Dissertations / Theses on the topic 'Rafael (1935-....)'

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 large
The 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

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.

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.

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'empire
Based 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

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.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, 2008.
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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.

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-même
This 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

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
In this thesis, an analysis of the caricature work of Rafael Bordalo Pinheiro (1846-1905) is made, in order to understand how this Portuguese intellectual showed several aspects related to Brazilian society in his satirical publications. Known as the greatest Portuguese caricaturist of the nineteenth century, Bordalo also worked professionally in Brazil between 1875 and 1879, but his compositions about the country precede this stay and extend for several years after his return to Portugal. Understanding how Brazil was presented throughout all these years, the elements that influenced the author's view of the country and the possible functions that such compositions have in their work are the main objectives of this work. The study is based on the hypothesis that Brazil constitutes a transnational axis of reflection in the work of the author, being used as an instrument to think the Portuguese society and, on the other hand, having its interpretation influenced by the conceptions of the caricaturist about Portugal, in a constant process of interlocution between the two shores of the Atlantic. In order to carry out such research, we will analyze compositions produced before, during and after the stay, present in the periodicals and albums of caricatures produced by Bordalo in both Portugal and Brazil.
Nesta tese, realiza-se uma an?lise sobre a obra caricatural de Rafael Bordalo Pinheiro (1846-1905), a fim de compreender como este intelectual portugu?s mostrou v?rios aspectos relativos ? sociedade brasileira em suas publica??es sat?ricas. Conhecido como o maior caricaturista portugu?s do s?culo XIX, Bordalo tamb?m atuou profissionalmente no Brasil entre 1875 e 1879, mas suas composi??es sobre o pa?s precedem esta estadia e se estendem para v?rios anos ap?s seu retorno a Portugal. Compreender a maneira como o Brasil fora apresentado ao longo de todos estes anos, os elementos que influenciavam a vis?o do autor sobre o pa?s e as poss?veis fun??es que tais composi??es possuem em sua obra ? o principal objetivo deste trabalho. O estudo parte da hip?tese de que o Brasil se constitui enquanto um eixo transnacional de reflex?o na obra do autor, sendo utilizado como instrumento para pensar a sociedade portuguesa e, por outro lado, tendo sua interpreta??o influenciada pelas concep??es do caricaturista sobre Portugal, em um constante processo de interlocu??o entre as duas margens do Atl?ntico. A fim de realizar tal investiga??o, ser?o analisadas composi??es produzidas antes, durante e ap?s a estadia, presentes nos peri?dicos e ?lbuns de caricaturas produzidos por Bordalo tanto em Portugal quanto no Brasil.

La figure de l'ange est particulièrement présente dans l'œuvre poétique de G. Diego, R. Alberti et F. Garcia Lorca. Ce travail analyse en premier lieu les rapports que ces trois poètes établissent entre la créature céleste et le monde. Influencés par leur éducation religieuse et leur milieu, ils évoquent sa nature, sa vocation et son action sur l'univers. La seconde partie s'intéresse aux liens qui unissent les anges et l'homme. Les trois poètes décrivent des apparitions et construisent des représentations mentales de l'ange. Certains moments de la vie -péché, mort, solitude, rêve, souffrance- sont propices à sa présence et l'associent à la condition humaine : soumis au temps et à la matière, il prend corps et devient symbole de l'amour. Sont étudiées, enfin, les relations existant entre l'ange et la culture. Douée d'intelligence, capable de communiquer, l'entité spirituelle agit sur la volonté de l'homme et inspire ses productions artistiques. L'étude comparée, à la fois thématique et stylistique, du motif de l'ange chez Diego, Alberti et Lorca révèle en fin de compte les relations que ces trois poètes entretiennent avec Dieu, l'homme et leur environnement spatio-temporel
The character of the angel is well represented in the poetic works of G. Diego, R. Alberti and F. Garcia Lorca. This work will first analyse the links the above three poets establish between the heavenly creature and the world. Influenced by their religious upbringing and surroundings, they evoke its nature, its calling and its effect on the universe. The second part will examine the links between angels and Man. These three poets describe apparitions and build up mental images of angels. Specific moments in life -sin, death, loneliness, dream, suffering- are propitious to its appearance and tie it to the human condition : enslaved by time and matter, it takes human form and becomes the symbol of love. Lastly, we will study the relationship between angel and culture. Endowed with intelligence and capable of communicating, the spiritual being can act upon man's will and inspire his artistic works. The contrasting study, both through theme and style, of the recurring angel leitmotiv in Diego, Alberti and Lorca shows finally the relationships these three poets maintain with God, Man and their own direct environment

Esta tesis doctoral pretende arrojar luz sobre el mayor debate intelectual mantenido con respecto al Ser de España bajo el franquismo (1936-1975). La querella ocupó no pocas páginas de autores tan importantes para el siglo XX español como fueron, el falangista y médico Pedro Laín Entralgo (1908-2001), y el monárquico e historiador Rafael Calvo Serer (1916-1988).
La publicación, en 1949, de sendos volúmenes, España como problema, por parte de Laín Entralgo, y la respuesta, España, sin problema, de la mano de Calvo Serer, estimuló una discusión que venía de lejos en el panorama intelectual español, el conocido como Problema de España.
Como se intentará demostrar, los contenidos de la discusión podían parecer inocuos a ojos de muchos españoles, pero lo que realmente se estaba discutiendo en las páginas de los mencionados autores era una configuración y eventual salida del Régimen creado por el Generalísimo Francisco Franco (1892-1975).
This thesis aims at shed light on the most relevant debate held on the Being of Spain under Francoism (1936-1975). This dispute occupied many pages in the works of two of the most important authors in the 20th century Spain. On the one hand, the Falangist and doctor Pedro Laín Entralgo (1908-2001), on the other, the Monarchist and historian Rafael Calvo Serer (1916-1988).
With two books published in 1949, España como problema, by Laín Entralgo, and the answer, España, sin problema, by Calvo Serer, promoted a discusión that was already present in the Spanish intellectual environment, the Spanish Problem.
As we want to demonstrate, the contents of these two books seemed innocuous to many Spaniards, but what they were really discussing in these pages was the configuration and eventual way out to the political regime created by Generalissimo Francisco Franco (1892-1975).

