Academic literature on the topic 'Rafael (1935-....)'
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Journal articles on the topic "Rafael (1935-....)"
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Almaluces Figueroa and Carmen G. Romero. "Rafael Luis Ramírez, 1935–2009 Bibliografía." Caribbean Studies 37, no. 1 (2009): 243–48. http://dx.doi.org/10.1353/crb.0.0099.
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KHARITONOVA, NATALIA. "El viaje transatlántico de Rafael Alberti en 1935." Bulletin of Hispanic Studies: Volume 98, Issue 4 98, no. 4 (April 1, 2021): 339–56. http://dx.doi.org/10.3828/bhs.2021.20.
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This article studies, from the perspective of Transatlantic Studies, literary works by Rafael Alberti along with archival documents concerning his travel to the Americas in 1935. In his poetry collection, 13 bandas y 48 estrellas. Poema del Mar Caribe and travel diary, ‘Encuentro en la Nueva España con Bernal Díaz del Castillo’, published in 1936, Alberti challenges the traditional perception of Latin American republics as former colonies. Although Alberti insists on his affiliation with the anti-imperialism of the Comintern, the article reveals an underlying conflict in the dialogue established by the Spanish poet within the American space. His writings rework components of conservative political doctrine such as Hispanoamericanismo and literary exoticism. In addition, Alberti exploits Hermann Keyserling’s conception of tellurism to shape his vision of the Americas. The article shows how the innovative message of solidarity with Latin America emerges in Alberti’s work on the basis of a complex ideological and aesthetic ground.
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Maldonado-Veloza, Fabio Enrique. "Los conflictos alrededor del “cambio institucional” petrolero venezolano entre 1936 y 1943 [Primera parte]." Revista CIFE: Lecturas de Economía Social 14, no. 20 (June 22, 2012): 27. http://dx.doi.org/10.15332/s2248-4914.2012.0020.02.
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Los ministros Néstor Luis Pérez (1936-1938) y Manuel Rafael Egaña (1938-1941 y 1949) en el gobierno de López Contreras (1936-1941) hicieron importantes contribuciones al desarrollo del marco institucional petrolero después de la muerte de Gómez en diciembre de 1935. La gestión de estos ministros tuvo que enfrentar las demandas que las compañías petroleras internacionales ejercieron en bloque contra la nación desde 1937, a raíz de la promulgación de la Ley sobre Hidrocarburos y demás Minerales Combustibles de 1936. Con esa ley, el Estado intentó suprimir la exoneración de derecho de importación a las concesiones anteriores a esa ley. A pesar de que la nación perdió todas las demandas entre 1938 y 1941, Pérez y Egaña lograron encontrar los mecanismos adecuados para compensar esas derrotas jurídicas formales. Con esos mecanismos informales lograron promocionar los éxitos que desesperadamente necesitaba el Estado venezolano para configurar el cambio institucional que el país estaba pidiendo en cuanto a obligar a las compañías internacionales a someterse a un régimen de impuestos no específicamente petroleros (derechos de importación). Aquí se examina ese proceso que allanó el camino para el espectacular éxito de la posterior Ley de Hidrocarburos de 1943 desde el enfoque neoinstitucional de Douglass North.
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Veloza, Fabio Maldonado. "Los conflictos alrededor del “cambio institucional” petrolero venezolano entre 1936 y 1943." Revista CIFE: Lecturas de Economía Social 14, no. 21 (July 1, 2012): 113. http://dx.doi.org/10.15332/s2248-4914.2012.0021.05.
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<p align="justify">Los ministros Néstor Luis Pérez (1936-1938) y Manuel Rafael Egaña (1938-1941 y 1949) en el gobierno de López Contreras (1936-1941) hicieron importantes contribuciones al desarrollo del marco institucional petrolero después de muerte de Gómez en diciembre de 1935. La gestión de estos ministros tuvo que enfrentar las demandas que las compañías petroleras internacionales ejercieron en bloque contra la Nación des- de 1937 a raíz de la promulgación de la Ley sobre Hidrocarburos y demás Minerales Combustibles de 1936. Con esa ley, el Estado intentó suprimir la exoneración de dere- cho de importación a las concesiones anteriores a esta. A pesar de que la Nación perdió todas las demandas entre 1938 y 1941, Pérez y Egaña lograron encontrar los mecanis- mos adecuados para compensar esas derrotas jurídicas formales. Con esos mecanismos informales, lograron promocionar los éxitos que desesperadamente necesitaba el Estado venezolano para configurar el cambio institucional que el país estaba pidiendo en cuan- to a obligar a las compañías internacionales a someterse a un régimen de impuestos no específicamente petroleros (derechos de importación). Aquí se examina ese proceso que allanó el camino para el espectacular éxito de la posterior Ley de Hidrocarburos de 1943 desde el enfoque neo institucional de Douglass North.</p>
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Quevedo, Charles, and Lorena Soler. "El primer Partido Comunista del Paraguay, la Internacional Comunista y la guerra del Chaco." Avances del Cesor 17, no. 22 (June 6, 2020): 105–25. http://dx.doi.org/10.35305/ac.v17i22.1052.
