de Multimídia da Biblioteca da EGN (CD-MA-17)
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Jouanna, Françoise. "Les fonctions de l’intertexte catalan dans l’oeuvre romanesque d’Edouardo Mendoza." Paris 4, 2006. http://www.theses.fr/2006PA040212.

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Après une étude des circonstances de l’écriture romanesque à Barcelone, où le bilinguisme social catalan/castillan, a permis l’épanouissement de deux littératures, de deux champs littéraires, dans une seconde étape, nous abordons la fonction de l’intertexte littéraire catalan dans l’œuvre romanesque d’Eduardo, en plaçant au centre de cette étude la relation intertextuelle entre La febre d’or de Narcίs Oller et La ciudad de los prodigios publiée en 1986. Cette intertextualité ayant été reconnue par l’auteur nous avons pu imaginer une mise en abyme entre les deux textes qui par un jeu de miroirs, va jusqu’à l’anamorphose. Notre lecture a insisté sur le motif de l’ascension sociale et le thème de la ville, espace cosmopolite, plurilingue dans les deux romans, puis au cours d’une troisième étape nous nous sommes interrogée sur la reprise, l’épuisement et la disparition, du motif et du thème, ceci dans l’ensemble de l’œuvre romanesque d’Eduardo Mendoza
After a study of circumstances of novel writing in Barcelona, where the social bilinguism catalan/castellan, has made easier the full bloom of two literatures, of tow literary fields, in a second step, I will tackle the intertext catalan function in Eduardo Mendoza’s novel works. Let’us place in the center of the study the intertextual relation between La febre d’or published in 1890 and La ciudad de los prodigios, published in 1986. The intertextuality being recognized by the author, so I have been able to think about a mise en abyme between the tow texts which througn a reflection of mirrors becomes an anamorphosis. Our readind has insisted on the pattern of social ascent and the theme of the town, cosmopolitan space, multilingual space in the tow novels, then in a third step, I wonder about the return, the exhaustion and the disappearing of the pattern and the theme in the whole novelisting works of Eduardo Mendoza

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Marotta, Antonella. "Pirandello nel teatro di Eduardo." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.

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The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).

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Dennis, Paul. "Britain and Eduardo Frei's Chilean 'revolution in liberty' : 1964-1970." Thesis, University of Kent, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589928.

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At its origin this study was primarily concerned with British policy towards Chile in the period 1964 to 1970, and, at a wider level, British policy towards Latin America. However, as the thesis evolved it became abundantly clear that issues surrounding US-Chilean relations and Chilean domestic politics would prove integral to its formation. Indeed, not merely as supporting secondary components but as core essential thematic strands. In the nineteenth century, Britain enjoyed a degree of commercial pre-eminence in Latin America, and close trading, diplomatic and cultural relations with a number of the countries of the region. But in the first half of the twentieth century, the UK's links with the continent had become much looser, though they were never severed. For Harold Wilson's Labour governments (1964-66 and 1966-70) the re-forging of intimate relations, particularly in the spheres of trade and commerce, was seen as one way of helping the United Kingdom to overcome the serious economic problems then bedevilling the country. Of all the states of Latin America, it was Chile with which Britain traditionally had enjoyed the warmest and most cordial of relations, and it was Chile that would play a central role in the Labour government's new, or revived, approach to Latin America. Yet, for reasons, which will become clear, by 1970 Chile had been overtaken by Brazil, Mexico and Venezuela as the UK's first-choice commercial partners.

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Hunkel, Andreas. "Eduard Dietz (1866 - 1940) ; Richter, Rechtsanwalt und Verfassungsschöpfer." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2008. http://d-nb.info/992806178/04.

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Ferreira, Ana Cláudia Fernandes 1973. "Um nome de teoria estabilizado, sentidos em movimento : a semantica argumentativa na historia." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270540.

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Orientador: Claudia Regina Castellanos Pfeiffer
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação, inscrita no projeto História das Idéias Lingüísticas no Brasil, teve como objetivo estudar alguns aspectos da configuração da semântica argumentativa em produções de Carlos Vogt e Eduardo Guimarães,em torno das décadas de 1970e 1980. Neste estudo, realizei análises sobre o nome semântica argumentativa ao lado de outros nomes de teoria presentes nas produções destes autores. Estas análises permitiram uma compreensão sobre a estabilização do nome semântica argumentativa em seus estudos e, ao mesmo tempo, sobre os sentidos deste nome em movimento. Este funcionamento da semântica argumentativa enquanto um nome de teoria estabilizado com sentidos em movimento é compreendido a partir de relações interdiscursivas produzidas por condições materiais específicas: condições históricas gerais da produção do conhecimento sobre a linguagem e condições históricas específicas ao domínio da semântica argumentativa,na relação com as instituições onde as pesquisas dos autores foram produzidas
Abstract: This thesis, part of the History of Linguistic Ideas in Brazil project, studies aspects of the argumentative semantics in works of Carlos Vogt and Eduardo Guimarães, that was produced during the 1970s and 1980s. This study analyses the name argumentative semantics, in relation to other names that designate a theoretical domain in the works of these authors. These analyses had allowed to an understanding on the stabilization of the name argumentative semantics in his works and the meanings of this name in movement. The functioning of argumenta tive semantics as an established name with changing meanings is understood on the basis of interdiscursive relations produced by specific material conditions: the general historical conditions of the production of the knowledge of language, and the specific historical conditions of the argumenta tive semantics domain. These conditions are discussed in relation to the institutions where the research of the authors was produced.
Mestrado
Linguistica
Mestre em Linguística

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Huston, Carol. "Eduardo Paolozzi and J.G. Ballard : representing new British modernities, c. 1966-1980." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/eduardo-paolozzi-and-jg-ballard-representing-new-british-modernities-c-1966--1980(97dadfe7-8ca9-4c36-86ae-3fcbcad61a7b).html.

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The significance of the relationship between Scottish artist Sir Eduardo Paolozzi (1924-2005) and English novelist J.G. Ballard (1930-2009) has previously been overlooked in art historical and literary scholarship. This thesis fills this research gap through the analysis of how the pair’s works overlapped thematically to represent a particular strain of British modernity. By looking at shared cultural circumstances after World War II, parallels will be drawn between the work of Paolozzi and Ballard in the late years of British modernism. Drawing upon the topics of science fiction, Surrealism, the neo-avant-garde and militaristic and crash aesthetics, this thesis explores the various themes which Paolozzi and Ballard encountered during the period of their friendship. Overall, this comparative analysis reveals that despite dissimilar upbringings, Paolozzi and Ballard’s harrowing experiences of the Second World War culminated in a dual reaction against the stagnant flow of British modernism during the late postwar era. My thesis demonstrates this through their involvement with literary magazines as well as their mutually shared interests as expressed in their works of art and writings. By creating works which appropriated early twentieth century traditions, Paolozzi and Ballard rejected their immediate modernist inheritance and turned to the modernist past with renewed avant-garde intent. As exemplified in their works, the pair together represented the late postwar transition of British modernity during the dawn of what would come to be called ‘postmodernism’.

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Gort, Oliver Jordina. "Eduard Toda i Güell. Ideologia i escriptura (1855-1941)." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/285581.

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Aquesta tesi està centrada en la figura del diplomàtic i escriptor Eduard Toda i Güell. L'objectiu primordial d'aquest estudi és el de definir el pensament , l'estil d'escriptura i les influències ideològiques i literàries del personatge partint de l'anàlisi dels seus textos , però també a través de la seva obra humana, les seves relacions , els seus viatges i les seves implicacions en el camp polític, social i cultural del país. Per a això s'analitza el seu epistolari, la creació de la seva biblioteca i els seus donatius de llibres i col•leccions en diferents biblioteques i arxius del país, la selecció dels llibres que va adquirir i les possibles lectures que van formar el seu pensament i l'escriptura dels seus textos, discursos, articles i llibres . L'anàlisi de l'obra d'Eduard Toda estudia, principalment, el sentit final de cada llibre i del conjunt de la seva obra. L'estudi estableix el perquè , la metodologia i el valor dels llibres i articles que va escriure. Mostra la finalitat de la seva escriptura i també de tota aquella obra material i espiritual que no forma part de l'escriptura -és el cas de les restauració arquitectònica de monuments com el monestir de Santa Maria de Poblet- però que també constitueix la seva obra global. L'estudi i anàlisi de l'obra d'Eduard Tota vol aprofundir en el seu ideologia i extreure la base del seu pensament per entendre millor al personatge, i descobrir quin va ser el motor que va generar una personalitat tan polièdrica i l'energia que impulsava cada projecte i cada acció de la seva vida.
This thesis is centered on the figure of the diplomat and writer Eduardo Toda i Güell. The primary objective of this study is to define thinking, writing style and the ideological and literary influences of the character from the analysis of texts, but also through his human work, their relationships, their travel and their implications in political, social and cultural fields in the country. To do so his correspondence, his library creation and his donations of books and collections in various libraries and archives in the country were analyzed, as well as the selection of books which acquired and possible readings that shaped his thinking and writing of texts, speeches, articles and books. The analysis of the work of Eduardo Toda studies mainly the ultimate meaning of each book and the whole of his work. The study establishes the reason, the methodology and the value of books and articles written. It displays the purpose of his writing and also of all that material and spiritual work that is not part of the script –that is the case of architectural restoration of monuments such as the Monastery of Santa Maria de Poblet- but also its global workforce. The study and analysis of the work of Eduardo Toda want to deepen their ideology and extract the basis of their thinking to better understand the character, and discover what the engine was that generated such a multifaceted personality and energy that drive each project and each action of his life.

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Garino, Laurence. "Le miroir aux écritures : l'intertextualité dans les romans de Eduardo Mendoza." Aix-Marseille 1, 1995. http://www.theses.fr/1995AIX10052.

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Ce travail vise a preciser la nature et la portee d'un exemple particulier de renovation romanesque espagnole postmoderne, a partir de l'analyse des mecanisme de deconstruction de la structur du roman monologique traditionnel. Dans une premiere partie, "la verdad sobre el caso savolta" et "la ciudad de los prodigios" constituent le terrain d'exploration des procedes typographiques et chronologiques de fragmentation sequentielle. Les ruptures s'allient a un reseau complexe d'analepses pour remodeler circulairement le trajet narratif. Le texte se construit dans la discontinuite de ce morcellement, et non plus dans la continuite du defilement lineaire. Dans une deuxieme partie, "el misterio de la cripta embrujada" et "el laberinto de las aceitunas" servent l'etude des repercussions du collage discoherent sur le tissu enonciatif et generique. La voix dorenavant syncretique du narrateur place le texte en dialogue avec lui-meme et les autres textes. Polyphonie et plurilinguisme expliquent que l'ecriture soit reecriture. Et le couple parodie-ironie empeche l'installation d'une coherence generique autre que celle fournie par le detournement et le dialogisme. L'ecriture ainsi renovee fonde sa nouveaute sur une edifiante deconstruction qui retrouve les origines mythiques, porteuses du feu sacre de la creation.

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Arias, Rodríguez Carlos. "Indigenismo, intertextualidad y metapoesía en Contradiccionario de Eduardo Llanos." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110440.

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Biavatti, Camila Damiani. "Paralelos compositivos : a arquitetura do movimento moderno carioca e os preceitos corbusianos (1936-1956)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/109027.