Le sujet poetique chez lorca et alberti s'inscrit dans l'heritage du symbolisme. La premiere partie etudie le modele orphique du sujet, et ses rapports avec la poesie cubiste. Le questionnement sur l'identite du "yo", a la fois heritier du sujet moderniste et symbole du poete, conduit a une crise du sujet, a la reintroduction du biographique, et a un decalage entre le sujet de l'enonce et le sujet de renonciation. La deuxieme partie est une analyse de renonciation, qui qui fonde selon k. Hamburger le sujet poetique. L'etude des marques de premiere personne, des deictiques, des temps verbaux et des modalites de la phrase montre la cadence rythmique qu'introduit l'inscription du sujet dans le langage poetique. La refondation du rythme par la syntaxe est a l'origine d'une transgression de renonciation. La polyphonie enonciative des oeuvres pose le probleme de la linearite du sujet poetique. La distinction entre discours cite et discours citant aboutit a l'analyse de l'interlocution : "iglesia abandonada" montre la complementarite de l'heterologie et de l'homophonie a travers un sujet poetique a l'identite complexe. La troisieme partie etudie les rapports d'intertextualite entre sujetet objet. L'orientation vers un "tu" fait du discours poetique un dialogue du sujet avec lui-meme et une introspection de l'autre. Le langage evocatoire et l'esthetique du fragmentaire dans sobre los angeles et sermones y moradas: le langage evocatoire questionnent l'heritage romantique. La deconstruction de l'univers symbolique de sa et la figure de l'homme inhabite correspondent a une critique de la societe, plus violente dans sm, marque par l'influence surrealiste. Dans poeta en nueva york, le point de vue, la multiplanearite du texte et les codes poetique, cinematographique et pictural ne remettent pas en question l'objet, dont l'influence de mire souligne le caractere metaphysique. Des concordances lexicales comparees des trois ~uvres figurent dans le deuxieme volume.

Spatialisation, forme ouverte, musique répétitive, théâtre musical, sérialisme, dodécaphonisme, diatonisme, chromatisme, géométrie fractale, électroacoustique et recherches sonores de la musique concrète, alliance musique-science-technologie, multiplicité stylistique, sont, globalement, les notions centrales qui caractérisent l'orientation musicale et esthétique de la musique portugaise des années 90. Ces notions sont illustrées par des exemples tirés des catalogues d'oeuvres de quatre compositeurs et ensuite exemplifiées par des analyses de quatre pièces pour piano : "Mirrors" d'António Pinho Vargas, "Réitérations" de João Rafael, "Pirâmides de Cristal" de João Pedro Oliveira et, "Estudos de sonoridades" de Filipe Pires. Des questions sur l'interprétation sont également soulevées. A travers la notion de geste musical, il nous a été possible par cette étude de confronter interprétation musicale et interprétation analytique. Cette confrontation, nous en rendrons compte succintement en postface. La place de cette réflexion répondant peut-être au choix d'un lien aujourd'hui établi qui aura permis ce travail - de l'exécution à l'analyse -, le même enfin - de l'analyse à l'interprétation
Spatialization, open form, repetitive music, music-theatre, serialism, dodecaphonism, diatonicism, chromatism, fractal geometry, electroacoustic and sound explorations of concrete music, alliance music-science-technology, stylistic multiplicity, are altogether the key notions that characterise the musical and aesthetic orientation of Portuguese music during the nineties. These concepts are illustrated by examples drawn from the work list of four composers and then exemplified by analyses of four piano pieces : "Mirrors", by António Pinho Vargas, "Réitérations", by João Rafael, "Pirâmides de cristal", by João Pedro Oliveira and "Estudos de sonoridades", by Filipe Pires. Issues on interpretation are also raised. Using the notion of musical gesture, the present study confronts musical interpretation and analytical interpretation, as discussed in the postscript. This reflexion resulted from the establishment of a new association, that ultimately made this work possible - from performance to analysis - or else - from analysis to interpretation

This work examines the life of Raffaello Squarise (1856-1945), an Italian maestro who was a leading musician in the city of Dunedin, New Zealand, from 1889 until his retirement in 1933. Squarise worked as a professional in a predominantly amateur musical environment, and this thesis demonstrates his widely-felt presence and discernible influence in Dunedin�s cultural life, through his activities as a violinist, teacher, conductor, and composer. Furthermore, it illustrates the nature of the active musical culture in Dunedin, through Squarise�s participation in established local practices and the contrast provided by the �otherness� of his Italian ethnicity. The thesis shows that a two-way adaptive process took place between Squarise and the Dunedin community, as each engaged with the unfamiliar culture of the other. The success of Squarise�s musical career in the antipodes, it is argued, was based upon his willingness to adapt to the cultural, intellectual, and musical environment of his adopted home. The method used in this study is that of interpretative biography: it conveys the experience of the individual while emphasizing context through the subject�s interaction with his environment. The sources of the research are mainly archival, and include Squarise�s personal papers, newspapers, the archives of local music organizations, and music ephemera. These are augmented by interviews undertaken with some of the few people (nearly sixty years since his death) who knew Squarise. The thesis is a study of the public more than the private man, but the sources are extensive enough to provide a thorough representation of Squarise�s professional activities.