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Este trabajo indaga los primeros años del Partido Comunista del Paraguay tomando como ejes su inserción como sección nacional de la Internacional Comunista y sus relaciones con esa organización mundial fundada a través de su órgano regional: el Secretariado Sudamericano. En primer lugar, se ocupa de los conflictos que tuvieron lugar entre la sección nacional paraguaya y la Komintern en un contexto de inminencia de la Guerra del Chaco (1932-1935). Estos desacuerdos estuvieron relacionados con las posibilidades de la sección paraguaya de aplicar las tácticas contra la guerra impulsadas por la Internacional Comunista y con la crisis interna del Partido Comunista de Argentina (1927-1928) que tuvo como consecuencia la escisión del grupo liderado por Penelón. Posteriormente, estudia algunos aspectos de la actividad de los comités antiguerreros en Paraguay, expresión de los movimientos antibélicos impulsados por el Komintern que buscaban transformar la guerra en revolución social. Por último, se analiza el período posterior al final del conflicto bélico que dio lugar a la “revolución Febrerista” (1936), movimiento que aglutinó a diferentes sectores unificados por el nacionalismo y el antiliberalismo. Para entonces, la estrategia de la Komintern, a partir de su VII Congreso en 1935, había experimentado un viraje priorizando la formación de frentes populares, lo que llevó al comunismo paraguayo a integrar la coalición que dio sustento al gobierno de Rafael Franco (1936-1937). La nueva estrategia permitió al PCP, salir del aislamiento político y crecer en la inserción en el mundo obrero paraguayo.
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Idsa E. Alegría Ortega. "In Memoriam Dr. Rafael l. Ramírez Vergara (1935–2009)." Caribbean Studies 37, no. 1 (2009): 217–23. http://dx.doi.org/10.1353/crb.0.0114.
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Fernández Tercero, Alma. "Galería en tributo al pintor costarricense Rafa Fernández (1935-2018)." ÍSTMICA Revista de la Facultad de Filosofía y Letras 1, no. 23 (March 13, 2019): 69. http://dx.doi.org/10.15359/istmica.23.7.
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El pintor Rafael Ángel Fernández Piedra, fallecido en 2018, es considerado uno de los artistas más representativos de Costa Rica, cuya obra ha tenido también una proyección internacional considerable, al formar parte de la Colección del Museo José Luis Cuevas en Ciudad de México, así como de la Colección del Museo Rally de Arte Contemporáneo, en Punta del Este, Uruguay, entre otros. Obtuvo el premio Aquileo J. Echeverría en Artes Plásticas en 1968, 1972 y 1975, así como el premio Nacional de Cultura Magón en 2002, el más importante galardón que otorga el Estado costarricense en reconocimiento a una vida dedicada a la cultura. Como homenaje póstumo a este insigne creador, en esta edición la Revista Ístmica convierte su sección de Artes Visuales en una galería virtual dedicada a la exposición de parte de su obra, comentada sentidamente por su hija, la curadora y también artista, Alma Fernández.
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Massot i Muntaner, Josep. "Cartes de Palmira Jaquetti a Rafael Patxot i Jubert (1938–1939)." Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, no. 9 (December 14, 2020): 95. http://dx.doi.org/10.17345/elop202095-123.
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Aquest treball es basa en nou cartes, inèdites i desconegudes fins ara, procedents d’un arxiu privat, adreçades per la professora, poeta i folklorista Palmira Jaquetti (Barcelona, 1895 – els Monjos, 1963) al gran mecenes català Rafael Patxot i Jubert (Sant Feliu de Guíxols, 1872 – Ginebra, 1964). Escrites el 1938 i el 1939, durant els anys finals de la guerra civil espanyola, ens permeten de conèixer tot un seguit de detalls nous sobre la malaltia crònica que va patir Jaquetti des del 1934 i sobre les seves vicissituds biogràfiques. Abandonada pel seu marit el 1937, va poder sortir de l’hospital el 1938 i de seguida es va reincorporar a l’Institut Pi i Margall de Barcelona, on ensenyava francès. Gran col·laboradora de l’Obra del Cançoner Popular de Catalunya, patrocinada per Patxot, va aconseguir un permís per traslladar-se durant una temporada d’estiu a Prats de Molló, a la Catalunya del Nord. Va poder dur-ho a terme, però el seu estat de salut l’obligà a dedicar- se només al descans. En acabar la guerra, fou sotmesa a un expedient de depuració, resolt el 1941 d’una manera relativament benigna. Malgrat la repressió franquista, va continuar encara les seves recerques folklòriques —que l’havien duta a recollir deu mil cançons populars catalanes—, tant a la vall d’Aran com en sis asils de Barcelona.