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A primeira metade do século vinte testemunhou a consagração de profundas alterações nos paradigmas culturais, técnicos e intelectuais vigentes. A arquitetura, como reflexo do comportamento de uma sociedade, esteve envolvida no processo de modernização e, embora a busca por uma linguagem arquitetônica adequada ao homem e ao modo de vida despontados pela industrialização tenha iniciado em meados de 1800, sua consolidação deu-se no decorrer do século seguinte pelas geniais lideranças de movimentos modernizantes, dentre os quais Le Corbusier encontra-se incluído. A importância deste mestre europeu para o desenvolvimento e a difusão da arquitetura moderna parece, portanto, incontestável. Através da elaboração de teorias, princípios regulamentadores e do legado de obras construídas, Le Corbusier foi uma referência para gerações de arquitetos ao redor do mundo. Dentre seus seguidores estão indivíduos atuantes no cenário carioca de meados da década de trinta, ocasião em que o país - governado por Getúlio Vargas - empregava a arquitetura como ferramenta do progresso nacional. A vinda de Le Corbusier ao Brasil, em 1936, para a consultoria da sede do Ministério da Educação e Saúde Pública e da Cidade Universitária da Universidade do Brasil contribuiu para o despertar de talentos como Affonso Eduardo Reidy, Jorge Moreira e Oscar Niemeyer, os quais passaram a adquirir, progressivamente, oportunidades de demonstrar suas posições diante dos problemas arquitetônicos. Preceitos corbusianos foram amplamente adotados e parece, portanto, infactível desvincular representantes de uma das principais vertentes arquitetônicas nacionais de seu personagem norteador. A presente dissertação - caracterizada, sobretudo, pelo seu apelo didático - investiga, por conseguinte, de que modo estratégias compositivas preconizadas por Le Corbusier foram reinterpretadas pelos citados protagonistas da primeira geração moderna brasileira, explicitando-as através da configuração de paralelos identificados segundo uma análise crítico-comparativa. Pretende, por meio da abordagem consciente de um assunto corriqueiramente tratado em âmbito acadêmico, suscitar uma depurada compreensão dos intrincados laços que uniram os indivíduos mencionados e suas respectivas posturas projetuais, auxiliando, igualmente, na apreensão de lições possíveis de serem adaptadas a contextos atuais.
The first half of the 20th century witnessed the establishment of profound modifications in the cultural, technical and intellectual currents paradigms. Architecture, as a reflection of a society behavior, has been involved in the modernization process and, although the search for an appropriate architectonical language to man and the way of life risen by industrialization had started in the middle of 1800, its consolidation occurred during the following century by the brilliant leadership of modernizing movements among which is included Le Corbusier, whose importance for the development and dissemination of modern architecture seems, therefore, undeniable. Through the elaboration of theories, regulatory principles and the legacy of built works, Le Corbusier was a reference for generations of architects around the world. Among his followers there are active individuals in Rio de Janeiro scenery of the middle 30’s, time when the country – governed by Getúlio Vargas – used the architecture as a national progress instrument. The arrival of Le Corbusier in Brazil, in 1936, for consulting the headquarters of the Ministry of Education and Public Health and the University City of University of Brazil encouraged the flourishing of talents like Affonso Eduardo Reidy, Jorge Moreira and Oscar Niemeyer, who began to get opportunities to demonstrate their postures against the architectural problems. Corbusian precepts were widely adopted and hence it appears infeasible to dissociate representatives of one of the national architectonic main trends of its guiding character. This thesis – mainly characterized by its didactical appeal – investigates how Le Corbusier’s compositional strategies were reinterpreted by the quoted protagonists of the first Brazilian modern generation by configuring parallel identified according to a criticalcomparative analysis. It intends, through a conscious approach of a subject commonly broached in academic field, raise a refined understanding of those intricate ties that united the mentioned individuals and their respective projetual postures also assisting in the apprehension of lessons possible to be adjusted to currents contexts.

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Dalstein-Paff, Susanne. "Eduard Wechssler (1869-1949), Romanist : im Dienste der Deutschen Nation." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Dalstein.Paff.Susanne.LMZ0627.pdf.

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Le sujet de ce travail s'inscrit dans l'histoire de l'étude des langues romanes en Allemagne à une époque-clé de l'histoire de ce pays : l'entre-deux guerres. Le romaniste Eudard Wechssler, professeur à l'Unisersité de Berlin de 1920 à 1937, est l'un des représentants les plus importants d'une science très répandue à l'époque, la "science de l'être profond" ("Wesenskunde"), dont l'objectif est de parvenir - surtout depuis la défaite de 1918 - à une meilleure connaissance de la nation voisine, et à travers celle-ci, de soi-même, afin de construire une véritable nation allemande. A partir des années 1970, Wechssler a été la cible de nombreuses critiques, dont certaines vont jusqu'à lui reprocher une parenté de ses idées avec celles d'Adolf Hitler. Cependant, il n'existe aucune étude exhaustive concernant la vie et l'oeuvre de Wechssler, ce qui a suscité la recherche menant à cette thèse. Le romaniste y est situé dans le contexte historique et politique et aussi dans la société de son époque, ainsi que dans l'histoire des intellectuels et dans celle de la romantique. A cette étude se rattachent également la question du contenu de l'image de la France véhiculée par Wechssler et - aspect social - la question de sa véritable relation avec le national-socialisme
The subject of this work concerns the history of the study of romance languages in Germany at a key period in the country's past : the interwar years. Eduard Wechssler, professor of romance languages at the University of Berlin from 1920 to 1937, was one of the most prominent representatives of a very widespread science at that time, the "science of the profound being" ("Wesenskunde"), the aim of which was to gain better knowledge of the French adjoining nation and hence of oneself, in order to build a genuine German nation. It appeared all the more urgent as the Versailles Treaty was deeply resented. From the 1970s onwards, Wechssler has been widely censured, with some going as far as to criticise his ideas for their similarity to those of Adolf Hitler. However, there is no exhaustive study concerning Wechssler's life and work, which prompted the desire to write the present thesis. As a specialist in Romance languages, he is set against the historical, political and social backgrounds of his time, as well as those of the history of the intellectuals and of the study of romance languages. The work also deals with the question of the contents of the image of France propagated by Wechssler and most importantly, with the issue of his real connection with National socialism

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Laborde, Patrón Inés. "La fabrique de l'histoire : récriture et contrefaçon dans Memoria del fuego d'Eduardo Galeano." Lille 3, 2009. http://www.theses.fr/2009LIL30050.

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La fragmentation de Memoria del fuego en récits dont les titres se succèdent de façon chronologique et les nombreuses sources bibliographiques donnent à la trilogie l'apparence d'une œuvre historique. Mais, portée par le projet politique de Galeano, Memoria del fuego se situe à mi-chemin entre l'histoire et la fiction, pour sauver la mémoire collective des Latino-américains. Au travers de la manière dont Galeano utilise les sources qu'il mentionne, cette thèse analyse le travail de récriture littéraire auquel il se livre pour construire, dans Memoria del fuego, une version politique de l'histoire à des fins militantes. Dans cette entreprise de "fabrique de l'histoire", les outils principaux de Galeano sont la récriture et la contrefaçon. Pour faire passer son message, il invente un type particulier de récit qui relève d'une esthétique de la bièveté. Le traitement des illustrations, l'utilisation des formes graphiques annoncent la récriture textuelle. Pour faire entendre le présent sous couvert du passé et préparer l'avenir, la récriture est coupure, superposition et répétition "du même", source recyclée, pour faire "un autre", le récit bref. La contrefaçon des personnages aboutit à les typifier comme représentants emblématiques d'un type de rapport de force ou de comportement, positif ou négatif, au regard du projet politique de Galeano. Le lecteur est séduit par une écriture joyeuse et orientée. Il va percevoir la répétition délibérée des procédés de conditionnement et va soupçonner que le texte invite en réalité à une lecture critique
The breaking down of Memoria del fuego into stories whoses titles follow one another chronologically as well as the many bibliographical sources give the trilogy the appearance of being a historical work. But, supported bt Galeano's political agenda, Memoria del fuego lies half-way between history and fiction in an attempt to salvage the colletive memory of Latin-Americans. Thanks to the way sources are mentioned by Galeano, this thesis analyses the process of re-writing he resorts to in order to construct in Memoria del fuego a political version of history with militant intentions. As he fabricates history, Galeano's main tools are re-writing and forgery. To convey his message, he makes up a particular type of story whose aesthetics lies in brevity. The way illustrations are treated and the use of graphic forms anounce textual re-writing. In an attempt to allude to the present under cover of the past and to pave the way for the future, the re-writing is riddled with cuts, superpositions and repetitions of "the self" - a recycled source - to construct "the other" - a brief story. Characters are forged in such a way that they eventually typify the balance of power and behaviours, wether positive or negative in view of Galeano's political agenda. The reader is seduced by this cheerful and biased literature. He or she will be aware of the deliberate repetition of processes of conditionning and will suspect the text, in reality, invites to a critical reading

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Pawlowski, Boris. "Die Rhetorik des Vorurteils sprachkritische Untersuchungen zur deutschen Literatur über den Spanischen Krieg 1936 - 1939 /." kostenfrei, 2000. http://e-diss.uni-kiel.de/diss/d471.pdf.

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Pizarro, García Luis Fernando. "Antecedentes documentales sobre las candidaturas presidenciales de Eduardo Frei Montalva y Radomiro Tomic Romero." Tesis, Universidad de Chile, 2011. http://repositorio.uchile.cl/handle/2250/110926.

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Memoria (licenciado en ciencias jurídicas y sociales)
El presente trabajo tiene como objetivo presentar la información que proporciona Revista Ercilla acerca de las elecciones de las campañas presidenciales de Eduardo Frei Montalva y Radomiro Tomic Romero, en el entendido de que la información política que proporcionaba esa publicación posibilita una cierta visión crítica del momento histórico estudiado, a fin de captar sus semejanzas y diferencias. Los documentos se presentan sin mayores comentarios, y en la parte final se extraen algunas conclusiones a partir del material reproducido.

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Silva, Claudia Freires da. "Avaliação da eficiência das soluções de Belzer (UW) e Celsior® no transplante pancreático / Claudia Freires da Silva ; orientador, João Eduardo Leal Nicoluzzi." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2009. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1996.

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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009
Bibliografia: f.[40-45]
Introdução: No intuito de resolver os problemas gerados pela reperfusão dos órgãos no pós transplante, é que novas soluções de preservação ontinuam a serem testados. Celsior® (CS) é uma solução desenvolvido inicialmente para transplantes cardíacos, mas ut
Introduction: In intention to decide the problems generated for the conservation and reperfusion of the organ after transplant, new liquids of conservation continue to be tested. Celsior® (CS) is a liquid developed initially for cardiac transplant but use

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Dalstein-Paff, Susanne [Verfasser]. "Eduard Wechssler (1869-1949): Im Dienste der deutschen Nation / Susanne Dalstein-Paff." Kassel : Universitätsbibliothek Kassel, 2010. http://d-nb.info/1004915845/34.

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Delafosse, Emilie. "La pratique des genres dans l'oeuvre fictionnelle d'Eduardo Berti." Grenoble 3, 2009. http://www.theses.fr/2009GRE39047.

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Eduardo Berti (1964, Buenos Aires) est l'un des plus remarquables écrivains de la jeune génération littéraire argentine. Très diverse, son œuvre narrative est encore assez peu étudiée, alors qu'elle jouit déjà d'une belle notoriété. Le corpus exploré dans le cadre de cette thèse inclut les cinq premiers ouvrages publiés par Berti, entre 1994 et 2004 : un recueil de nouvelles (Los pájaros), un recueil de micro-récits (La vida imposible) et trois romans (Agua, La mujer de Wakefield, Todos los Funes). Aborder ce corpus sous l'angle de la multiplicité générique semble être un bon moyen d'appréhender l'œuvre narrative bertienne dans sa généralité. S'interroger sur la façon dont Berti pratique les genres, c'est d’abord travailler sur la dialectique forme brève/forme longue, à nuancer, et à relier aux questions de la fragmentation et de la mise en recueil. Le rapport d'opposition entre les deux formes ne signifie pas qu'elles soient incompatibles. Analysé dans une seconde partie, le phénomène de "contagion" réciproque entre le "long" et le "bref" témoigne même d'une certaine complémentarité. Les questions de "transtextualité" font l'objet d’une troisième partie, dans laquelle le concept de Gérard Genette (Palimpsestes, Seuil, 1982) s'avère opératoire pour étudier les jeux de références et de réécritures qui permettent à Berti un franchissement des frontières textuelles et génériques. Enfin, une quatrième partie est consacrée à l'examen de trois grandes thématiques transgénériques, qui reflètent certains procédés d’écriture auxquels recourt Berti dans ses cinq ouvrages
Eduardo Berti (1964, Buenos Aires) is one of the most notable writers of the young literary Argentine generation. His very varied narrative work is not much studied yet, whereas it already enjoys a real fame/notoriety/celebrity. The corpus explored in this thesis includes the five first books published by Berti, between 1994 and 2004: a collection of short stories (Los pájaros), a collection of micro-stories (La vida imposible) and three novels (Agua, La mujer de Wakefield, Todos los Funes). Addressing this corpus from the generic multiplicity point of view seems to be a good way to perceive/comprehend the Berti's narrative work in its generality. First, wondering about the way that Berti practises the genres leads to work on the short form/long form dialectic, which should be moderated and connected with the fragmentation and mise en recueil issues. The opposition relation between the two forms does not mean they are incompatible. In a second part, the phenomenon of mutual "contagion" between the "long" and the "short" is analized; it even shows a certain complementarity. The transtextuality issues are discussed in a third part. Gérard Genette's concept (Palimpsestes, Seuil, 1982) proves operative to study the references and rewriting games enabling Berti to cross the textual and generic borders. Finally, a fourth part is devoted to the study of three important transgeneric themes, which reflect some of the writing processes used by Berti in his five books

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Vergara, Guerrero María Susana. "Reforma Agraria: Episodios de violencia rural durante la administración de Eduardo Frei Montalva." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/107435.