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Nesta dissertação, buscamos investigar os sentidos da existência humana à luz da filosofia de Sartre, mais especificamente em sua obra O Ser e o Nada (1943). Partimos da compreensão do filósofo de que, no que diz respeito à realidade humana, a existência precede a essência e, portanto, não é possível a este modo de ser contar com sentidos prévios ao seu existir. Procuramos, a partir disso, indagar as condições de possibilidade nas quais os sentidos da existência humana aparecem e se constituem. Afinal, se os sentidos não estão dados previamente, cabe questionar de que modo eles são feitos. Com o intuito de investigar os sentidos, portanto, procuramos, ao longo do texto, apresentar as condições de existência do Para-si e sua relação com o mundo – relação na qual o sentido se mostrará fundamental.
In this dissertation, we aim to investigate the meaning of human existence based on Sartre’s philosophy, precisely on his work “Being and Nothingness” (1943). Starting with the philosopher comprehension about the human reality, that the existence precedes the essence, thus, it’s not possible for this kind of being to depend on prior meanings before its existence. We’ll search, with this bottom support, to ask the conditions of possibilities which the meaning of human existence rises and its self-constituted. At last, if the meanings are not given previously, it’s proper to question how they are done. Intending to investigate the meanings, therefore, we’ll seek to show along this text, the conditions of existence of the Being-for-itself and its relation with the world – this relation will show itself extremely fundamental for the constitution of the meaning.

Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Pierre Ouellet affirme que l'altérité est sans aucun doute l'un des phénomènes les plus étudiés et l'un des concepts les plus utilisés par les sciences humaines, les lettres et la philosophie au cours des trente dernières années. Mais c'est aussi une idée des plus polémiques et controversées, même dans les usages plus ou moins idéologiques que l´on peut faire aujourd'hui. Elle conduit donc à ré-interroger les bases épistémologiques, le contexte sociohistorique et la portée éthique et esthétique de ce phénomène, ou cette notion à la lumière de ces différentes significations et leurs différents emplois. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre".
A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sóciohistórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”.
This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. Pierre Ouellet says that alterity is, without a doubt, one of the most studied phenomena and concepts used by Human Sciences, Letters and Philosophy for the last thirty years; but it is also a sense of the polysemous and most controversial uses that can be made today, even in more or less ideological contexts. It directs because the epistemological basis of (re)questioning the sociohistorical context and the ethical and aesthetic scope of this phenomenon, or that notion in light of these different meanings or their various jobs. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "

Cette thèse a pour objet les corrélations existant entre le leadership charismatique populiste et la politique extérieure vénézuélienne alors que, traditionnellement, ces deux objets sont considérés indépendamment l’un de l’autre. L’étude géo-historique de la construction de l’État-Nation vénézuélien aux XIXe et début du XXe siècles explique celle d’une « identité de corps ». L’État précède la Nation qui se construit par le conflit externe et la reconnaissance mutuelle, à la faveur de leaderships politiques dominants (personnalistes et/ou autoritaires) et, pour surmonter le traumatisme suscité par ces conflits et l’échec du projet supranational réunificateur (Grande Colombie), de représentations politiques mythifiantes du peuple et du pouvoir. Ce processus présage le façonnage d’une matrice populiste du politique ayant vocation à compléter cette identité en prolongeant l’interpellation du peuple, tant à l’intérieur qu’à l’extérieur. Ce travail se focalise alors sur les mécanismes de construction et de routinisation du leadership charismatique populiste d’Hugo Chávez Frías et étudie les canaux de diffusion et de globalisation de ce type de leadership qui sont aussi ceux de la diplomatie multiple « bolivarienne ». Ainsi, le peuple n’est plus seulement un groupement de nationaux vénézuéliens mais une communauté « bolivarienne » plus élargie. Le populisme n’est plus envisagé comme un moment ni comme s’exprimant exclusivement sur le territoire national, mais comme un système global qui alimente autant qu’il se nourrit de l’autre et de l’extérieur. La politique extérieure peut alors être analysée sous l’angle d’une politique transnationalisée
This thesis aims to show evidence for existing correlations between populist charismatic leadership and the Venezuelan foreign policy, whilst these two topics are traditionally considered independently from each other. The geo-historical study of the construction of the Venezuelan nation state in the nineteenth and early twentieth centuries explains its « corporate identity ». The state precedes the nation that builds up from external conflict and mutual recognition, for dominant political leadership reasons (personalistic and / or authoritarian), and to overcome the trauma caused by the conflict and the failure of the unifying supranational project (Gran Colombia) by mythifying political representations of the people and power. This process suggests the shaping of a populist political matrix aiming to complete this identity by prolonging the appeal to the people, both inside and outside the country. The work then focuses on mechanisms aiming at building and routinizing Hugo Chávez Frías’s charismatic and populist leadership. It also studies the broadcasting channels and the globalization of this type of leadership which are similar to the « Bolivarian » multiple diplomacy. Thus, the people are no longer just a group of Venezuelan nationals but a much wider « Bolivarian » community. Populism is no longer conceived as a moment nor considered as expressing itself exclusively within the country, but as a global system that feeds as much as it is fed from others and from the outside. Foreign policy can thus be analyzed in terms of a transnationalized policy

Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l'écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d'espace. Partant de l'association traditionnelle du rythme et de la métrique, la première partie observe comment l'espace métrique de l'écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l'espace comme " substance ", c'est-à-dire qu'elle observe l'écriture dans son déroulement même, d'abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l'agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l'écriture sur la page. Cette dernière, corps de l'écriture, révèle dans le poème le corps de l'écrivant. C'est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d'espaces du discours et d'espaces de sens (et d'images) qui implique tout autant le locuteur que le lecteur.

Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l’écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d’espace. Partant de l’association traditionnelle du rythme et de la métrique, la première partie observe comment l’espace métrique de l’écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l’espace comme « substance », c’est-à-dire qu’elle observe l’écriture dans son déroulement même, d’abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l’agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l’écriture sur la page. Cette dernière, corps de l’écriture, révèle dans le poème le corps de l’écrivant. C’est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d’espaces du discours et d’espaces de sens (et d’images) qui implique tout autant le locuteur que le lecteur
Through the combined analysis of six poem books of contemporary Spanish poetry, this thesis aims to define poetic writings and its rhythm. Rhythm is considered in relation with the notion of space. Starting with the traditional association of rhythm and meter, the first part studies how the metrical space of the writing of verses, with its structures and boundaries, involves the law and its transgression. On the other hand, the second part considers space as a “substance”: poetic writing is analyzed through its development in the language and sentences. Centered on the figure of the “line”, the second conception of rhythm also implies temporality, which is included in the words themselves (the verbs) and generated by the combination of the sentences. However, in the poem books, sometimes linearity is deconstructed by different phenomenon that deal with language (the dissolution of syntaxes), verse (the enjambment, the dissemination on various lines), and the page. The last chapter is dedicated to the visibility of writing on the page. As a concretization of the writing act, the page is also a revelation of the writer of the poem. Our third and last part is centered on the subject, its different faces and representations. Rhythm appears, at last, as a mosaic of discursive and semantic spaces that imply the speaker as much as the reader

Cette recherche vise à analyser les figurations de l'altérité, en tenant compte du processus de reconstruction de l'identité des personnages et de leur relation avec la mémoire culturelle, à partir de la lecture de quatre romans O centauro no jardim (1980); Na noite do ventre, o diamante (2005); Os Deuses de Raquel (1975) et A estranha nação de Rafael Mendes (1983). Les relations entre la littérature, l'identité et l'altérité sont au coeur du débat contemporain. Dans la littérature brésilienne contemporaine, les auteurs de différentes ethnies travaillent systématiquement avec les questions de l'immigration, de l'altérité et de la mémoire culturelle. Car, bien que la contribution des immigrants à la formation de notre société ait été d'une importance primordiale, tels éléments ont été représentés de manière timide, voire, homogénéisée, à la fois dans la littérature et dans l'histoire du Brésil. Moacyr Scliar est un auteur d'origine juive qui travailla beaucoup les questions liées à l'identité, à la diversité et aux minorités. Pour cette raison, Scliar lui-même affirme qu'il est nécessaire de "donner la parole à ceux qui ne l'ont pas, en faisant de leurs histoires l'Histoire que la version officielle détourne et pasteurise.". Ainsi, l'auteur, par le biais de l'approche thématique de la vie sociale, ouvre un espace pour la réflexion sur l'altérité. Ainsi, l'étude des "figurations de l'altérité", présentes dans les romans examinés dans cette étude, est nécessaire puisque, dans ces oeuvres, les personnages sont toujours vus, comme dirait Linda Hutcheon, "ex-centriques", "marginalisés", "figures périphériques de l´histoire fictive", c'est-à- dire, ils sont toujours "l'autre", le différent. Les textes choisis interrogent les relations et les conflits culturels à travers la figure de l´ immigrant, un personnage qui est dans une situation limite, "entre deux mondes" et qui a souvent du mal à s´intégrer, n´étant ainsi plus "l'autre"
This research aims to analyze the figurations of alterity, taking into account the process of identitarian (re)construction of the characters and their relation to cultural memory, based on the reading of four Moacyr Scliar’s novels: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983); e, Na noite do ventre, o diamante (2005). The relations between literature, identity and alterity are central to the contemporary debate. In contemporary Brazilian literature, authors from different ethnicities work systematically with the issues of immigration, of alterity and cultural memory. For, although the contribution of immigrants to the formation of our society has been extremely important, these elements were being represented in a shy mode, or even, homogenized, both in Brazilian literature and history. Moacyr Scliar is an author of Jewish origin who works extensively with issues related to identity, diversity and minorities. Scliar, himself, says that it "gives voice to those who do not have it, making their stories to the official version of history that misrepresents them or is pasteurized". This way, the author, through social thematic approach, opens space for reflection on alterity. Thus, the study of “figuration of alterity”, present in the romances analyzed in this research, becomes necessary since in these works the characters are always in a position, as Linda Hutcheon would say, of “ex-centric”, “marginalized”, "peripheral figures of fictional history," this is, they are always “the other”, “the different”. Those chosen texts question the interrelations and cultural conflicts through the figure of the "immigrant" character who is on the borderline "between two worlds" and that often struggles to integrate itself, ceasing, thus, to be "the other. "
A presente pesquisa visa a analisar as figurações da alteridade, levando em consideração o processo de (re)construção identitária dos personagens e sua relação com a memória cultural, a partir da leitura de quatro romances de Moacyr Scliar: Os Deuses de Raquel (1975); O centauro no jardim (1980); A estranha nação de Rafael Mendes (1983) e Na noite do ventre, o diamante (2005). As relações entre literatura, identidade e alteridade estão no centro do debate da contemporaneidade. Pierre Ouellet afirma que a alteridade é, sem nenhuma dúvida, um dos fenômenos mais estudados e um dos conceitos mais utilizados pelas ciências humanas, as letras e a filosofia no curso dos últimos trinta anos. Mas é também uma noção das mais polissêmicas e das mais controversas, até em usos mais ou menos ideológicos que se podem fazer hoje. Ela conduz, pois, a reinterrogar as bases epistemológicas, o contexto sócio-histórico e o alcance ético e estético desse fenômeno, ou dessa noção à luz dessas diversas acepções ou de seus diferentes empregos. Na literatura brasileira contemporânea, autores oriundos de diversas etnias trabalham de maneira sistemática com as questões da imigração, da alteridade e da memória cultural. Pois, embora a contribuição do imigrante para a formação da nossa sociedade tenha sido de suma importância, tais elementos vinham sendo representados de modo tímido, ou até mesmo, homogeneizados, tanto na literatura quanto na história brasileiras. Moacyr Scliar é um autor de origem judaica que trabalha exaustivamente as questões ligadas à identidade, diversidade e às minorias. Scliar, ele mesmo, afirma que é necessário “dar voz àqueles que não a têm, fazendo de suas histórias a História que a versão oficial deturpa ou pasteuriza”. Desta maneira, o autor, através da abordagem da temática social, abre espaço para a reflexão acerca da alteridade. Sendo assim, o estudo das “figurações da alteridade”, presentes nos romances analisados nesta pesquisa, faz-se necessário posto que, em tais obras, as personagens estão sempre em uma posição, como diria Linda Hutcheon, de “ex-cêntricos”, “marginalizados”, “figuras periféricas da história ficcional”, ou seja, são sempre o “outro”, o diferente. Os textos escolhidos interrogam as interrelações e os conflitos culturais através da figura do “imigrante”, personagem que se encontra numa situação limítrofe, “entre dois mundos” e que, frequentemente, luta para integrar-se, deixando, desta forma, de ser “o outro”