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Pulido Mendoza, Manuel. "La recepción de la huelga de Asturias en la prensa de izquierdas de Nueva York: nuevos datos sobre María Teresa León y Rafael Alberti en 1935." Revista de literatura 72, no. 143 (June 30, 2010): 187–226. http://dx.doi.org/10.3989/revliteratura.2010.v72.i143.209.
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Михель, Дмитрий Викторович. "VISUAL STORIES ABOUT PRIMATES AND PRIMATOLOGY AS STORIES OF SOMETHING MORE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(29) (June 18, 2021): 116–39. http://dx.doi.org/10.23951/2312-7899-2021-3-116-139.
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Цель исследования – проанализировать серию визуальных историй, характеризующих культурный опыт восприятия приматов и приматологии в Советском Союзе 1930-х годов и в США в период с 1963 года по настоящее время. Объектом изучения избраны иллюстративные материалы к книге Надежды Ладыгиной-Котс «Дитя шимпанзе и дитя человека» (1935); фото и киноматериалы середины 1930-х годов, изображающие опыты с участием шимпанзе, которые проводились в лаборатории академика Ивана Павлова в Колтушах; фото и видеоматериалы о полевой научной работе Джейн Гудолл в Национальном парке Гомбе в Танзании, представленные в изданиях компании «National Geographic»; цикл кинофильмов о «Планете обезьян», созданных компанией «20th Century Fox» с 1968 по 1973 год. В статье утверждается, что визуальные истории о приматах и приматологии всегда являются историями о чем-то большем, поскольку они являются еще одним типом текста, который разворачивает себя в соответствии с тем, как мы его видим и чувствуем, как переживаем, а также в соответствии с тем, что мы еще знаем о предметах, которые отражаются в этих образах. В рамках данной статьи обсуждаются следующие вопросы. О чем говорили эти истории своим современникам? О чем они могут сказать нам сегодня? О чем мы можем узнать еще благодаря этим визуализациям? В статье показано, что визуальное повествование, представленное в иллюстрациях к книге Надежды Ладыгиной-Котс, можно рассматривать не только как еще один тип повествования о научной работе, но и как рассказ о частной жизни ученого-женщины, которая превратила ее в поле научного эксперимента. Образы шимпанзе, участвующих в экспериментах ученых лаборатории академика Павлова, представленные в выпусках журнала «Огонек» 1934 и 1935 года и научно-популярном фильме «Роза и Рафаэль», можно воспринимать как фрагмент визуального повествования о величии советской науки и о советском образе жизни. Фото и видеоматериалы о работе Джейн Гудолл в африканском лесу, производство которых поставил на поток «National Geographic», бесспорно, представляют собой повествование о потаенной мечте западной цивилизации о том, как вернуться в первобытный рай, который давно утрачен. Киноэпопея «Планета обезьян», созданная Артуром Джейкобсом и его командой, – это не что иное, как опыт визуализации застарелых страхов американского общества, озабоченного расовыми конфликтами и неясностью своего будущего. Визуальные истории о приматах и приматологии – это всегда истории о том, что еще можно увидеть по прошествии времени. The aim of the study is to analyze a series of visual stories characterizing the cultural experience of perception of primates and primatology in the Soviet Union in the 1930s and in the United States from 1963 to the present. The object of the study is illustrative materials for the book The Chimpanzee Child and the Human Child (1935) by Nadezhda Ladygina-Kots; photo and film materials of the mid-1930s depicting experiments with chimpanzees that were conducted in the laboratory of Academician Ivan Pavlov in Koltushy; photos and videos of Jane Goodall’s field research work in Gombe National Park, Tanzania, presented in the publications of “National Geographic”; a series of films about the Planet of the Apes created by the 20th Century Fox during 1968–1973. The article argues that visual stories about primates and primatology are always stories about something more because they are another type of text that unfolds according to how we see and feel it, how we experience it, and what we still know about the objects that are reflected in these images. This article discusses the following questions: What did these stories tell their contemporaries about? What can they tell us today? What else can we learn about through these visualizations? The article shows that the visual narrative, presented in the illustrations for the book by Ladygina-Kots, can be considered not only as another type of narrative about research work, but also as a story about the private life of a female scientist, who turned it into a field of scientific experiment. Images of chimpanzees participating in the experiments of the scientists of Academician Pavlov’s laboratory, presented in the issues of the Ogonyok magazine of 1934 and 1935 and in the popular science film Rosa and Rafael, can be perceived as a fragment of a visual narrative about the greatness of Soviet science and the Soviet way of life. Photos and videos of Jane Goodall’s work in the African forest, which were produced by National Geographic, are undoubtedly a story about the hidden dream of Western civilization about how to return to the primitive paradise, which has long been lost. The epic film Planet of the Apes, created by Arthur Jacobs and his team, is nothing more than an experience of visualizing the long-standing fears of American society preoccupied with racial conflicts and the uncertainty of its future. Visual stories about primates and primatology are always stories about what else can be seen over time.