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Memoria (licenciado en ciencias jurídicas y sociales)
América Latina en el siglo XX, está innegablemente marcada por los procesos de Reforma Agraria desarrollados en varios de sus países. Durante la década de 1960 comienza a hacerse conocida la idea de una Reforma Agraria, gatillada en los estados Unidos, con la llegada de Jonh Kennedy a la Casa Blanca y, en nuestro continente, con el desarrollo de la Revolución Cubana. En realidad, la idea es anterior. Pero la Revolución Cubana estimula a Estados Unidos a promover reformas estructurales en América latina, en el entendido de que esta reforma ayudaría a disminuir la pobreza en el continente y como contrapunto, se evitaría la repetición de una segunda Cuba en Latinoamérica. Con esta estrategia, el gobierno de Kennedy convoca prontamente a los embajadores de América Latina, para presentarle la “Alianza para el Progreso”, planteando en teoría una nueva política de Estados Unidos con esta zona del continente. En esos momentos, nuestro país estaba bajo el gobierno de Jorge Alessandri Rodríguez, quien no contemplaba en su programa de gobierno la realización de una reforma agraria. Sin embargo, a poco andar fue uno de los más abanderizados con la “Alianza para el Progreso” y así , ya en 1962 nuestro país había dictado la ley 10.999 de Reforma Agraria. Esta ley sirvió de marco jurídico no sólo a la Reforma del Gobierno de Alessandri, sino que además, rigió durante gran parte de la Reforma Agraria que desarrolló el gobierno de Eduardo Frei Montalva.

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Bernal, Ambrosio Diego Manuel. "La poética de la nostalgia. La crisis de la modernidad histórica y poética en Reinos (1944) de Jorge Eduardo Eielson y La torre de los alucinados (1949) de Alejandro Romualdo." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2021. https://hdl.handle.net/20.500.12672/16820.

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La nostalgia es un sentimiento omnipresente en la poesía, pues surge desde su proceso de creación, cuando el poeta opera sobre la memoria y crea un espacio distinto del real por medio de la palabra. Es por ello que podemos percibirla en diferentes aspectos de la poesía, pero difícilmente conseguimos determinarla. Desde el comienzo de cambio en la poesía (hacia el último tercio del siglo XIX), es un sentimiento que se centra en la experiencia del individuo y sus avatares en la ciudad moderna, en la fragmentación y el sinsentido de la vida en el mundo de la racionalidad del progreso. La mayoría de estudios críticos sobre la poesía, no obstante, no ha dado cuenta de este sentido de la nostalgia, a la que ha seguido comprendiendo como un deseo por el pasado que se agota en sí mismo. Por ello, esta investigación pretende estudiar la nostalgia en la poesía peruana; en específico, en los poemarios Reinos (1944) de Jorge Eduardo Eielson y La torre de los alucinados (1949) de Alejandro Romualdo.

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Trotman, Tiffany Gagliardi, and n/a. "Eduardo Mendoza�s Ceferino series : spanish crime fiction and the carnivalesque." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070613.114325.

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In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century. Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino. In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque. The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.

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Hanusiak, Regiane Kowalek. "Verificação da autoria de manuscritos com base em atributos genéticos e genéricos da escrita / Regiane Kowalek Hanusiak ; orientador, Edson J. Rodrigues Justino ; co-orientador, Luiz Eduardo Soares de Oliveira." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2010. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1966.

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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010
Bibliografia: f. 98-101
A verificação de autoria trata-se de uma atividade relacionada às Ciências Forenses, utilizada para auxiliar na identificação ou constatação de fraudes de documentos. Os textos manuscritos estáticos ou offline, as assinaturas e rubricas possuem muitas var
The authory verification is an activity related to Forensic science, used to support document identification or fraud. The static or offline handwriting, the signatures have many writing variation of the same author and thus similarities between different

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Araneda, Undurraga María Soledad. "La alianza para el progreso y la reforma agraria durante el gobierno de Eduardo Frei Montalva : 1964-1965." Tesis, Universidad de Chile, 2003. http://www.repositorio.uchile.cl/handle/2250/116534.

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Memoria (licenciado en ciencias jurídicas y sociales)
No autorizada por el autor para ser publicada a texto completo
La presente Memoria de Prueba consta de tres capítulos, denominados “Orígenes y Proyección”, “Aspectos Generales” y “La Alianza para el Progreso (desde ahora en adelante ALPRO) y la Reforma Agraria en Chile”. Para efectos de sistematización cada capítulo fue dividido en diversos temas, todos relacionados con la historia de nuestro país y con la incidencia que en él tuvo la ALPRO respecto al proceso de Reforma Agraria. Consiste en una breve reseña histórica del proceso de Reforma Agraria que se vivió en Chile, iniciado durante el gobierno del Presidente Jorge Alessandri Rodríguez y continuado en el gobierno del Presidente Eduardo Frei Montalva. Básicamente se centra en el primer año de la administración Frei. En caso contrario, se desvirtuaría el objeto de este trabajo, extendiendo el análisis a diversos acontecimientos que en nada se relacionan con el tema en estudio. Por otro lado, no debemos olvidar que el eje central se encuentra en la nueva política de relaciones exteriores seguida por Estados Unidos hacia América Latina, Región por muchos años olvidada por el país del norte, y cuyo desarrollo estaba subordinado a los intereses económicos del mismo. Para ello nos basamos, como única fuente directa, aunque no siempre objetiva, en los artículos noticiosos y reportajes periodísticos publicados por el diario “El Mercurio” entre el 1º de julio de 1964 y el 31 de diciembre de 1965. Al carecer de otras fuentes directas, puede que muchas de las opiniones emitidas carezcan de la debida objetividad que requiere hacer un análisis cronológico de un proceso tan importante como lo fue el de la Reforma Agraria. Sin embargo, hemos tratado de considerar tanto sus aspectos positivos como sus aspectos negativos. Sólo cabe agregar que al tratarse de un análisis histórico, en que se recurrió a una única fuente directa, no se incluyeron apreciaciones jurídicas respecto al tema, salvo las emitidas por personas que sí intervinieron en él

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Hurtado, Torres Sebastian. "The Gathering Storm: The United States, Eduardo Frei's Revolution in Liberty and the Polarization of Chilean Politics, 1964-1970." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1476710773529045.

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Romero, Joyce Conceição Gimenes [UNESP]. "O perigo das águas: aspectos do feminino terrível em Gustavo Adolfo Bécquer, Octavio Paz e Eduardo Galeano." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/115923.

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O presente trabalho apresenta uma reflexão acerca da configuração das personagens fantásticas femininas nas três seguintes obras: “Ojos Verdes” (1861), de Gustavo Adolfo Bécquer; “Mi vida con la ola” (1949-50), de Octavio Paz e “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), de Eduardo Galeano. Tendo em vista a perspectiva dos estudos mitocríticos que contemplam o aspecto ancestral do feminino maléfico, observa-se o modo como se produzem as manifestações da mulher fatal, vinculada ao feminino terrível e às águas nas literaturas de diferentes épocas. Analisa-se, assim, a representação simbólica que denominamos mulher-sereia, imagem que, repleta da carga mítica, se apresenta nos três contos construindo a figura arquetípica de mulher sedutora e atraente, mas causadora de danos, perigosa e por vezes, fatal. Atenta-se, ainda, para a questão do gênero literário nos referidos contos, analisando sua construção através da personagem feminina, enquanto representação do fenômeno insólito que aparece nas narrativas
This work presents a reflection about the configuration of fantastic female characters in the following three works: “Ojos Verdes” (1981), by Gustavo Adolfo Bécquer, “Mi vida con la ola” (1949-50), by Octavio Paz and “Historia del lagarto que tenía la costumbre de cenar a sus mujeres” (1993), by Eduardo Galeano. In view of the mythcritical studies prospect that comtemplates the malefic female ancestral aspect, observe the way that they produce the manifestations of the femme fatale, linked to the terrible female and to the waters in different times. Thus analized a symbolic representation that we call mermaid-woman, a image that, full of mythical load, presents in these three tales on contours of the archetypal figure of seductive and attractive woman, but damage causer, dangerous and sometimes, deadly. Also, attentive to the literary genre issue in these tales analyzing its construction through the female character, as an unusual phenomenon representation in the narratives

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Fiammenghi, Luiz Henrique. "O violino violado : rabeca, hibridismo e desvio do metodo nas praticas interpretativas contemporaneas : tradição e inovação em Jose Eduardo Gramani." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285136.