És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia. El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp. S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.
Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.
The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.

The fundamental objective of this PhD dissertation is to analyze the architecture thanks to some strategies coming from recent theories developed inside and outside the traditional and usual disciplinary field of architecture. For example, the theory that to confront is to relate. As Paul Ricoeur proposes in one of his books on the theory of poetics, where poetics is the confrontation between the parts. Therefore, the dialogue generated between subjects and between objects from different historical periods through abstractions is the main objective of this dissertation. The concern started when the research intended to identify where is and how the relationship between different times and spaces in a building was carried out, what things remain and what are the innovations in this type of intervention. From the foregoing, I propose the hypothesis that the abstraction of references in the tangible and intangible vestiges of ancient buildings makes the intervention a historical synthesis that generates new relationships between subjects and objects from different eras. It is at this point that the intention to preserve memory is reinforced by the appreciation of the space where it can be found, from an object to a city. The controversy begins when we ask ourselves: what is the best way to intervene in an old building? Times and spaces are synthesized in the chosen cases of study, contemporary museums in coexistence with archaeological remains and historical architectures. The systematic way in which the projection process of a building is carried out is not simple, since it is necessary to establish a series of factors in an orderly manner to arrive at the best result. This order varies according to the architectural program that is intended to develop, so something that could seem a problem such as the fact that there is no single procedure is an advantage, because it allows you to turn to a specific strategy with a unique result. It is considered that having a specific strategy is to establish an ethical position regarding the history of the place and other conditions, so the order and hierarchy that are given to these factors will cause the result to vary from one building to another or from one author to another. History, conceived as a set of facts that can be synthesized by the architect when he manages to extract from those fragments crucial points that he considers important, helping him to materialize his work. Various concepts such as Specific Modernity, Time and Space, Memory, Abstraction, Metaphor, Relationship between subjects, Criticism, Phenomenology, Synthesis, Historical Multiplicity, virtual images, among others, are explored as relevant topics to study their relationship and carry out a theory that addresses the integration of contemporary intervention in a historical context. To get an idea of this complex phenomenon, three works are analyzed: Carlo Scarpa's Castelvecchio Museum, Rafael Moneo's National Museum of Roman Art and Peter Zumthor's Kolumba Museum. The interventions of these three case studies are different among them but have the common goal of preserving memory. These museums together with the written reflections of their authors, as well as the theoreticians upon whom I support myself, will describe the projectual mechanisms, defined thanks to references and practices as important aspects in their interventions and then the dissertation will explain the degree of innovation provided. The background of this research is dialogue and memory; I establish a link that starts from the collective to the individual memory, because the memory of a single building is permanently confronted with a wider context. Therefore, as an introductory theme to the cases of museums, I resolved to analyze theoretically and analytically the "Del Liceu al Seminari" project by Lluís Clotet architect in the Raval of Barcelona.