Dissertations / Theses on the topic "Rafael (1935-....)"
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Escobar, David. "Mémoire et édition pendant la transition démocratique espagnole : la collection "Espejo de España" des Editions Planeta de 1973 à 1978." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30044.
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La collection “Espejo de España”, créée en 1973 par le directeur littéraire Rafael Borràs Betriu pour le compte des Editions Planeta, répond à une attente particulière du lectorat de l’époque. Cette collection survient dans le marché éditorial alors que la dictature franquiste vit ses derniers soubresauts et que s’annoncent des changements politiques majeurs. Dans ce contexte, après une dictature dont l’un des soucis fut la préservation d’une mémoire officielle univoque, les volumes de la collection « Espejo de España » apportent des éclairages plus équilibrés sur l’histoire immédiate du pays, ce qui est rendu possible par une censure moins sévère par la force des choses. De ce fait, le lecteur trouve dans ces ouvrages des éléments qui lui permettront de mieux appréhender l’instant historique de la transition démocratique. Cependant, cette collection est l’aboutissement d’un parcours intellectuel que Rafael Borràs débuta au milieu des années cinquante dans le monde du livre. Il créa tout d’abord une revue culturelle à l’esprit ouvert, La Jirafa, puis travailla successivement dans plusieurs maisons d’édition au sein desquelles il affina des projets tournés vers la récupération d’un passé proscrit par la dictature. En outre, l’aboutissement d’ « Espejo de España » ne peut s’entendre que par l’alliance objective de deux dynamiques complémentaires. La collection voit le jour aux éditions Planeta et bénéficie donc de toutes les facilités inhérentes à une maison d’édition prospère économiquement. Qui plus est, cette collection est portée de manière relativement autonome par son directeur Rafael Borràs qui trouve ainsi les moyens de la diffuser à une échelle assez largeThe collection entitled “Espejo de España”, which was created in 1973 by literary director Rafael Borràs Betriu on behalf of Planeta Publishings, came up to the specific expectations of the readership of that time. This collection was issued in the publishing market while the Francoist dictatorship was drawing to a close and major political events were about to emerge. Within this context, in the aftermath of a dictatorship whose main concern had been the preservation of a one-sided official memory, the volumes of the collection “Espejo de España” shed a more balanced light on the immediate history of the country, which was made possible both by a less severe censorship and by force of circumstances. In this respect, these books provide the reader with a real insight into the democratic transition and allow a better grasp of its historical scope. However, this collection is the outcome of an intellectual path initiated by Rafael Borràs in the book world in the middle of the fifties. He first created “La Jirafa”, a cultural review with an open-minded outlook, and then went on to work successively within several publishing houses, which allowed him to refine his projects focused on the recuperation of a past proscribed by the dictatorship. Furthermore, the outcome of “Espejo de España” can only be fully grasped through the objective alliance of two complementary dynamics. The collection came to light in Planeta Publishing and was therefore furthered by a publishing house which was economically prosperous. What is more, this collection was supported in a relatively autonomous way by his director Rafael Borràs who was then able to issue it on a fairly large scale
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Folz, Olivier. "L'évolution du système politique vénézuélien de 1936 à l'accession au pouvoir d'Hugo Rafael Chavez Frias : ruptures, conflits et transformations." Thesis, Nancy 2, 2010. http://www.theses.fr/2010NAN21016.
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Koukoutsi-Mazarakis, Valeria E. 1962. "José Rafael Moneo Vallés: 1965-1985." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8667.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (leaves 249-260).
Rafael Moneo, a Spanish architect and educator who has been practicing architecture in Madrid since 1965, rose in the profession from local practitioner to designer of international reputation in the mid-1980s with his Museum of Roman Art in MWrida (1980-86) and into the highest ranks of academe when he assumed the chairmanship of the Department of Architecture at the Graduate School of Design at Harvard University (1985-1990). Moneo's work falls into three distinct periods: the pre-Harvard Spanish years (1965-85), the five Harvard years (1985-90), and the post-Harvard international years (1990-present). This dissertation traces the systematic and reflective character of Moneo's double practice up to 1985; it fits his uninterrupted professional practice into the context of his academic career, suggesting that his commitment to both professional practice and knowledge of the discipline is what led him to form a coherent philosophy of design. Throughout the years the contents of his teaching and writing have imbued his built projects with a programmatic character derived from his critique of modern architecture in the 1960s, investigations in architectural theory in the 1970s, and interpretation of the history of Western architecture in the early 1980s and allowed him to achieve a synthetic reading of the modern within the Western tradition of building.