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Orientador: Esdras Rodrigues Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho aborda as mudanças de parâmetros interpretativos no âmbito musical ocorridas a partir da segunda metade do séc. XX. Toma como exemplo e reflexo destas mudanças, a obra de José Eduardo Gramani e suas pesquisas sobre a rabeca brasileira e o movimento de interpretação histórica da música antiga. Tem como ponto de referência o ensaio Em defesa de Bach contra seus admiradores de Theodor Adorno (1951), que discute o papel do intérprete contemporâneo face à música escrita no passado, em especial a de J. S. Bach, e a questão da autenticidade e do historicismo. A presente tese toma este ensaio do filósofo de Frankfurt como um ponto divisor, de onde pode-se vislumbrar as mudanças ocorridas no âmbito da interpretação musical dentro do que se convencionou chamar de pós-modernismo. Partindo do pressuposto da visão do intérprete musical, na qual incluo minha própria experiência enquanto intérprete do violino barroco e das rabecas brasileiras, bem como minha relação profissional direta com o músico José E. Gramani, analiso as mudanças do eixo que oscila entre subjetividade e objetividade na interpretação da obra musical, e que implicam decididamente na relevância do papel do intérprete como intermediário entre a obra musical e o ouvinte - de um lado o campo poiético, representado pela cultura do autor e do texto, e de outro o estésico, que considera a performance de uma obra como o resultado da colaboração entre o compositor e seus intérpretes, conforme sustenta o semiólogo Jean-Jacques Nattiez (2005). Ao abordar os princípios encampados por músicos alinhados com a musicologia aplicada, ou seja, que recuperaram a prática de música antiga em instrumentos de época, utilizo como porta-voz o músico, regente e pesquisador Nikolaus Harnoncourt que, a partir do início da década de 50, direcionou seus esforços para uma abordagem fenomenológica da interpretação musical, onde a praxis procura um equilíbrio em relação a theoria. A incômoda pergunta - porque instrumentos históricos? - implícita na crítica contida no ensaio de Adorno aos puristas, subsiste também de forma latente no questionamento da retomada de interesse pela cultura popular e seus agentes, nesse caso representado pelas rabecas brasileiras. Como resposta, analiso os processos que permitiram a esses instrumentos emergirem e redefinirem os seus estatutos dentro do contexto da cultura hegemônica de matriz erudita, não como indícios de uma nova onda nacionalista, aos moldes do espírito romântico de busca do puro e das origens, mas como renovação da linguagem erudita contemporânea, espelhando-se na criação literária de Guimarães Rosa. Procura-se definir de que forma a crise de centralidade característica do pós-modernismo e a questão do hibridismo e da autonomização de elementos da cultura popular, representados pela rabeca, foram musicalmente colocados na obra de José Eduardo Gramani, e de que forma seu interesse pelas rabecas é também tributário de seu enfoque inovador no ensino de rítmica e reflexo das mudanças nas práticas performáticas musicais ocorridas nas últimas décadas do séc. XX.
Abstract: This study examines changes in ways of performing music that took place in the second half of the 20th century. As an example and reflection of these changes, it takes the opus of José Eduardo Gramani and his research on the Brazilian rabeca and the context of "historically informed performance" (HIP). My point of reference is Adorno's essay 'Bach Defended against his Admirers' (1951), which discusses the role of contemporary performers in relation to music written in the past, particularly Bach's, and the question of authenticity and historicism. This thesis takes the Frankfurt philosopher's argument as a watershed for showing the changes in musical interpretation posed by what is conventionally called post-modernism. Based on the point of view of the musical performer, including my own experience playing Baroque violin and Brazilian rabecas, and my professional relationship with the musician José E. Gramani, I set out to analyze these changes on an axis that fluctuates between subjectivity and objectivity in rendering musical works, one which points to the key role of performers as intermediaries between listener and musical work - poietis represented by the culture of author and text, and esthesis examining the performance of a work as the outcome of collaboration between composer and performers, as posed by the semiotician Jean-Jacques Nattiez (2005). To look at the principles posed by musicians aligned with applied musicology, meaning those playing early music on period instruments, I have used the emblematic figure of Nikolaus Harnoncourt, the musician, conductor and researcher who strove to develop a phenomenological approach to playing music in the early 1950s, in which praxis is balanced by theory. The disturbing question - why historical instruments? - raised by Adorno's essay and its critique of purists is also latent in the questioning of renewed interest in popular culture and its agents, in this case Brazilian rabecas. As a response, I analyze the processes leading to the emergence of these instruments and redefine their status within the context of the hegemonic culture of the classical matrix, not as signs of a new wave of national consciousness on the lines of the Romantic spirit's pursuit of purity and origins, but as a renewal of contemporary classical language, as in the literary work of Guimarães Rosa. The study looks at the way in which the crisis of centrality characteristic of post-modernism and the question of hybridism and autonomization of elements of popular culture, represented by the rabeca, were posed musically in the work of José Eduardo Gramani, and how his interest in rabecas also derived from his innovative focus on teaching rhythm while reflecting the changes in musical performance practices that occurred in the late 20th century.
Doutorado
Praticas Interpretativas
Doutor em Música

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Brickle, Patricio. "Y-a-t-il une philosophie chilienne ? : Introduction à la pensée philosophique de Jorge Eduardo Rivera." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080072.

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Cette recherche propose, d'abord, de montrer que l'imaginaire construit par les Chiliens, selon lequel le Chili est "un pays de poètes", ignore les recherches menées par les universités chiliennes, par les principaux espaces de réflexion, ainsi que par la pensée et la philosophie en général.Deuxièmement, notre thèse analyse l'état de la philosophie au Chili, offrant un aperçu de la philosophie chilienne des soixante-dix dernières années à travers trois générations: celle qui a été formée au Chili par des professeurs étrangers recrutés par des universités chiliennes; puis une génération qui s'en va en Europe, y rencontre des figures intellectuelles de premier plan et rentre au Chili avec un patrimoine culturel important; enfin, la troisième génération est celle formée par ces derniers, mais qui vont également poursuivre leurs études supérieures à l'étranger. C'est à la deuxième génération qu'appartient le philosophe Jorge Eduardo Rivera.Or si nous affirmons que Jorge Eduardo Rivera est un philosophe, il faut, en troisième lieu, faire une pause et se demander: Qu'est-ce que la philosophie?, car la réponse à cette question nous permet de tracer une ligne de compréhension, qui n'est pas nécessairement appelée à être la seule possible. Nous abordons la question de la philosophie d'abord comme processus; ensuite, comme structure, et nous abordons également la question de l'Autorité. La philosophie en tant que processus est une explicitation herméneutique, la philosophie en tant que structure est création des concepts, de «systèmes»; et l'Autorité est le pouvoir avec lequel le penseur écrit ce qu'il écrit et rend ses écritures philosophiques.Ainsi, quatrièmement, nous nous approchons de la figure intellectuelle de Rivera. Nous exposons sa biographie et son histoire intellectuelle, les différents espaces dans les quelles sa pensée s'est formée, depuis son noviciat et son scolasticat chez les Pères Français, jusqu'à ses études en Allemagne et ses rencontres avec Heidegger, Gadamer, Fink, Von Herrmann et Xavier Zubiri. Le situs ne peut être ignoré dans l'œuvre d'un penseur.Cinquièmement, nous étudions quelques-unes des œuvres écrites par Jorge Eduardo Rivera: Étonnements et nostalgie. Essais philosophiques, Heidegger et Zubiri, Héraclite. Le splendide. Pour les deux premiers, nous nous sommes aventurés à suivre l'excursus philosophique de Rivera. La différence entre l'être et l'étant, l'ontique et l'ontologique peut éclairer la philosophie politique et les science politiques. C'est ce que nous appelons l'ontique et l'ontologique dans la politique.Puis, sixièmement, nous déterminons certaines catégories philosophiques, qui ne sont d'ailleurs, pas exclusives à Rivera, mais néanmoins présents dans plusieurs de ses écrits. Il s'agit notamment de: in actu excercito et in actu signato, la vie comme risque, la passion de la philosophie. Enfin, septièmement, nous visualisons la façon dont Rivera fait face à l'horizon philosophique grec: la question de l'être.En résumé, la thèse se veut une introduction à la pensée philosophique de Rivera, pour qui la philosophie a pour objet thématique l'être - ce qui est l'une des façons dont on peut comprendre la philosophie. Rivera emploie l'explicitation herméneutique comme méthode pour pénétrer la philosophie par la lecture et l'étude des sources philosophiques, tells que Héraclite, Parménide, Descartes, Hegel, Kant, Heidegger. La philosophie n'est ni une doctrine, ni des données concrètes. C'est davantage communication, explication. On y pénètre, pense Rivera, à travers le contact direct avec une œuvre philosophique d'envergure, comme, par exemple, la Phénoménologie de l'Esprit de Hegel ou la Critique de la raison pure de Kant

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González, Cañete Diego. "Por una revolución del espíritu: política y esperanza en Jaime Eyzaguirre, Eduardo Frei, Mario Góngora y otros jóvenes socialcristianos (Chile, década de 1930)." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/136758.

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Tesis para optar al grado de Magíster en Historia
Autor no autoriza el acceso a texto completo de su documento.
Esta tesis aborda la expresión chilena de la experiencia intelectual socialcristiana, según el carácter adquirido en la década de 1930. En el contexto de la crisis europea del liberalismo y la cuestión social, se generó una eclosión de pensamiento social católico en oposición al comunismo y a la democracia liberal, que durante los años treinta sumó impulsos al abrigo de una generación de jóvenes estudiantes. El socialcristianismo chileno, como movimiento intelectual universitario, se manifestó diverso en sus expresiones y en el alcance de las energías particulares: por un lado, una fracción de la juventud católica ingresó al Partido Conservador en 1932, comprometida con la transformación política de la anquilosada praxis oligárquica y ante la amenaza del socialismo para su concepción de la institucionalidad; a su vez, otro grupo de jóvenes socialcristianos rechazó la invitación de la política partidista, permaneciendo ajeno a las instituciones y enfocado en la reflexión histórico-cultural en grupos de estudio. Esta tesis pretende iluminar esta tensión por medio de una comprensión histórica de las ideas. Desde una historia intelectual, es posible entender el pensamiento católico de entreguerras no únicamente vinculado a la evolución política de falangistas o conservadores, sino que anidado en una gama más amplia y variada de vivencias frente a la política moderna, que, más allá de la esfera de las ideas, significó un posicionamiento en el orden de las creencias religiosas y de las pasiones. Lo antedicho se sintetiza en nuestra propuesta de estudio: esta tesis buscará probar que los fundamentos de la relación entre el pensamiento socialcristianismo y la época moderna residen en dos reacciones paralelas frente a la esperanza: una, de índole “terrenal”, ligada a la acción política y a la difusión de los valores cristianos en el seno de los tiempos modernos; otra, anclada únicamente en la fe, implicó con el tiempo una negación trágica del mundo moderno. Ambas actitudes se reflejaron en la confluencia entre una “revolución política” y una “revolución espiritual” y tuvieron un impacto en la conformación de este nuevo referente de nuestra cultura política, que devendría decisivo en el transcurso del siglo XX chileno

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Giambastiani, Gabriel Lima. "Sistemacidade em arquitetura : conceito de sistematicidade em arquitetura em três projetos escolares: Affonso Eduardo Reidy, Arne Jacobsen e Javier Garcia-Solera." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/183176.

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Como disse Stephen King em seu livro de 1999 "On Writing", a literatura é a comunicação entre mentes distantes no tempo e no espaço, telepatia. Mesmo aqueles que são menos místicos que o escritor reconhecerão que uma das virtudes das criações humanas é a capacidade de serem compreendidas; dentre elas, a Arquitetura. Aquele que procurar na história da disciplina ou na prática atual um modelo seguro de ação, inevitavelmente acabará frustrado. O modo de trabalhar varia muito entre os arquitetos e ainda um mesmo profissional não aborda todo e qualquer projeto da mesma maneira. Mesmo assim, é possível separar a produção arquitetônica em dois grupos: aquele que possibilita refazer os processos mentais de seu autor – que deixa evidente os critérios e decisões geradores da forma – e aquele que não nos oferece essa cortesia; é daquela Arquitetura que este trabalho se ocupa ao explorar o conceito de sistematicidade. Na primeira parte do trabalho, se traz maior clareza ao seu significado através da sua análise, de suas variações e de seus opostos; na segunda parte, se apresenta três projetos que o exemplificam. Se é verdade que não há método seguro para se produzir Arquitetura e que reinam uma multiplicidade de valores contraditórios, ainda assim é possível identificar qualidades naquilo que já foi produzido e tentar replicá-las em projetos futuros. Nesse sentido, o trabalho se vincula à tradição que busca na própria disciplina sua legitimação e promove uma Arquitetura que seja compreensível para o profissional que a estuda e para quem a vive.
As Stephen King said in his 1999 book “On Writing,” literature is the communication of minds distants in time and space, telepathy. Even those who are less mystical than the writer will recognize that one of the virtues of human creations is their ability to be understood; among them, architecture. One who looks at the history of the discipline or current practice for a safe model of action will inevitably become frustrated. The way architects work vary considerably, and yet the same professional does not approach every project the same way. Even so, it is possible to separate architectural production into two groups: one that makes it possible to remake the mental processes of its author - which makes evident the criteria and decisions that generate form - and one that does not offer this courtesy; it is from that architecture that this work occupies itself when exploring the concept of systematicity. In the first part of the work, clarity is brought to its meaning through its analysis, its variations, and its opposites; in the second part, it presents three projects that exemplify it. If it is true that there is no sure method to produce architecture and that a multiplicity of values reign, it is still possible to identify qualities in what has already been produced and try to replicate them in future projects. In this sense, the work is linked to the tradition that seeks in architecture its own legitimation and promotes an architecture that is understandable for the professional who studies it and for those who lives it.

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Prunet, Camille. "Le vivant dans l'art : un questionnement renouvelé par l'essor des nouvelles technologies." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030035/document.