El objetivo fundamental de esta tesis es analizar la arquitectura a partir de estrategias provenientes de teorías recientes desarrolladas dentro y fuera del campo disciplinar estricto de la arquitectura. Por ejemplo confrontar para relacionar. Tal como propone Paul Ricoeur en uno de sus libros sobre teoría de la poética, la poética es la confrontación entre las partes. Por lo tanto el diálogo generado entre sujetos y entre objetos de diferentes épocas a través de abstracciones es el objetivo principal de esta tesis. La inquietud nace por identificar dónde está y cómo se llevó a cabo la relación que hay entre diferentes tiempos y espacios en un edificio, qué cosas permanecen y cuáles son las innovaciones en este tipo de intervención. A partir de lo anterior propongo la hipótesis que consiste en que la abstracción de referencias en los vestigios tangibles e intangibles de edificios antiguos hace de la intervención una síntesis histórica que genera nuevas relaciones entre sujetos y objetos de distintas épocas. Es en este punto donde la intención de preservar la memoria se ve reforzada por la valoración del espacio donde ésta se pueda encontrar, desde un objeto hasta una ciudad. La polémica empieza cuando nos preguntamos ¿cuál es la manera más adecuada para intervenir un edificio antiguo? Tiempos y espacios se sintetizan en los casos de estudio elegidos, los museos contemporáneos en convivencia con restos arqueológicos y de arquitecturas históricas. La forma sistemática en que se lleva a cabo el proceso de proyección de un edificio no es sencilla pues hay que establecer una serie de factores de manera ordenada para llegar al mejor resultado. Este orden varía de acuerdo al programa arquitectónico que se pretenda desarrollar, por lo que algo que pudiera parecer un problema como el hecho de que no existe un procedimiento único, es una ventaja, porque permite volcarse en una estrategia específica con un resultado singular. Se considera que tener una estrategia específica es fijarse una postura ética respecto a la historia del lugar y otras condicionantes, por lo que el orden y jerarquía que se le den a estos factores harán que el resultado varíe de un edificio a otro o bien de un autor a otro. La historia, concebida como un conjunto de hechos puede ser sintetizada por el arquitecto cuando éste logra abstraer de esos fragmentos puntos cruciales que considere importantes, ayudándole a materializar su obra. Se exploran diversos conceptos como el de Modernidad específica, tiempo y espacio, Memoria, Abstracción, Metáfora, Relación entre sujetos, Crítica, Fenomenología, Síntesis, Multiplicidad Histórica, imágenes virtuales, entre otros, como tópicos relevantes para estudiar su relación y llevar a cabo una teoría que aborde la integración de la intervención contemporánea en un contexto histórico. Para tener una aproximación de este complejo fenómeno se analizan tres obras: el Museo de Castelvecchio de Carlo Scarpa, el Museo Nacional de Arte Romano de Rafael Moneo y el Museo Kolumba de Peter Zumthor. Las intervenciones de estos tres casos de estudio son diferentes entre ellas pero tienen el objetivo común de preservar la memoria. Estos museos junto con las reflexiones escritas de sus autores, como de los teóricos en quienes me apoyo, evidenciarán sus mecanismos proyectuales, localizando en sus referencias y prácticas aspectos importantes en su intervención que explicarán el grado de innovación aportada. El trasfondo de esta investigación son el diálogo y la memoria, establezco un vínculo que parte de la memoria colectiva a la individual, pues la memoria de un solo edificio se enfrenta permanentemente a un contexto más amplio. Por ello como tema introductorio a los casos de los museos he resuelto analizar teórica y analíticamente el proyecto "Del Liceu al Seminari" de Lluís Clotet.

LA TESIS INVESTIGA Y ANALIZA EL PROCESO DE CREACION Y DE RECEPCION DEL FILME DOCUMENTAL DE LUIS BUÑEL SOBRE LAS HURDES, REALIZADO EN 1933. LA INVESTIGACION ARRANCA CON LOS PROCEDENTES HISTORICOS, METAFORICOS Y VISUALES DE LA OBRA, QUE SE ENCUENTRAN EN LOS VIAJES ANTERIORES DE MIGUEL DE UNAMUNO Y, EN PARTICULAR, DE ALFONSO XIII Y EN EL FOTOPERIODISMO QUE LA VISITA REAL PROVOCO, ASI COMO EN EL ESTUDIO DE GEOGRAFIA HUMANA DE MAURICE LEGENDRE, EN EL QUE BUÑUEL SE INSPIRO ABIERTAMENTE. LA INVESTIGACION PODE DE RELIEVE EL CARACTER ANARCO-SURREALISTA DEL FILME, TANTO EN VIRTUD DEL EQUIPO DE PRODUCCION Y FILMACION QUE LO REALIZO, COMO DE SU PUESTA EN ESCENA. SE ANALIZAN LAS TRAYECTORIAS INTELECTUALES, ARTISTICAS Y POLITICAS DE CADA MIEMBRO DEL EQUIPO, QUE DIERON COMO RESULTADO UN FILME PLURIDISCIPLINARIO DE ESPECTRO CULTURAL AMPLIO: CINEMA, FOTOGRAFIA, POESIA, PERIODISMO, ETNOGRAFIA, HISTORIA DEL ARTE. ASIMISMO, LA TESIS SE DETIENE EN LA DESCRIPCION Y ANALISIS DE LA PUESTA EN ESCENA, EN PARTICULAR DE LAS ESCENAS FABRICADAS. EL ANALISIS DE LA RECEPCION DEL FILME EN LAS DIVERSAS ETAPAS DE LA II REPUBLICA Y DE LA GUERRA CIVIL, ASI COMO DESDE ENTONCES HASTA HOY, CIERRA LA TESIS.