(cont.) It is his drive to design and explain the building, not as part of a local tradition, but as the work of a cultured architect able to transcend national borders that has allowed him to have an all-encompassing career that combines practice and teaching. Moneo is generally considered to be the most independent thinker and the most intellectual of the architects of his generation. Through the influence of the Spanish philosopher Jose Ortega y Gasset Moneo's ability to "reabsorb his circumstances" was a source of necessity and freedom to connect practice with intellect: he could become both architect and educator furthering the cultural development of Spain. Using the Italian aesthete Luigi Pareyson's theory of "formativity," which regards material and form as inseparable, Moneo realized that the making of architectural form lay in its construction and formalized the principles of his philosophy of design.
by Valeria E. Koukoutsi-Mazarakis.
Ph.D.
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Cerigioli, Marcelo Maciel. "Rafael Alberti: leituras do Museu do Prado." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-22082012-115640/.
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A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado.This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
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Capdevila, Lauro. "La dictature de trujillo. 1930-1961." Paris 8, 1996. http://www.theses.fr/1996PA081144.
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A partir d'un examen critique des sources primaires, la these analyse les conditions de l'apparition, du developpement puis de la disparition de la dictature dominicaine. L'occupation nord-americaine entre 1916 et 1924 permet la constitution d'une armee entrainee aux taches policieres. Trujillo peut ainsi s'emparer du pouvoir. Il organise un puissant appareil militaire, bureaucratique et politique et se fait le chantre de l'ordre panamericain. Le massacre de milliers d'haitiens en 1937 marque le debut d'une grave crise. Avec la deuxieme guerre mondiale la dictature retrouve sa place en amerique. Mais au sortir de la guerre, trujillo doit lutter contre divers perils : le departement d'etat nord-americain, l'opposition ouvriere et sociale et les exiles, soutenus par plusieurs gouvernements. Avec la guerre froide, la dictature atteint son apogee. Trujillo se veut le porte-drapeau de l'anticommunisme dans la region. La politique d'immigration, l'alliance avec franco, le concordat avec le vatican et le projet de phare a colomb sont celebres. Le degel reduit l'espace politique de la dictature. La maison-blanche donne la priorite a l'elimination de castro. L'eglise se desolidarise de trujillo qui menace l'ordre regional. Washington finit par rompre les relations diplomatiques. Un attentat est favorise en 1961. Le dictateur y trouve la mort. En s'effondrant, la dictature laisse une situation inextricable : en 1965, les marines debarquent a nouveau. Efficace relais de l'empire, le regime accumule les contradictions en son sein avant de les liberer brutalement, ebranlant l'ordre panamericain. Ni marionnette, ni independant, trujillo se definit comme un vassal de l'empireBased on a critical examination of the primary sources, the doctoral thesis analyses the conditions of the rise and fall of the dominican dictatorship. The north american occupation, from 1916 to 1924, allows to build up an army trained to the police tasks. Thus, trujillo can take over the power. He organizes a strong military, bureaucratic and political machinery and sets himself up as the supporter of the panamerican order. The slaughter of thousands of haitians in 1937 marks the beginning of a severe crisis. Thanks to the second world war the dictatorship recovers its place in america. But a the end of the war, trujillo has to fight off several dangers : the north american state department, the labour and social opposition and the exiles, supported by several governments. After the cold war, the dictatorship reaches its climax. Trujillo presents himself as the standard bearer of the anticommunism in the area. His immigration policy, the alliance with franco, the concordat with the vatican and the planed lighthouse to columbus are glorified. The thaw reduces the political roop of the dictatorship. The white house considers castro's elimination as a priority. The church dissociates itself from trujillo who threatens the imperial order. Washington breaks the relations. An attempt is furthered in 1961. The dictator finds death. The fall of the dictatorship leaves an inextricable situation : in 1965, the marines land again. Efficient relay of the empire, the regime accumulates contradictions before releasing them roughly, shaking the panamerican order
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Bazing, Edgar. "Internationale Lyrik zum Spanischen Bürgerkrieg, 1936-1939 : ästhetische und politische Tendenzen in Gedichten von Rafael Alberti, Erich Arendt, Paul Eluard, Stephen Spender und anderen /." St. Ingbert : Röhrig, 2001. http://catalogue.bnf.fr/ark:/12148/cb414598310.
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Beegle, Melissa. "Rafael Seligmann and the German-Jewish Negative Symbiosis in Post-Shoah Germany: Breaking the Silence." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1181192526.
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Guimarães, João Paulo Duque Lobe. "Imagens da mulher n' A Paródia (1900-1905): a ironia na voz de Bordalo Pinheiro." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27850.