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L’intérêt des artistes pour les biotechnologies remonte aux années 1990. De nombreux travaux universitaires se sont penchés depuis sur ces interactions entre art et biotechnologie. En regardant de plus près les œuvres conçues à l’aide des biotechnologies, on s’aperçoit de leur importance dans l’œuvre. Comment l’utilisation des nouvelles technologies révèle-t-elle une évolution de l'appréhension artistique du vivant ? Ouvrir la réflexion au vivant, c’est-à-dire êtres humains, animaux et végétaux, permet de rendre compte d’une tentative de dépasser l’anthropocentrisme, tout en soulignant la dépendance des autres vivants envers l’espèce humaine. Les œuvres sont autant de scénarios qui, s’ils ne sont pas nécessairement pertinents sur le plan scientifique, permettent d’évoquer les enjeux des avancées technologiques. L’envie de dépasser les limites humaines, les rêves d’hybridation entre humain et machine, et le refus de la mort viennent alimenter l’imaginaire artistique. A travers une sélection d'œuvres d'Art Orienté objet, de Wim Delvoye, d’Eduardo Kac, d’ORLAN, et de Stelarc, trois grandes thématiques structurent cette réflexion : la mort (et la vie), le sexe et l'hybridation. Les œuvres y sont analysées sur le plan formel, matériel, et conceptuel. Les éléments d’analyse soulignent l'importance des notions de flux, de médium, et de reproduction dans l'interaction entre art et biotechnologie. L’hybridation des connaissances, des matériaux, des pratiques, des formes, visible dans les œuvres, participe-t-elle à une nouvelle vision de l’être vivant ?
Artists's interests in biotechnologies date back from the 90's. Since then, numerous academic works focused on these interactions between art and biotechnology. By taking a closer look on works of arts conceived through the use of biotechnologies, we realize their impact in the work. How the use of new technologies demonstrates an evolution of the artistic perception of the living ? Opening the reflection on the living, understood as human beings, animals and plants, allows to take notice of an attempt to go beyond anthropomorphism while emphasizing the connection/dependency between the other living beings and the human specie. The works of art are as many scenarios which, if not necessary relevant on a scientific level, allow to think about the issues raised by technologic developments. The wish to go beyond human limits, dreams of hybridization between human and machine, and the refusal of death feed the artistic imaginary. Through as selection of works from Art Orienté objet, Wim Delvoye, Eduardo Kac, ORLAN and Stelarc, three big themes will be at the core of this reflection: death (and life), sex, and hybridization. The works will be analyzed through a formal, material and conceptual perspective. These elements allow us to emphasize the notion of flow in the interaction between art and biotechnology. Is the hybridization of knowledge, material, practices, shapes, which is visible in the aforementioned works, part of the new vision of the living being?

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González, Moreno Sarita. "Los Usos de la Memoria en “La Ciudad de los Prodigios” de Eduardo Mendoza y “La Hija del Caníbal” de Rosa Montero." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/110471.

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Las respuestas a las preguntas de investigación son: La Memoria es el centro de la evolución de los personajes, en cuanto a su vinculación con el olvido, el recuerdo, la identidad y la historia, (como sus usos) y la “marca” es la instancia que nos instala en la primera etapa: el olvido y que recorre todos los procesos anteriormente señalados, desde la pérdida de la identidad hasta la reconstrucción de la misma. En el presente análisis tomaré en consideración los conceptos e ideas entregadas por los estudiosos en torno al tema de la Memoria, y sus usos ya señalados anteriormente, y los cotejaré con las novelas La ciudad de los prodigios y La hija del caníbal. Relacionaré a las novelas escogidas con los trasfondos históricos que presentan cada una, y tomaré en consideración algunos rasgos de ficción y verdad entregadas por los narradores de las mismas.

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Lafin, Gabrielle Carvalho. "Abraçando a escola do mundo ao avesso : aproximação entre a literatura de Eduardo Galeano e a aula de espanhol como língua estrangeira no Brasil." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131726.

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A presente dissertação pretende, ao fazer um percurso por parte da vida do autor uruguaio Eduardo Galeano, esclarecer questões, conceitos ou elementos referentes à sua obra que possam auxiliar professores de espanhol como língua estrangeira das escolas públicas e particulares do Brasil a trabalhar o aspecto cultural ou sociocultural da língua por meio da literatura. Além disso, apresenta-se, no último capítulo, uma proposta didática baseada na perspectiva sociocultural, considerando as principais referências pedagógicas utilizadas no nosso país – a Matriz de Referência do ENEM e os Referenciais Curriculares do Rio Grande do Sul – e as Tecnologias da Informação e da Comunicação. A contribuição deste trabalho se direciona aos estudos das literaturas de língua espanhola, mais especificamente, a literatura hispano-americana. Também se dedica a contribuir à área de ensino e aprendizagem de língua estrangeira. O objetivo geral do trabalho é debruçar-se sobre as questões de ensino de língua e de literatura no contexto latino-americano, refletindo sobre a posição dos alunos brasileiros neste lugar do mundo e sobre suas possibilidades de pertencimento, sempre por meio da literatura de Eduardo Galeano. Espera-se que, desta forma, desenvolvam-se os estudos acerca desses assuntos no Brasil, visto que, muitas vezes, o aluno brasileiro de ELE apresenta dificuldade para se perceber como integrante dessa complexa região denominada América Latina.
Esta memoria de investigación pretende, al hacer un recorrido por parte de la vida del autor uruguayo Eduardo Galeano, aclarar cuestiones, conceptos o elementos referentes a su obra que puedan auxiliar profesores de español como lengua extranjera de las escuelas públicas y particulares de Brasil a desarrollar el aspecto cultural o sociocultural de la lengua a través de la literatura. Además, se presenta, en el último capítulo, una propuesta didáctica basada en la perspectiva sociocultural considerando las principales referencias pedagógicas utilizadas en nuestro país – la Matriz de Referencia del ENEM y los Referenciales Curriculares de Rio Grande do Sul – y las Tecnologías de la Información y de la Comunicación. La contribución de este trabajo se direcciona a los estudios de las literaturas de lengua española, más específicamente, la literatura hispanoamericana. También se dedica a contribuir al área de enseñanza y aprendizaje de lengua extranjera. El objetivo general del trabajo es mirar hacia las cuestiones de enseñanza de lengua y de literatura en el contexto latinoamericano, reflexionando sobre la posición de los alumnos brasileños en este rincón del mundo y sobre sus posibilidades de pertenencia, siempre a través de la literatura de Eduardo Galeano. Se espera que, de esta forma, se desarrollen los estudios acerca de estos temas en Brasil, ya que, muchas veces, el alumno brasileño de ELE presenta dificultad para reconocerse como integrante de esa compleja región que se llama Latinoamérica.

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Dahmani, Sana. "Ecriture de l'exil et engagement politique dans le roman caribéen francophone : l'oeuvre romanesque d'Eduardo Manet et d'Emile Ollivier pour exemple." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30084.

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Les instances politiques ont de tout temps exilé leurs adversaires, obligeant les proscrits à rompre avec leurs racines et leur histoire. Et si la littérature de l’exil s’est attachée à peindre la souffrance psychique inhérente à l’expatriation, force est de constater qu’à cette fonction cathartique vient parfois s’ajouter une fonction dénonciatrice. En effet, les hommes de lettres exilés ont parfois fait du verbe une arme redoutable dirigée contre le despotisme politique régnant dans leur pays natal. Cette thèse de doctorat se propose justement d’étudier l’imbrication entre le littéraire et le politique dans les littératures caribéennes francophones de l’exil, et plus précisément dans les oeuvres romanesques respectives d’Eduardo Manet et d’Émile Ollivier. D’origine cubaine, Manet a dû fuir la dictature castriste. Ollivier a pour sa part dû quitter son île natale Haïti pour rompre avec la répression duvaliériste. Les oeuvres de ces deux hommes de lettres sont à l’image du conflit politique de Cuba et d’Haïti, et rendent compte du conflit intérieur qui habite les exilés. Comment se manifeste l’arrachement à la terre natale à travers l’oeuvre des exilés politiques ? Pour ces écrivains politiquement engagés, dire l’exil est-il plus une écriture de la nostalgie qu’une littérature des idées ? Quelles sont les limites de l’engagement politique lorsque l’exilé est coupé de sa patrie et de son lectorat originel des décennies durant ? L’adaptation à la terre d’accueil serait-elle un frein à l’engagement politique ? Ces interrogations et bien d’autres seront au centre d’une partie majeure de la réflexion sur la corrélation entre exil et engagement politique. Dans la première partie de ce travail, l’accent est mis sur les spécificités linguistiques, politiques et géographiques de Cuba et d’Haïti, pour souligner tant la richesse multiculturelle des îles natales des écrivains, que les conditions qui ont donné naissance à cette écriture spécifique chez Manet et Ollivier. Cette partie s’attache à montrer que les soubresauts de l’Histoire collective se trouvent intimement liés aux choix personnels de ces deux hommes de lettres. Dans la seconde partie de ce travail, l’étude des différentes stratégies de résistance déployées par les protagonistes et l’arsenal répressif mis en place par les dictatures a été au centre de la réflexion. Une analyse a été consacrée à un enjeu relatif à toutes les littératures caribéennes à savoir l’identité. Dans les oeuvres à l’étude, l’histoire personnelle des protagonistes se trouve toujours liée à l’histoire collective, et chaque parcours est le reflet d’un questionnement incessant sur les origines, les dérapages politiques et la douleur de l’exil. La troisième partie de la thèse est consacrée à la corrélation entre exil et engagement politique. À travers l’étude des paradigmes de l’exil et son remède le retour, des questions majeures ont été formulées : L’engagement n’est-il pas invalidé par l’éloignement de la terre natale et du lectorat originel ? Et dans quelle mesure l’histoire convulsive et éclatée des Caraïbes prend-elle forme aujourd’hui à travers la langue française ? Même si cette thèse est consacrée à l’analyse d’oeuvres littéraires, une étude socio-historique de Cuba et d’Haïti a été entreprise. Cette étude s’est attachée à mettre en exergue le long passé de militantisme commun à ces deux anciennes colonies qui ont triomphé de l’esclavage et de la colonisation. L’histoire est de ce fait une donnée centrale pour l’identité cubaine et haïtienne, mais cet aperçu historique a été mis en annexes vu son caractère plus socio-historique que littéraire
The political authorities have always exiled their opponents, forcing the outlaws to break with their roots and their history. And if the literature of exile has sought to paint mental suffering inherent to the expatriate, it is clear that the cathartic function is sometimes added a whistleblower function. Indeed, men of letters have sometimes been exiled from the verb a formidable weapon against the political despotism reigning in their homeland. This dissertation intends to study precisely the overlap between the literary and the political in the Caribbean Francophone literature of exile, and specifically in the respective novels of Eduardo Manet and Émile Ollivier. Originally from Cuba, Manet had to flee the Castro dictatorship. Ollivier for his part had to leave his native Haiti to break with the repressive Duvalier. The works of these two men of letters are a reflection of the political conflict of Cuba and Haiti, and reflect the inner conflict that lives in exile. How is the breakout to the homeland through the work of political exiles? For these politically engaged writers, exile say he is writing more of a nostalgia literature of ideas? What are the limits of political engagement when the exile is cut off from his homeland and its original readership for decades? Adapting to the new home would it be an obstacle to political engagement? These questions and many others will be the focus of a major portion of the reflection on the relationship between exile and political commitment. In the first part of this work, the emphasis is on linguistic, political and geographical Cuba and Haiti, to highlight both the multicultural richness of the home islands of writers, that the conditions that gave rise to this entry specific Manet and Ollivier. This section attempts to show that the fluctuations of the collective history are intimately related to the personal choices of these two men of letters. In the second part of this work, the study of different resistance strategies deployed by the protagonists and the repressive arsenal established by dictatorships was the focus of reflection. One analyzed was devoted to an issue related to all Caribbean literatures namely the identity. In the works under consideration, the personal story of the protagonists is always linked to the collective history, and each course is a reflection of incessant questioning about the origins, the very political and the pain of exile. The third part of the thesis is devoted to the correlation between exile and political commitment. Through the study of paradigms of exile and the return remedy, major questions have been formulated: The commitment is it not invalidated by the distance from the homeland and the original audience? And to what extent the convulsive history of the Caribbean and exploded it takes shape today through the French language? Although this thesis is devoted to the analysis of literary, socio-historical study of Cuba and Haiti was undertaken. This study sought to highlight the long history of activism common to the two former colonies that have triumphed over slavery and colonization. The story is thus given a central identity for Cuban and Haitian, but this historical overview has been seen Annexes its more socio-historical than literary

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Maharaj, Sarat Chandra. "The dialectic of modernism and mass culture : a historical and stylistic study of pop art in Britain with particular reference to Richard Hamilton's and Eduardo Paolozzi's work (1940-85)." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.641051.