Cette thèse porte sur le renouvellement du réalisme dans la production narrative espagnole des années 2000, à partir d’un corpus de quatre romans, et se demande : en quoi consiste l’esthétique réaliste actuelle, quelle est son épistémologie et quel lien entretient-elle avec d’autres discours de savoir ? Quel rôle jouent les récits réalistes dans la configuration des imaginaires sociaux, alors que sont remis en question l’héritage de la transition démocratique et le récit de la modernisation espagnole ? Sont d’abord examinées les conditions de possibilité historiques, socio-économiques et culturelles d’un renouveau du réalisme – cartographié dans le champ littéraire des vingt dernières années. Hypothèse centrale : le réalisme ressurgit du fait que les débats de mémoire historique depuis 2000 et la crise économique, sociale et politique depuis 2008 engagent une révision du mythe de la Transition et du projet de la modernité qui structurait les imaginaires sociaux espagnols depuis les années 1960. Trois parties proposent des études de poétiques réalistes, en diachronie et en synchronie, pour mettre en valeur l’évolution des modes de référentialité réalistes entre le début des années 2000 et le début des années 2010, avec la crise de 2008 et ses prémices pour point d’inflexion. La première partie porte sur deux romans (Antonio Muñoz Molina, Sefarad, 2001 et Ignacio Martínez de Pisón, Enterrar a los muertos, 2005) qui dialoguent avec la fabrication sociale de documents et l’historiographie pour réinterpréter la guerre de 1936, de la dictature et de la transition. Les deuxième et troisième parties (Rafael Chirbes, Crematorio, 2007, et Isaac Rosa, La mano invisible, 2011) analysent l’élaboration d’un récit collectif de l’Espagne développementaliste, à l’aube de la crise, par des romans qui dialoguent avec la théorie économique et la sociologie historique. Au carrefour du littéraire, des discours sociaux, de l’histoire et de la sociologie contemporaine de l’Espagne, cette thèse soutient que la réappropriation du réalisme dans les années 2000 participe à la remise en question d’une identité nationale démocratique et moderne, au resurgissement d’une réalité problématique et d’imaginaires sociaux paramodernes après l’écroulement du métarécit d’une transition modèle. Si les romans cherchent tous à prendre en charge le réel social selon ses représentations, ils se différencient par leur traitement de la question politique de ce que « réel » veut dire, par le choix du chemin selon lequel le décrire, et par l’évaluation de la nature des causes historiques et matérielles de la réalité qu’habitent les écrivains
This thesis studies new forms of realism in Spanish prose in the 2000s, from a corpus of four novels. It contemplates what makes the contemporary reality aesthetic, what its epistemology is, and what links it bears to other forms of knowledge. What roles do realist narrations play in the configuration of social imaginaries, when the heritage of the democratic transition and the narration of Spanish modernisation are called into question? We first examine the conditions of historical, socio-economic and cultural possibilities of a renewal of realism, which is mapped throughout the literary field of the last twenty years. The central hypothesis is that realism springs back up from the fact that debates around historical memory in the 2000s, and since 2008, the economic, social and political crisis prompt the revision of the transition myth and the project of modernity which had been structuring Spain’s social imaginaries since the 1960s. Three parts offer different studies of realist poetics, diachronically and synchronically, to highlight the evolution of the modes of realist referentiality between the start of the 2000s and the beginning of the 2010s, the crisis of 2008 and its beginning as an inflexion point. The first part tackles two novels (Antonio Muñoz Molina, Sefarad, 2001 and Ignacio Martínez de Pisón, Enterrar a los muertos, 2005), which discuss the social fabrication of documents and historiography to reinterpret the 1936 war, the dictatorship and the transition. The second and third parts (Rafael Chirbes, Crematorio, 2007, and Isaac Rosa, La mano invisible, 2011) analyse the elaboration of a collective narrative of developmental Spain, at the dawn of the crisis, through novels which interact with the economic theory of liberalism and historic sociology. At the crossroads of literary studies, social discourse, history and the contemporary sociology of Spain, this thesis argues that the appropriation of realism in the 2000s questions a national identity that is democratic, modern, and takes part in the reappearance of a problematic reality after the meta narration of a model transition collapsed. If the novels all try to tackle the social reality according to its representations, they differ through what « reality » means to them, through the nature of its historic and material causes, and through the ways they describe it

Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2013
The dissertation made in the context of the Drawing Master Degree with the theme: Uma caricatura de país (Caricature of a country), wants to investigate the history of caricature and its protagonists in Portugal, to create a practical work about social and habits caricature and has the purpose to study caricature and humour as an artistic expression. The caricatures introduced in the personal project want to contribute to the portuguese social criticism, portraying the everyday of portuguese people, idealizing typical characters with humour like contemporary Zé Povinhos. With a basis in a bibliographic review and in the critical observation of the originals, we wanted to search informations about the history of caricature in Portugal since the 19th century until now, analyzing lives and works of the main Portuguese caricaturists. We also developed a study about the history and the various definitions of caricature, of phisiognomics and humour, with a basis in the theories of the most relevant authors from Aristoteles to Freud. In the drawing practice, has been used the Nicolaides method, The Natural Way to Draw, with the purpose of exploring new ways to represent caricated characters and situations, focusing this method in a personal graphic expression. During the study and the realization of the theoretical work, the conclusion was thatcaricature passed through various transformations in time, it evolved artistically, it started being spread not just through newspapers, it gained a new space in the artistic scenery, conquering values that were closer to the artistic status. A caricatura ou o desenho humorístico tem a importante tarefa de retratar e criticar os problemas de uma sociedade. A sociedade contemporânea necessita da caricatura, para se rir de si própria, justificando-se, assim, o projecto humorístico final. The caricature or the humorous drawing has the important objective of criticizing and talking about the problems of a society. The contemporary society needs caricature to laugh of itself, justifying the final humoristic project