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Esta tese pretende analisar as imagens de mulheres no semanário A Paródia
(1900-1905) de Rafael e Manuel Gustavo Bordalo Pinheiro, tendo particular ênfase na
ironia que perpassa em toda a obra gráfica de Bordalo. Para o efeito, dividimos a tese em
três capítulos.
No primeiro, fazemos a caracterização do nosso objeto de estudo: conceitos de
jornalismo satírico, a integração da caricatura como género literário, as características da
notícia satírica e alguns conceitos de sátira gráfica. Analisamos este jornal na história do
jornalismo e do jornalismo satírico da época em que foi publicado, referindo alguns
exemplos estrangeiros. Por fim, traçamos a biografia dos seus principais criadores.
No segundo capítulo, contextualizamos a época em questão, tanto ao nível político
como artístico e em termos da história das mulheres. Finalmente, referimos o papel que a
imprensa desempenha na construção de género.
No terceiro capítulo, temos especial atenção com as ferramentas que nos vão
permitir fazer a análise: a iconologia, a literacia visual e aquele que pode ser considerado
o código próprio da caricatura. Este código é subsidiário da Teoria Geral do Humor
Verbal e da análise do discurso humorístico. O ato humorístico, segundo Charaudeau,
utiliza tanto procedimentos linguísticos como discursivos e tem os seus efeitos de
conivência. Após referirmos a importância da Imagologia, procedemos à análise de
estereótipos de atrizes estrangeiras, à análise de imagens de outras mulheres que foram
representadas n’ A Paródia, referimos a condição dos estereótipos detetados como
redução do papel da mulher na época e, finalmente, procedemos a uma análise de
estereótipos de representações femininas de personagens masculinos, que se podem
considerar os travestimentos tão comuns em Rafael Bordalo Pinheiro; Abstract:
This doctoral thesis aims to analyse women’s images in the weekly newspaper A
Paródia (1900-1905) by Rafael and Manuel Gustavo Bordalo Pinheiro, with emphasis on
the irony that spreads through the entire graphic work of Bordalo. With this purpose in
mind, we proceeded to the division of the thesis in three chapters.
In the first one, we characterize our object of study: concepts of satirical
journalism, the integration of the caricature as a literary genre, the characteristics of
satirical news and some concepts of graphic satire. We analyse this newspaper in the
history of journalism and of satirical journalism until the time it was published, referring
to some foreign examples, like French, Brazilian and North American. Finally, we refer
to the biography of its main creators.
In the second chapter, we contextualize the period in question, politically,
artistically and in terms of women's history. Finally, we mention the role that the press
plays in construction of gender.
In the third chapter, we consider the tools that will allow us to develop the
analysis: iconology, visual literacy and what can be called the caricature's specific code.
In order to understand it we need to consider the contributions of the General Theory of
Verbal Humor as well as humorous speech analysis. The humorous act according to
Charaudeau involves linguistic and discursive procedures and has its own effects of
connivance. After considering the importance of Imagology, we analyse the stereotypes
of foreign actresses, as well as the images of other women represented in the newspaper,
we refer to the condition of the stereotypes detected and which were determinant to reduce
the role of women at the time, and finally we analyse female stereotypes representation
of male characters, which can be called the travestisms that were so frequent in Rafael
Bordalo Pinheiro.
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Borges, Luís Fabiano Farias. "Trajetória estilística do choro : o idiomatismo do violão de sete cordas, da consolidação a Raphael Rabello." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/4070.
Full textAbstract:
Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2008.Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2010-04-06T14:51:41Z No. of bitstreams: 1 2009_LuisFabianoFariasBorges.pdf: 7568710 bytes, checksum: 4fe60b9ca77ea8dd4f8becf02564d53c (MD5)
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Este trabalho visa a explorar os recursos estilísticos do violão de sete cordas no choro brasileiro. Após uma breve discussão acerca dos pioneiros do choro, que se justifica pelo repertório tradicional ao qual o violão de sete cordas se vincula, seguida de uma análise da contribuição violonística de Aníbal Augusto Sardinha, o Garoto, abordamos as modificações de ordem técnica e timbrística que ocorreram, sobretudo, ao longo da segunda metade do século XX no Brasil, com Dino Sete Cordas e Raphael Rabello. Considerados os maiores expoentes do referido instrumento, tiveram o choro como base musical e coadunaram recursos provenientes de outros gêneros, o que contribuiu sobremaneira para transformações organológicas e estilísticas do violão de sete cordas no choro. Tais transformações, as quais consubstanciaram um estilo de tocar, se tornam relevantes na medida em que diversos gêneros e estilos de música instrumental encontraram no choro o ponto de referência. Propomos ainda uma divisão da obra de Rabello em duas fases: a primeira concerne à fase acompanhadora, na qual predomina o estilo tradicional, anteriormente consolidado por Dino; e uma segunda fase, quando se observa uma valorização do repertório solista, cujos