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Mourot, Marine. "Madrid en guerre dans la littérature de la transition démocratique : Juan Iturralde et Juan Eduardo Zúñiga, témoins du conflit." Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL022.

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Les publications de romans ou nouvelles en espagnol au cours des vingt dernières années ont fait émerger un engouement pour ce qui peut être considéré comme un sous-genre du roman historique, le roman de la mémoire. Celui-ci met en scène l’Histoire récente de l’Espagne en particulier celle de la Guerre civile. Les auteurs de ces ouvrages sont souvent nés dans les années 50 ou 60 et n’ont donc pas de mémoire directe des événements. Il est habituel de considérer que les romans Luna de lobos (1985) et Beatus Ille (1986), constituent des signes précoces de ce phénomène qui ne se généralise que dix ans plus tard et atteint son apogée au tournant du XXIème siècle notamment à partir de la parution de Soldados de Salamina de Javier Cercas en 2001. Pourtant, entre la fin du franquisme (1975) qui entraîne la disparition de la censure (1977) et 1985, des textes narratifs fictionnels majeurs portant sur la guerre et le franquisme, ont été écrits et publiés. Ainsi, Días de llamas de Juan Iturralde est édité en 1979 et Juan Eduardo Zúñiga publie Largo noviembre de Madrid en 1980. L’étude de ces deux œuvres permettra de mettre en question l’idée souvent exprimée que la littérature des premières années de la Transition n’a pas privilégié le thème de la guerre et de s’intéresser aux stratégies narratives choisies par ces auteurs, témoins directs des événements, pour mettre en fiction cette période noire de l’Histoire d’Espagne. Leur approche littéraire des faits est, en effet, nécessairement différente de celle des écrivains qui ont accepté la contrainte de la censure et de celle des générations suivantes qui n’ont qu’une mémoire indirecte de la guerre. Le traitement particulier que Juan Iturralde et Juan Eduardo Zúñiga réservent au référent et notamment la mise en place d’une illusion de réalité très forte les désignent à la fois comme des dissidents par rapport aux récits traitant du conflit publiés à la même période et comme des héritiers de la tradition réaliste qu’ils exploitent et dépassent dans le but de transmettre une version vraisemblable mais limitée car totalement médiatisée des événements survenus au cours des années 1936 à 1939. Malgré l’ancrage des intrigues dans un contexte historique précis, la réalité ne va pas toujours de soi dans les récits. Dans les circonstances extrêmes de la guerre, le réel est davantage un motif d’interrogations qu’un objet de connaissance univoque et définitive. Un seul élément ne fait jamais l’objet d’aucun questionnement : l’horreur du conflit civil dont la mise en fiction est pleinement apte à traduire la dimension problématique du réel. De par le thème qu’elles abordent et les distances qu’elles prennent avec la volonté d’amnésie collective qui s’est pernicieusement installée en Espagne, les deux œuvres deviennent des « lieux de mémoire » susceptibles de permettre la revendication de l’importance du « devoir de mémoire », la réhabilitation de mémoires marginales trop longtemps réduites au silence et la résilience de certains traumatismes grâce à la fictionnalisation des désordres psychiques liés à l’horreur du conflit
Novels or short stories published in Spanish over the last twenty years have revealed a keen interest in what can be considered as a subgenre of the historical novel, the novel for the memory. This subgenre stages the recent History of Spain, particularly the Civil War. Its authors were born in the 50s or 60s, and have no direct memory of the events. It is usual to consider that Luna de lobos (1985) and Beatus Ille (1986) are the novels showing early signs of this phenomenon, which only became widespread ten years later and peaked at the turning point of the 21st century, in particular after the publication of Soldados de Salamina by Javier Cercas in 2001. Nevertheless, between the end of the Francoism in 1975 which led to the disappearance of censorship in 1977 and 1985, several fictional narrative texts relating the war and the Francoism were written and published. Días de llamas by Juan Iturralde was edited in 1979 and Juan Eduardo Zúñiga published Largo noviembre de Madrid in 1980. The study of these two books will question the often expressed idea that the literature from the first years of the Transition period did not favor the theme of war. It will also focus on the narrative strategies that these authors, who were direct witnesses of the events, chose in order to fictionalize this period from the History of Spain. Indeed, their literary approach to the facts was inevitably different from that taken by the writers who accepted being restricted by censorship and that taken by the following generations who only indirectly experienced the war. The particular treatment which Juan Iturralde and Juan Eduardo Zúñiga reserved to the referent, in particular the setting of an illusion of reality, denotes them both as dissidents compared to the narratives about the conflict published during the same period, and as heirs of the realistic tradition which they exploited and surpassed in order to relate a plausible but limited version of the events taking place from 1936 to 1939, due to their subjective perspective. In spite of the intrigues being anchored within a precise historical context, the reality is not necessarily self-evident in these narratives. In the extreme circumstances of war, the reality becomes a motive for questioning rather than an object of unequivocal and irrevocable knowledge. A single element is never questioned: the horror of the civil conflict whose fictionalization is fully able to translate the problematic dimension of reality. By the theme addressed by these books and the way they distanced themselves from the will of collective amnesia which has perniciously settled in Spain, they both have become “commemorative sites”, leaning toward the claim for the importance of the “duty of remembrance”, the rehabilitation of marginal memories which has been silenced too long, and the resilience of various traumas through fictionalizing psychic disorders caused by the horror of this conflict

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Lefèvre, Diogo [UNESP]. "O poema em música e a música além do poema: estudo sobre a relação entre música e poesia em obras de Almeida Prado, Eduardo Guimarães Álvares e Harry Crowl." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127818.

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Esta pesquisa investiga a relação texto-música e as estratégias de composição musical em obras que tomam um texto poético como ponto de partida. As obras estudadas foram Pétala Petulância de Eduardo Guimarães Álvares, sobre poemas de Alícia Duarte Penna, Le Fruit Ardent (do Portrait de Nadia Boulanger) de Almeida Prado, baseada em poema de Paul Valéry e As Estrelasde Harry Crowl, sobre poema de Cruz e Sousa. O estudo dessas obras envolveu a análise musical baseada na análise motívica a partir de Schoenberg, na Teoria dos Conjuntos a partir de Forte, Oliveira, Straus, além de referências a outros teóricos musicais como Motte e Cook. Também foi realizada uma análise poética dos textos musicados, baseada em Bosi, Cândido, Jakobson, Goldstein e Tavares, complementada pela leitura de estudos sobre Cruz e Sousa (realizados por Bastide, Rabello, entre outros) e Paul Valéry (realizados por Andersen, Daniel Lefèvre, entre outros). A partir de uma comparação entre as obras estudadas, esta pesquisa verificou como a diferença entre os poemas escolhidos por cada compositor se reflete nas relações entre texto e música. A maior abstração ou, diferentemente, a maior concretude das imagens dos poemas influencia na maneira como são percebidos os elos entre um poema e a composição musical nele baseada. Esta tese detectou também que o interesse dos compositores abordados pelas imagens dos textos musicados está associado a uma busca de sonoridades e texturas musicais específicas. Esta pesquisa demonstrou que muitas conexões entre poesia e música resultam do fato de as duas linguagens se desenrolarem no tempo e envolverem relações de similaridade e contraste entre momentos distintos de seu percurso temporal. Um poema, quando declamado, inclui várias pausas, decorrentes de fatores sintáticos, semânticos, métricos ou formais, e um importante ponto de contato ou de tensão entre poema...
This research investigates the text-music relationship and strategies of musical composition in works that take a poetic text as a point of departure. The works approached were Pétala Petulânciaby Eduardo Guimarães Álvares on poems by Alícia Duarte Penna, Le Fruit Ardent (from Portrait de Nadia Boulanger) by Almeida Prado, on a poem by Paul Valéry and As Estrelasby Harry Crowl, on a poem by Cruz e Sousa. The study of this works involves a musical analysis making use of a MotivicAnalysis based on Schoenberg and of the Set Theory based on Forte, Oliveira and Straus. It also refers to other musical theorists such as Cook and Motte. This study encompass too a poetic analysis of the texts of the musical pieces approached, based on Bosi, Cândido, Goldstein, Jakobson and Tavares, complemented by studies on Cruz e Sousa (by Bastide, Rabello) and on Paul Valéry (by Andersen and Daniel Lefèvre). This research has verified that the differences between the poems chosen by each composer affect the text-music relationship. This study demonstrates that many connections between poetry and music results from the fact thatboth are temporal languages and involve relations of similarity and contrast between different moments of their temporal trajectory. This research has also explained elements of the musical pieces that sometimes are independent of the text, such as their motivic elaboration.

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Comas, Carlos Eduardo Dias. "Precisões brasileiras : sobre um estado passado da arquitetura e urbanismo modernos : a partir dos projetos e obras de Lúcio Costa, Oscar Niemeyer, MMM Roberto, Affonso Reidy, Jorge Moreira & Cia., 1936-45." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2002. http://hdl.handle.net/10183/10898.

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Fierro, Pablo. "Entendiendo la sociedad chilena a través de un análisis histórico cultural: por la fuerza de los principios morales. Elecciones presidenciales de 1964-1970 y 1989. La derecha y los pobladores periférico-urbanos." Tesis, Universidad de Chile, 2006. http://repositorio.uchile.cl/handle/2250/110343.

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Informe de Seminario para optar al grado de Licenciado en Historia
En el presente trabajo mi intención es comprender a la derecha chilena durante el transcurso del siglo XX, específicamente, desde los inicios de la década de los ’60 hasta el fin de los ’80, época que coincide con los últimos 4 años de la administración del presidente, Jorge Alessandri Rodríguez y el término de la Dictadura Militar encabezada por el Gral. Augusto Pinochet Ugarte.

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Francisco, Alberto André Carvalho. "A política externa de Angola durante a Guerra Fria (1975-1992)." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/14727.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Relações Internacionais, Programa de Pós-Graduação em Relações Internacionais, 2013.
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A política externa de Angola, embora recém nascida tem ganhado uma boa visibilidade a nível internacional, em particular no continente africano, nestes últimos cinco anos, devido ao fim do da guerra civil e ao bom crescimento econômico do país. Mas seria um erro de análise fazer-se uma abordagem da política externa angolana atual sem compreender a história da política externa de Angola, durante o período de Guerra Fria. Desde a conquista da independência pelo Movimento Popular de Independência de Angola (MPLA), uma série de inciativas e de ações foram levadas a cabo por sua política externa, a qual foi guiada por uma série de diretrizes explícitas ou implícitas. O objetivo geral dessa dissertação é analisar como foi a política externa de Angola durante a Guerra Fria (1975-1992). Para cumprir esse objetivo, primeiramente, começamos com a criação do MPLA e sua busca pelo apoio internacional na conquista pela independência de Angola. Em segundo lugar, observamos um quadro de ações dos principais atores internacionais na crise angolana durante o período em análise, com grande destaque para a URSS e para os EUA. Em terceiro lugar, analisa-se as linhas mestras da política externa da República Popular de Angola durante o governo de Agostinho Neto, logo após a independência. Em quarto lugar, discute-se a continuidade da política externa de Neto no governo de José Eduardo dos Santos, ainda as mudanças que dos Santos foi efetuando durante o decorrer da Guerra Fria. Finalmente, o argumento principal defendido nessa dissertação é que o MPLA, tanto no governo de Neto como no de dos Santos, foi muito pragmático procurando defender os interesses nacionais do estado. _______________________________________________________________________________________ RÉSUMÉ
La politique étrangère de l'Angola, bien que nouveau-né a gagner une bonne visibilité au niveau international, en particulier en Afrique, au cours des cinq dernières années, en raison de sa bonne croissance économique. Mais ce serait une erreur que d'analyser une approche de la politique étrangère angolais aujourd'hui sans comprendre l'histoire de la politique étrangère de l'Angola au cours de la période de la guerre froide. Depuis la réalisation de l'indépendance par le Mouvement populaire pour l'indépendance de l'Angola (MPLA), une série d'initiatives et d'actions ont été menées par sa politique étrangère, qui a été guidé par une série de lignes directrices explicites ou implicites. L'objectif général de cette thèse est d'analyser comment était la politique étrangère de l'Angola pendant la guerre froide (1975-1992). Pour atteindre cet objectif, d'abord, nous commençons par la création du MPLA et sa quête de soutien international dans la réalisation de l'indépendance de l'Angola. Deuxièmement, nous avons observé un cadre d'actions principaux acteurs internationaux dans la crise angolaise au cours de la période sous revue, avec beaucoup d'emphase l'URSS et les Etats-Unis. Troisièmement, nous analysons les grandes lignes de la politique étrangère de la République d'Angola Agostinho Neto et le gouvernement peu après l'indépendance. Quatrièmement, nous discutons de la continuité de la politique étrangère du président Neto José Eduardo dos Santos, même si les changements que dos Santos exerçait au cours de la guerre froide. Enfin, le principal argument défendu dans cette thèse est que le MPLA, tant au gouvernement que dos Santos Neto, était à la recherche des intérêts nationaux très pragmatiques de l'Etat.