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2017
Exame público realizado em 6 de Fevereiro de 2018
A presente dissertação tem como objetivo instigar a procura das estratégias que estão na génese dos projetos de arquitetura em preexistências. E, simultaneamente, a formulação de uma critica à produção de arquitetura. Nicola di Battista diz que ser contemporâneo do próprio tempo é condição primeira e irrenunciável do nosso oficio como arquitetos e que o passado representa a nossa identidade cultural. Parece ser assim visível que ser contemporâneo do próprio tempo não é por si só suficiente, é necessário também aprender as lições do passado. Conciliamos hoje as nossas exigências contemporâneas com a complexidade do tecido urbano da cidade histórica e remetemos para a arquitetura a concretização das alterações sucessivas e sobrepostas de tempos diferentes e descontínuos do território. A memória do que existiu constitui assim a referência coletiva de uma sociedade.
The present dissertation aims to instigate the search for the strategies that are the genesis of preexisting architecture projects. And, simultaneously, the formulation of a criticism to the production of architecture. Nicola di Battista says that being contemporary with time itself is the first and inalienable condition of our office as architects and that the past represents our cultural identity. It seems to be so visible that being contemporary with time itself is not enough in itself, it is also necessary to learn the lessons of the past. Today we reconcile our contemporary demands with the complexity of the urban fabric of the historic city and we refer to architecture the concretization of the successive and over-lapping changes of different and discontinuous times of the territory. The memory of what existed thus constituted the collective reference of a society.

Tese de doutoramento, Estudos Artísticos (Estudos de Teatro), Universidade de Lisboa, Faculdade de Letras, 2009
O objecto deste estudo é o teatro na caricatura de imprensa de Rafael Bordalo Pinheiro entre os anos de 1870 e 1905. Analisa-se a obra gráfica bordaliana numa dupla vertente: enquanto criação artística que, num determinado contexto histórico e cultural, se serve da metáfora teatral para a modelização do real; e enquanto fonte documental relevante para o conhecimento da história do teatro na Lisboa de finais de oitocentos.Situa-se a iconografia de Rafael Bordalo Pinheiro na tradição satírica de representaçãodo teatro e interpela-se a teatralidade do universo imagético bordaliano, procurando compreender de que modo teatro e caricatura se intersectam na obra gráfica. Analisa-se um corpus de desenhos satíricos, na confluência de vários materiais: textos escritos (peças de teatro, críticas de imprensa a espectáculos, memórias de actores, crónicas e ensaios) e outros materiais iconográficos (fotografias, ilustrações de peças e caricaturas de outros artistas). De um volume em anexo constam três índices onde se inventariam as referências ao teatro (em palavra e imagem) nos periódicos de Rafael Bordalo Pinheiro o de peças/espectáculos, o de profissionais e o de autocaricaturas relacionadas com a arte teatral.
The subject of this thesis is the theatricality in Rafael Bordalo Pinheiro's caricatures which were published in several newspapers between 1870 and 1905. I analyse this satirical iconography with a double perspective: as an artistic construction that uses theatre to model reality; and as an important document for the knowledge of the history of theatre in Lisbon, in the nineteenth century. The study locates Rafael Bordalo Pinheiro's satirical images on the European and Portuguese traditions of caricature and it questions the theatricality of its imaginary in order to perceive how theatre and caricatures cross the author's work. I analyse Bordalo's satirical drawings summoning several textual materials (plays, reviews, actors' memoirs, chronicles and essays) as well as other iconographic materials (photographs, pictures and caricatures by various artists). In a separate volume I've organised a section containing three indexes with references to theatre (on word and image) selected from Rafael Bordalo Pinheiro's periodicals: plays / performances; theatre professionals; and self-caricatures.

O presente relatório de prática de ensino supervisionada, reflete o desenvolvimento de vários projetos desenvolvidos com alunos do 3º Ciclo do Ensino Básico. Esta prática teve como foco principal promover atividades que contribuam para desenvolver aprendizagens significativas nos alunos do 7º ano, numa procura de melhorar a prática letiva. Como propósito tratou-se de uma investigação-ação agenciando a aplicação do programa curricular da disciplina de Educação Visual recorrendo ao método de estudo de caso qualitativo. Esta investigação teve lugar numa escola do sistema de ensino público, ao longo do ano letivo 2012-2013. As atividades foram desenvolvidas em duas turmas de 7ºano, na disciplina de Educação Visual, de acordo com o horário letivo, durante o 2º e 3º período. Como respondem os alunos perante a utilização de um diário gráfico? Atividades de ilustração e banda desenhada contribuem para a sua expressão plástica? Como se promovem aprendizagens através da realização de uma horta pedagógica? Estas são algumas questões que nortearam este estudo.
Abstract: This supervised teaching practice report reflects the progress of several projects developed with students of the 3rd cycle of basic education. Primarily, this practice focused on promoting activities which help students develop meaningful learning in the 7th year, in a quest to improve teaching practice. The purpose was an action-research applying the curriculum of the discipline of Visual Education by the method of qualitative case study. This research took place in a public school throughout the school year 2012-2013. The activities were conducted in two groups of 7th year students, in the discipline of Visual Education, according to the school schedule, during the 2nd and 3rd period. How do the students respond before the use of a daily graph? Do the activities of illustration and comics contribute to your artistic expression? How to promote learning through the completion of an educational garden? These are some questions that guided this study.