elementos virtuosísticos e possibilidades timbrísticas são transpostos para o estilo de acompanhamento de instrumentistas e cantores. Pouco explorados pelos violonistas de sua época, tais elementos evidenciam um estilo não-tradicional para a obra do violão de sete cordas solista de Rabello. As inovações estilísticas são mais bem compreendidas se contextualizadas pelos conceitos inseridos no âmbito das ciências sociais (hibridismo e tradição), os quais corroboram a hipótese de que os dois estilos supracitados coexistem pacificamente. Verifica-se, portanto, que a união de estilos em Rabello foi determinante para que o violonista se tornasse uma das principais referências do instrumento na atualidade e consolidasse o violão de sete cordas solista no Brasil. _______________________________________________________________________________ ABSTRACT
This work aims at exploring the stylistic resources of the seven string-guitar in the Brazilian choro. It presents a brief description of the pioneers of choro, which is justified due to the traditional repertoire which the seven-string guitar covers, followed by an analysis of Garotos (Aníbal Augusto Sardinha) guitar contribution, this research deals with the changes of technique and timbre that occurred, mainly during the second half of the 20th century in Brazil, with Dino Sete Cordas and Raphael Rabello. Considered the most important representatives of the seven-string guitar, these musicians had the choro as their musical basis and associated resources from other genres and styles, which strongly contribute to organological and stylistic changes concerning the instrument within the choro. These transformations, which consecrated a way of playing, were meaningful since many instrumental music genres and styles found their reference in the choro. Furthermore, we propose a division of Rabellos work in two periods: one of them refers to the accompaniment phase, which reflects mainly traditional features like those which were consolidated by Dino Sete Cordas; and the second one, when one notices an increasing number of solo pieces in his repertoire, whose virtuosic elements and timbre possibilities are transposed to the accompaniment style of the instrumentalists and singers. Little explored to his contemporaries, those elements make evident a nontraditional style in Rabellos seven-string guitar work. The stylistic innovations will be more comprehended if contextualized by concepts included in the social science field (hybridism and tradition), which underpin the assumption that both styles mentioned coexist peacefully. One verifies, therefore, that the union of styles in Rabello was determinant so that he could become one of the greatest references of the seven string-guitar nowadays.
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Fontaine, Clarisse. "La trilogie de Rafael Chirbes ou l’histoire d’une génération." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1038/document.
Full textAbstract:
Le présent travail se consacre à l’étude de la trilogie de l’écrivain espagnol Rafael Chirbes (1949-2015), constitué de La larga marcha, La caída de Madrid et Los viejos amigos, et à travers laquelle l’auteur retrace l’histoire récente de l’Espagne, depuis la guerre civile jusqu’au retour d’un régime démocratique, en passant par le franquisme. L’étude narrative de chacun des trois romans couplée à une approche collective permettra d’observer comment l’histoire des personnages finit par retracer celle de l’Espagne et celle de la génération désenchantée de l’auteur lui-mêmeThis work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation
Books on the topic "Rafael (1935-....)"
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Rahi, Arturo. La defensa del Chaco: Aporte del coronel Rafael Franco. Asunción, Paraguay: Ediciones F17, 2007.
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Rahi, Arturo. La defensa del Chaco: Aporte del coronel Rafael Franco. Asunción, Paraguay: Ediciones F17, 2007.
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3
Valentí, Rafael Masó i. Rafael Masó i Valentí: Arquitecte, 1880-1935 : exposició produïda i organitzada per la Fundació "la Caixa" dins el marc de l'Any Masó. Barcelona: Fundació Caixa d'Estalvis i Pensions, 2006.
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5
Rafael Moneo: International portfolio 1985-2012. Stuttgart-Fellbach: Edition Axel Menges, 2013.
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Fundació Caixa de Pensions (Barcelona, Spain)., ed. Rafael Durancamps entre 1915-1945: Exposició organitzada per la Caixa de Pensions. Barcelona: Sala d'Exposicions de la Caixa de Pensions, 1990.
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7
Delgado, René Torres. Rafael Bosch (Adjuntas, 1900; Nueva York, 1975). [Santurce, Puerto Rico]: Revista Al Margen, 1988.
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Giaveno, Elena Benedetto de. El Hospital de Caridad: Una respuesta a los problemas de la enfermedad y la pobreza : Rafaela, 1905-1939. Rafaela, Santa Fe: [s.n., 2005.
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9
Nazismo y fascismo en el Paraguay.: Gobiernos de Rafael Franco y Félix Paiva, 1936-1939. Asunción, Paraguay: Editorial Histórica, 1985.
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10
1900-, Torre Guillermo de, and García Carlos 1953-, eds. Correspondencia, Rafael Cansinos Assens--Guillermo de Torre, 1616-1955. Madrid: Iberoamericana, 2004.
Find full textBook chapters on the topic "Rafael (1935-....)"