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Mafra, Patrícia Martins. "Angola e Brasil poder e discurso político: a constituição do ethos discursivo dos presidentes de Angola e do Brasil." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14615.

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Secretaria da Educação do Estado de São Paulo
The objective, in this research, based on the discourse analysis (DA) of French line and the directions of the semiolinguistic with observation of the research of Maingueneau (2008) and Charaudeau (2008), is to analyze the constitution of the discursive ethos of presidential pronouncements of lusophone countries Angola and Brazil, in the 1990s. Specifically, the corpuses of the research are constituted by Mr. José Eduardo dos Santos pronouncement, President of the Republic of Angola, the signing of Lusaka s agreement, in 1994 and the pronouncement of Mr. Fernando Collor de Mello, President of the Federative Republic of Brazil, the swearing in ceremony of National Congress, in 1990. Therefore, this analysis aims to identify similarities and differences of the constitution of the ethos of already mentioned discourse, from the historical and situational context, the linguistic processes and social representations concerning legitimacy, through democratic elections, the credibility and identification of the political subject. The results show that there are similarities and differences in the construction of discursive ethos of the corpuses in question, and they point out different effects of meaning in the co-enunciators
Busca-se, nesta pesquisa, com base na teoria da Análise do Discurso (AD) de linha francesa e o direcionamento da semiolinguística, com observação da pesquisa de Maingueneau (2008) e Charaudeau (2008), analisar a constituição do ethos discursivo dos pronunciamentos presidenciais dos países lusófonos Angola e Brasil, da década de 1990. Especificamente, os corpora da pesquisa são constituídos pelo pronunciamento do Senhor José Eduardo dos Santos, Presidente da República de Angola, na assinatura do Acordo de Lusaka, em 1994 e pelo pronunciamento do Senhor Fernando Collor de Mello, Presidente da República Federativa do Brasil, na cerimônia de posse no Congresso Nacional, em 1990. Para tanto, essa análise visa à identificação de semelhanças e de diferenças da constituição do ethos dos referidos discursos, a partir do contexto histórico e situacional, dos procedimentos linguísticos e das representações sociais acerca da legitimidade, por meio de eleições democráticas, da credibilidade e da identificação do sujeito político. Os resultados apontam que há semelhanças e diferenças na construção do ethos discursivo dos corpora em questão, e que as mesmas assinalam diferentes efeitos de sentido nos coenunciadores

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Cardoso, Fabio Luiz Lopes 1987. "Da renda mínima à renda básica de cidadania." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278726.

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Orientador: Josué Pereira da Silva
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta dissertação trata sobre a trajetória dos programas de transferência direta de renda no Brasil, suas diferenças e especificidades. Buscou-se analisar não apenas suas alterações estruturais, mas também políticas e teóricas. Para iniciar, estabelecemos foco no senador Eduardo Matarazzo Suplicy quanto à elaboração das suas propostas, o que permite perpassar toda a trajetória nacional nessa temática em particular. O senador Eduardo Suplicy é uma figura importante no desenvolvimento da política social no país. São de sua autoria, entre outros projetos, o Programa de Renda Mínima e a Lei da Renda Básica de Cidadania, o primeiro foi apresentado em 1991 e a segunda sancionada em 2004. Ambos versam sobre a mesma área de atuação, sendo a Renda Mínima base para a promoção de políticas públicas nos anos 90 e a Renda Básica que, aprovada de forma pioneira, colocou o Brasil na vanguarda dessas políticas em âmbito mundial. A implantação e impacto desta última ainda é uma incógnita, mas o desenvolvimento da primeira culminou nos principais programas hoje em vigência. Deste modo, estudar a atuação de Suplicy na luta pela efetivação de suas propostas e os fatores que o levaram a substituir uma pela outra, aprofundando suas respectivas origens e desenhos, significa mergulhar nos meandros desta temática demonstrando as diferenças de concepções entre os programas
Abstract: This dissertation deals with the history of the programs of direct income transfer in Brazil, including its differences and specificities. In this work was analyzed not only their structural changes, but also their political and theoretical changes. At the beginning, it is focused on Senator Eduardo Matarazzo Suplicy and in the formulation of their proposals, which allowed to follow the entire national history of this particular issue. Senator Eduardo Suplicy is a major figure in the development of social policy in Brazil. The Minimum Income Program and the Law of Citizen's Basic Income are of his own, among other projects. The first was presented in 1991 and the second sanctioned in 2004. Both deal with the same area, wherein the Minimum Income represented the basis of the promotion of public policies in the 90s and the Basic Income, that was approved in a pioneering way, putting Brazil at the global forefront of these policies. The implementation and impact of the latter is still unknown, but the development of the first yielded the programs in operation today. Thus, the study of the Suplicy's acts struggling for the achievement of his proposals and the factors that led to the substitution of one proposal for the other, deepening their origin and designs, means diving into the intricacies of this issue to demonstrate the differences between the concepts of the programs
Mestrado
Sociologia
Mestre em Sociologia

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Silva, Antonio de Pádua de Souza e. "Movimento Poetas na Praça: uma poética de ruptura e resistência." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14865.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Poetry is a literary phenomenon that, besides man and his language since earlier times until nowadays and will beside him while humanity, exists. However, each time has a particular manifestation to this kind of human language. At the 1970s, in Brazil, there was a kind of poetry that was produced and sailed out of conventional patterns, called marginal poetry; a kind of poetry that, as kind of art, answer to its historical time and, as soon as it happened to 1922s Modernism, 1950s Concretism and 1960s Tropicalism, conquered popular appreciation all over the country. This kind of poetry first work was 26 poetas hoje (26 poets today), a text anthology of texts by 26 authors who lived at Rio de Janeiro or Sao Paulo, organized and published by Heloísa Buarque de Holanda. At the end of the 1970s and longing all the 1980s, a group of young poets decided to put poetry at squares, near people; thus, Movimento Poetas na Praça (Poets at Squares Movement) grew up. Their central stage was Praça da Piedade (Piety Square), in Salvador, capital of Bahia state, where they joined to declaim their own and other author s poems, convoking people to a genial performance, as it used to happen on Medieval times. Movimento Poetas na Praça s founders were Antonio Short, Ametista Nunes, Eduardo Teles and Gilberto Costa, whose texts compose this work corpus. This poetry, called marginal, made angry some others poets, literary critics and scholars who called it sub-literature only because it doesn t follow official literary patterns and values all those who propose themselves as poets. Analyzing some poems composed by those poets, this study aims to offer a brief outline of this movement and contribute to finish the prejudice directed against this group of poets and their literary production
A poesia é um fenômeno literário que acompanha o homem e sua linguagem desde os primórdios até os nossos dias e há de acompanhá-lo, enquanto existir a raça humana. Cada época, no entanto, responde de uma forma particular a essa manifestação da linguagem humana. Nos anos 70, do século XX, surgiu no Brasil uma poesia que, por ter sido produzida e comercializada fora dos padrões convencionais, foi chamada de marginal; é uma poesia que, como toda arte, responde pelo seu tempo e por sua história e, beirando a linha do Modernismo de 22, do Concretismo de 50 e do Tropicalismo de 60, logo caiu no gosto do público e se espalhou por todo o país. O primeiro trabalho organizado e publicado dessa poesia foi a antologia 26 poetas hoje, da ensaísta Heloísa Buarque de Holanda, reunindo poetas que, no momento, moravam no eixo Rio-São Paulo. No final da década de 70 e durante toda a década de 80, um grupo de jovens poetas resolveu colocar a poesia na praça, perto do povo, surgia assim o Movimento Poetas na Praça. Esses poetas tinham como palco central a Praça da Piedade, em Salvador, Bahia, na qual se reuniam e declamavam poemas seus e de outros poetas, convocando o povo para uma genial performance, como nos tempos dos trovadores da Idade Média. Foram seus fundadores Antonio Short, Ametista Nunes, Eduardo Teles e Gilberto Costa; os quatro primeiros compõem o corpus deste trabalho. Essa poesia, chamada de marginal, despertou a ira de alguns poetas, críticos literários e professores universitários, que a tacharam de subliteratura, simplesmente por ela não obedecer aos trâmites oficiais das academias e por valorizar todos os que se propunham como poetas. O que buscamos, aqui, é fornecer um pequeno panorama dessa literatura, analisando, inclusive, alguns poemas dos poetas destacados acima, com o intuito único de acabar com o preconceito com que sempre foi vista essa geração de poetas e sua poesia

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Ginés, Blasi Mònica. "El col·leccionisme entre Catalunya i la Xina (1876-1895)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130925.