1
Orel, Harold. "Rafael Sabatini and The Sea-Hawk (1915)." In The Historical Novel from Scott to Sabatini, 151–58. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1057/9780230371491_14.
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Dezza, Ettore, Sergio Seminara, and Thomas Vormbaum. "Raffaele Garofalo (1852–1934)." In Moderne italienische Strafrechtsdenker, 135–51. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-24839-9_9.
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"Agitación, propaganda y compromiso en la poesía de Rafael Alberti (1931-1935)." In Cosas que el dinero puede comprar, 21–50. Vervuert Verlagsgesellschaft, 2018. http://dx.doi.org/10.31819/9783954876396-002.
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"Sánchez, Luís Rafael (1936–)." In Encyclopedia of Lesbian and Gay Histories and Cultures, 1254–62. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-148.
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"1925." In Correspondencia Rafael Cansinos Assens / Guillermo de Torre, 197–210. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964565204-012.
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"1932." In Correspondencia Rafael Cansinos Assens / Guillermo de Torre, 213–14. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964565204-014.
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"1934." In Correspondencia Rafael Cansinos Assens / Guillermo de Torre, 215–16. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964565204-015.
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"1945." In Correspondencia Rafael Cansinos Assens / Guillermo de Torre, 217–18. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964565204-016.
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"1955." In Correspondencia Rafael Cansinos Assens / Guillermo de Torre, 221–22. Vervuert Verlagsgesellschaft, 2004. http://dx.doi.org/10.31819/9783964565204-018.
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"Rafael Arévalo Martínez 1884–1975." In Encyclopedia of Latin American Literature, 127–49. Routledge, 1997. http://dx.doi.org/10.4324/9780203304365-16.
Full textConference papers on the topic "Rafael (1935-....)"
1
Ruíz Suaña, Jose Antonio, and Jesús López Díaz. "El epígono de El Modulor: La serie amarilla en las investigaciones de Rafael Leoz." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.793.
Full textAbstract:
Resumen: El arquitecto español Rafael Leoz de la Fuente (1921-1976) antes de terminar sus estudios en 1955, comenzó a colaborar con otros compañeros en la realización de proyectos de vivienda social. Su experiencia en la obra del Poblado Dirigido de Orcasitas, le llevó a iniciar un proceso investigador al que dedicó gran parte de su trabajo. Los trabajos teóricos del arquitecto tuvieron una importante difusión y repercusión internacional, en gran parte, fruto de su amistad con Jean Prouvé y Le Corbusier. La sintonía personal y coincidencia de intereses entre ellos llevaron a éste último a proponer a Rafael Leoz como miembro del Cercle d'Études Architecturales de París en 1962. Dentro de su ambicioso proyecto de investigación teórica Rafael Leoz estableció dos objetivos consecutivos, por una parte la ordenación abstracta del espacio, para posteriormente organizar y construir el espacio concreto en que habitan las personas. A partir de las publicaciones de Rafael Leoz y documentación original de su archivo, se intentará precisar las relaciones personales y profesionales entre Le Corbusier y Rafael Leoz. Así mismo se mostrarán los vínculos entre El Modulor de Le Corbusier y las investigaciones de Rafael Leoz, sus propuestas modulares y dimensionales a partir de la Serie Amarilla como complemento y consecuencia de las series Roja y Azul del Modulor, llegando hasta el desarrollo de organizaciones de vivienda social. Abstract: The Spanish architect Rafael Leoz de la Fuente (1921-1976) before finishing his studies in 1955, began to collaborate with other partners in the realization of social housing projects. His experience in the work of the Poblado Dirigido de Orcasitas, led him to initiate a research process to which he dedicated much of his work. The theoretical works of the architect had an important dissemination and international impact, to a large extent, due to his friendship with Le Corbusier and Jean Prouvé. Personal tuning and coincidence of interests between them, led Le Corbusier to propose to Rafael Leoz as a member of the Cercle d'Études Architecturales in Paris in 1962. Within this ambitious project of theoretical research Rafael Leoz established two consecutive goals, on one hand, the abstract spatial planning, to later organize and build a specific space in which people dwell. From publications of Rafael Leoz and original documentation of his files, this paper tries to clarify personal and professional relationships between Le Corbusier and Rafael Leoz. Also pretends to establish some links between the Modulor of Le Corbusier and Rafael Leoz investigations. Moreover it will show Leoz’s modular and dimensional proposals from the Yellow Series both as a complement and a result of the Red and Blue series of the Modulor, reaching the development of organizations of social housing. Palabras clave: Rafael Leoz; Le Corbusier; Modulor; construcción modular; prefabricación; vivienda social. Keywords: Rafael Leoz; Le Corbusier; Modulor; modular construction; prefabrication; social housing. DOI: http://dx.doi.org/10.4995/LC2015.2015.793