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Són diversos els autors que han posat de manifest com l’interès per l’art de la Xina i del Japó es traça a Espanya des del s.XVI, estimulant la tendència decorativa chinoiserie, que derivà a mitjans del s.XIX en el gust per tot allò procedent del Japó, moda denominada japonisme. A la segona meitat del s.XIX el govern japonès va emprendre una forta modernització establint intenses relacions comercials amb països europeus, esperonant l’interès per l’art japonès en vàries ciutats-centre europees. En canvi, l’interès que durant el barroc i el rococó havia suscitat l’art procedent de l’Imperi xinès va decaure fortament com a conseqüència de l’hermetisme comercial de la política exterior xinesa. Aquest factor, sumat al poc interès dels espanyols pel col•leccionisme en general, explica que tradicionalment s’hagi considerat escassa la presència de col•leccions d’art xinès en el nostre país. Durant l’últim terç del s.XIX, tot i que la presència espanyola a la Xina era molt minsa, hi va haver personalitats del món cultural i polític de la Catalunya de l’últim terç del segle XIX, com Eduard Toda i Güell (Reus, 1855 - Poblet, 1941), Víctor Balaguer i Cirera (Barcelona, 1824 - Madrid, 1901), Francisco Abellá (n. i m. desconeguts) o Juan Mencarini (1860-1939?), que van estar abocades a la compra, la venda, la distribució i l’intercanvi d’obres d’art, moneda i altres objectes procedents de la Xina. Aquest és un aspecte poc conegut de la història del col•leccionisme català i de les relacions entre Espanya i la Xina que precisava d’un estudi en profunditat. Aquesta tesi doctoral consisteix en la investigació sobre l’intercanvi internacional d’obres d’art, moneda i altres objectes produïts a la Xina, i que varen ser distribuïts en col•leccions tant particulars com públiques a la Catalunya de l’últim terç del s.XIX. Eduard Toda i Güell, vicecònsol d’Espanya a Macau, Hong Kong, Canton i Whampoa, i Xangai (1876-1882), és el col•leccionista de peces xineses més preeminent del s.XIX català. Toda formà una important col•lecció d’obres d’art, numismàtica i documents procedents de la Xina i que vengué a col•leccionistes particulars, entre ells l’eminent mecenes Eusebi Güell i Bacigalupi, i que donà a museus públics espanyols, com el Museo Arqueológico Nacional, o la Biblioteca-Museu Víctor Balaguer de Vilanova i la Geltrú. Altres personalitats del seu entorn estigueren també involucrades en aquest tipus d’activitats: Francisco Abellá, Víctor Balaguer, el bibliotecari Joan Oliva (Sant Pere de Ribes, 1858 - Vilanova i la Geltrú, 1911), Juan Mencarini, Oficial d’Administració de les Duanes Imperials xineses, Celestí Pujol i Camps, Josep Ferrer i Soler, o el diplomàtic Herny A. Ramsden. Peces de les col•leccions d’Eduard Toda, Francisco Abellá i Juan Mencarini nodreixen avui el fons de l’Àsia oriental del Museu Balaguer de Vilanova i la Geltrú. Contemporàniament la premsa barcelonina de l’època reflectia com la demanda per objectes procedents de l’Imperi xinès creixia a Barcelona en relació a la moda pel japonisme, propiciant la proliferació de botigues especialitzades en la venda d’art de la Xina, del Japó, de la península coreana i d’Annam. La investigació per aquest projecte planteja quina magnitud va assolir el col•leccionisme d’art de la Xina a Catalunya i el seu lloc relatiu al desenvolupament del col•leccionisme d’art a la Catalunya de la fin de siècle.
Traditionally, it has been considered that Chinese art collecting in 19th century Catalonia was scarce. The interest that was aroused for artworks made in China during Baroque and Rococo declined strongly as a consequence of the commercial hermeticism of China’s foreign policies. This factor, as well as there being so little interest for art collecting from Spaniards in general, explains why traditionally the presence of Chinese art collections has been considered rather meager in our country. During the last third of the 19th century, even though there was little Spanish presence in China, there were some personalities belonging to Catalonia’s 19th century cultural and political elite, such as Eduard Toda i Güell (b Reus, 1855; d Poblet, 1941), Víctor Balaguer i Cirera (b Barcelona, 1824; d Madrid, 1901), Juan Mencarini (1860-1939?) and Francisco Abellá (b and d unknown), who all made a great effort to buy, sell, distribute, exchange and exhibit artworks, coins and other objects produced in China. This is an aspect of the history of Catalan art collecting and of the history of international relations between Spain and China which required an intensive and systematic research. The collections of coins and artworks of China’s imperial past which were formed by Toda, Mencarini and Abellá are nowadays preserved in the public collections of the Museum and Library Víctor Balaguer in Vilanova i la Geltrú. Toda also sold his coin collection to the Museo Arqueológico Nacional in Madrid. Furthermore, other personalities from Catalonia’s cultural elite participated in the acquisition, distribution, exchange and exhibition of Chinese art, coins, and material culture between the last two decades of the 19th century, right up until the 1930’s. Barcelona’s magazines and newspapers of that time also reflected a growing demand for Chinese art in relation to Japonisme. The research for this project focuses on the extent to which Chinese art collecting reached in Catalonia, as well as the place it occupied in the development of art collecting in the last third of the 19th century.

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Sifuentes, Rodríguez Carlos Alberto. "Ciudades colaterales : Las ciudades narradas de la frontera México-Estados Unidos en novelas urbanas recientes." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL039.pdf.

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Le but de cette étude est de mener une approche comparative critique des villes racontées de la frontière américano-mexicaine dans un corpus de romans urbains récents. L'une des questions centrales est la formulation d'un modèle basé sur la représentation littéraire d'événements tels que la mise en œuvre, l'assimilation et la consolidation des imaginaires globaux dans les villes frontalières. Le modèle des villes collatérales est composé d'une série d'ordres que nous appelons panoramas urbains. Les scénarios que nous analysons correspondent aux hyper masculinités, à la mémoire traumatique et à l’allegalité transnationale. Le premier panorama se réfère à la représentation de la ville par rapport aux conflits narratifs dérivés du masculin et du féminin, en se concentrant sur des pratiques qui correspondent au modèle des masculinités hégémoniques. Le second panorama traite de la représentation de la dynamique entre mémoire et oubli, élément qui caractérise les espaces périphériques. Le dernier panorama examine les conflits qui naissent des tensions entre le légal et l'illégal qui se reflètent dans l'espace urbain. Pour aborder le modèle en question, les romans Nostalgia de la sombra (2002), d'Eduardo Antonio Parra; 2666 (2004), de Roberto Bolaño; Al otro lado (2008), d’Heriberto Yépez; et Indio borrado (2014), de Luis Felipe Lomelí sont étudiés
The purpose of this study is to carry out a critical comparative study of the narrated cities of the Mexico-US border in a corpus of recent urban novels. One of the central questions is the formulation of a model based on the literary representation of events such as the implementation, assimilation, and consolidation of global imagery in border cities. The collateral city model is made up of a series of orders which we call urban panoramas. The panoramas we analyze correspond to hypermasculinities, traumatic memory and transnational allegality. The first panorama refers to the representation of the city in relation to narrative conflicts derived from the masculine and feminine, focusing on practices that correspond to the model of hegemonic masculinities. The second panorama deals with the representation of the dynamics between memory and oblivion, an element that characterizes peripheral spaces. The last panorama examines the conflicts that arise from the tensions between the legal and the illegal that are reflected throughout the urban space. To approach the model in question, the following novels are studied: Nostalgia de la sombra (2002), by Eduardo Antonio Parra; 2666 (2004), by Roberto Bolaño; Al otro lado (2008), by Heriberto Yépez; and Indio borrado (2014), by Luis Felipe Lomelí

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Marquardt, Seina. "A estrutura independente e a arquitetura moderna brasileira." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/7268.

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Este trabalho tem como objetivo a análise de um conjunto de obras que pertence ao grupo da vertente modernista brasileira, parte da escola carioca e parte da escola paulista. O fator comum entre elas é a independência dos elementos estruturais em relação aos demais que compõem os edifícios. O período delimitado para este estudo começa em 1936 e vai até 1961, de acordo com as datas dos projetos analisados. Como os momentos de consolidação das duas escolas não são coincidentes, o período entre essas datas é o maior, de acordo com o panorama nacional e internacional, que não deve ser considerado isoladamente em relação a cada escola. A Arquitetura Moderna Brasileira, tendo por base os princípios do racionalisma estutural, sob forte influência corbusiana, trilha o caminho de uma produção própria, valendo-se da cultura e tecnologia locais. Utilizando-se os exemplos de Lúcio Costa, Affonso Eduardo Reidy e Vilanova Artigas, de temas diversos, puderam ser analisadas as influências internacionais recebidas e o legado deixado por eles à produção arquitetônica brasileira desde então. Acompanham o texto escrito ilustrações que, além de seu caráter complementar, são imprescindíveis para a compreensão deste trabalho.

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Vasconcellos, Juliano Caldas de. "Concreto armado Arquitetura Moderna Escola Carioca : levantamentos e notas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2004. http://hdl.handle.net/10183/114673.

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O presente trabalho tem como objetivo a análise de obras da arquitetura moderna brasileira de base carioca, construídas em concreto armado no período compreendido entre 1935 e 1960. É inegável que a construção teve destaque entre os vários componentes que levaram a arquitetura moderna brasileira ao reconhecimento internacional. Dentro do período citado, o Brasil figurou como líder do universo da arquitetura moderna, onde a exploração da plasticidade potencial do concreto armado foi aplicada com grande êxito. As soluções adotadas pelos arquitetos brasileiros tiveram grande repercussão, a começar pelo edifício da Associação Brasileira de Imprensa dos Irmão Roberto da sede do Ministério da Educação e Saúde Pública (hoje conhecido como Palácio Gustavo Capanema) que deixaram perplexos arquitetos do mundo inteiro. Marcos da nova arquitetura no país, estes exemplares foram objeto de inovações expressivas e bem-sucedidas também no seu projeto estrutural. Para se fazer a análise das construções brasileiras, é importante estudar as origens do concreto armado e suas aplicações desde o seu surgimento, passando pela descrição de patentes registradas (ou apenas estudadas) na Europa e Estados Unidos, sem esquecer de precisar nomes e datas, fundamentais para substanciar a reivindicação de influências e precedências. Em um segundo momento, estuda-se a chegada do concreto armado no Brasil, e as obras iniciais, além de registrar as primeiras construtoras e a elaboração das primeiras normas. Nos anos 30 o concreto armado é agente da verticalização e da indústria da construção civil, domínio este comprovado através de dados técnicos e sócio-econômicos. A última parte está dedicada para a análise das obras, onde Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto e Oscar Niemeyer são os autores dos projetos. Analisados sob o aspecto de sua concepção estrutural e construtiva, os exemplares são divididos em categorias e dentro destas ordenados por cronologia de projeto e execução, onde são apresentados além do texto escrito, ilustrações das obras em andamento, finalizadas e desenhos originais e/ou elaborados por este autor, através de levantamento ou pesquisa.
The purpose of this essay is the analysis of works of the Brazihan modem architecture with carioca base, built in reinforced concrete in the period between 1935 and 1960. It is undeniable that the construction had prominence among the several components that took the Brazihan modem architecture to the international recognition. Inside of the mentioned period, Brazil represented as leader of the universe of the modem architecture, where the exploration of the potential plasticity of the reinforced concrete was applied with great success. The solutions adopted by the Brazihan architects they had great repercussion, to begin for the building of the Brazilian Association of Press of the MMM Roberto of the headquarters of Ministry of Education and Pubhc Health (known as Palácio Gustavo Capanema) that left perplexed architects of the whole world. Signal of the new architecture in the country, these copies were object of expressive and successful innovations in your structural project. To do the analysis of the Brazilian constructions, it is important to study the origins of the reinforced concrete and your applications from your appearance, going by the description of registered patents (or just studied) in Europe and United States, without forgetting of needing names and dates, fundamental to nourish the revindication of influences and precedences. In a second moment, it is studied the arrival of the reinforced concrete in Brazil, and the initial works, besides registering the first builders and the elaboration of the first norms. In the thirties the armed concrete is agent of the verticalization and of the industry of the building site, domain this proven through data technicians and socioeconomic. The last part is dedicated for the analysis of the works, where Affonso Eduardo Reidy, Álvaro Vital Brasil, Lúcio Costa, MMM Roberto and Oscar Niemeyer are the authors of the projects. Analyzed under the aspect of your structural and constructive conception, the copies are divided in categories and inside of these ordered by project chronology and execution, where they are presented besides the written text, illustrations of the works in process, concluded and drawings original or elaborated by this author, through rising or researches.

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Wunderlin, Katja. "První fáze NDR literatury: budovatelská literatura 1949-1956." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-350821.

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This work deals with the first phase of the GDR literature, the so-called Aufbauliteratur. It shows how the GDR dealt during the years 1949 to 1956 with the fascist past and how the newly formed socialist state was built. The contemporary literature of the GDR reflects the efforts to reeducate people in the sense of the socialist ideas and to portray the daily life of the new socialist republic. In the meantime this literature should boost the working people to increase the production and to build a socialist economy. The aim of my work is to show the reflection of the former reality in the literature. As a basis for this analysis there are five selected works from Eduard Claudius Mensch an unserer Seite, Hans Marchwitza Roheisen, Elfriede Brüning Regine Haberkorn, Jan Koplowitz Unser Kumpel Max, der Riese und Harry Thürk Die Herren des Salzes. Keywords: GDR, Aufbauliteratur, socialist state, working people, production, re-education, Eduard Claudius, Hans Machwitza, Jan Koplowitz, Harry Thürk, Elfriede Brüning

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Gariazzo, Mariana Stratta. "Argentine music for flute with the employment of extended techniques: an analysis of selected works by Eduardo Bértola and Marcelo Toledo." Thesis, 2005. http://hdl.handle.net/2152/1538.

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Gariazzo, Mariana Stratta 1972. "Argentine music for flute with the employment of extended techniques : an analysis of selected works by Eduardo Bértola and Marcelo Toledo." 2005. http://hdl.handle.net/2152/12954.

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