Tesi sul tema "1906-1980"

[From Introduction] When Robert Paul died in 1980, his daughter Colette Wiles gave her father's art materials to an artist who was very close to both Robert and his wife in their last years - Dian Wright. The materials consisted of five different pigments and brushes cut into different shapes to suit the artist. This is remarkable when one considers his proficiency in a variety of media and his accurate portrayal in the far reaching studies he executed of the Zimbabwean landscape. Yet, it is characteristic of his resourcefulness that Paul could make 'something out of nothing'. Paul welcomed the opportunity of new landscape when he arrived in Rhodesia in 1927. Against the backdrop of a chosen isolation from the British Isles, Paul developed his own personal tracks in spite of any early influence through John Piper with the English Southern Landscape idioms of the 1920s. This was a fruitful isolation where the creation of his art retained influences but were manipulated according to his needs and unleashed with a proficiency sometimes equal to his peers, who later found fame under the term 'Neo-Romantics'. Paul remained an individual in Africa. My intention in this essay is three-fold; first, to illustrate the effects and influences of 'chosen' and 'enforced ' isolation on his work. Secondly, I wish to determine the extent of the influence that Piper and the Neo-Romantics had on Paul and to illustrate mostly with anecdotes his life and life-style. He was no mean character. His life-long obsessions with art, alcohol and women were played out with a flair and dry humour which few emulated in his era. Although a strictly academic approach can be applied to the assessment of his work, his life followed thoroughly unorthodox lines. As Bradshaw noted when he wrote the forward to the Catalogue of Paul's Retrospective in 1976, he (Paul) had no historical interests in the accepted sense of the word.
ABBYY FineReader 12

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Economia, Administração e Contabilidade, Departamento de Economia, 2017.
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Esta dissertação é um tributo à Siegfried Von Ciriacy-Wantrup (1906-1980). Seu objetivo foi analisar a obra do autor e ressaltar alguns aspectos que, de fato, impactaram, e ainda impactam o desenvolvimento da economia ambiental neoclássica. Para realizar esta tarefa iniciei por levantar sua história de vida e toda sua produção acadêmica científica. Depois selecionei três aspectos que (i) considero fundamentais no campo de conhecimento em tela e (ii) que ele se aprofundou no estudo, análise e formulação, deixando contribuições contundentes para a evolução da matéria. Esses aspectos são: os conceitos de conservação e recurso; o conceito e instrumentalidade de instituições sociais, no que toca seu papel decisivo para a economia da conservação; e a epistemologia e instrumentalidade da sua formulação do Padrão Mínimo de Segurança. Utilizei para isto, como principal fonte, seu livro “Resource Conservation: Economics and Policy” em sua segunda edição datada de 1963. Não obstante, ao acessar toda sua produção acadêmica e científica, me apoiei, para a elaboração do texto aqui apresentado, em vários de seus artigos, em maior ou menor grau. O que resultou deste esforço foi um compilado analítico que ressalta a força e a solidez da formulação e da análise do autor. Ficaram evidentes, também, as influências de sua obra na evolução da economia da conservação de recursos. Por fim, concluo que sua produção, tomada como um todo, influenciou e ainda influencia, com notável intensidade, o desenvolvimento da economia ambiental neoclássica. Para mim, sua obra é obra de arte.
This is a tribute to Siegfried Von Ciriacy-Wantrup (1906-1980). My objective was to analyze the author’s production and point out some aspects that, in fact, have and still are influencing the development of neoclassical environmental economics. To accomplish that I started up by learning about his life history and entire scientific and academic production. Then I selected three aspects that I consider (i) fundamentals in the field of knowledge on screen and (ii) that he had deepen in the study, analysis and formulations, leaving decisive collaborations for the development of the matter. These aspects were: the concepts of conservation and resources; the concept and usages of social institutions, and their bruising relevance to the economics of resource conservation; and the epistemology and usages of his original formulation of the Safe Minimum Standard. I used, as the main source of information, his book “Resource Conservation: Economics and Policies”, in its 3rd edition dated 1963. Nevertheless, by accessing all his scientific production I also used several of his articles, in grater or smaller extension. The result of all this is an analytical compiling that brings about the strength and robustness of Wantrup’s analysis and formulations. It also became evident the influences of his works to the evolution of resource economics and conservation. Finally I concluded that his production, taken as a big picture, has impacted and still impacts, notably, the development of neoclassical environmental economics. To me, his work is pure art.

Cette thèse se propose d'analyser un problème qui hante la philosophie moderne depuis Descartes : le problème de la connaissance d'autrui dans un monde intersubjectif. En effet, le geste radical par lequel Descartes inaugure la philosophie moderne, sa volonté de n'accorder un statut de certitude qu'aux objets de la connaissance indubitable du cogito, soulève le problème épineux de la connaissance de l'autre qui ne se présente qu'indirectement, par le biais de son corps. A partir du questionnement sur la connaissance de l'autre qui fournit d'ailleurs le point de départ de nos recherche, cette thèse montre avec précision la grande postérité de ce problème au 20ème siècle, notamment à partir du moment où Edmund Husserl, en renouant avec le point de départ radical de la philosophie cartésienne, cherche une nouvelle méthode phénoménologique pour la philosophie. C'est dans ses leçons présentées au Collège de France en 1929, Les méditations cartésiennes, traduites en français par Emmanuel Lévinas et Gabrielle Peiffer, que Husserl tente de résoudre le problème de la connaissance de l'autre et du statut du monde intersubjectif légué par la démarche cartésienne. Cette thèse montre l'aspect très insatisfaisant de la solution proposée par la phénoménologie husserlienne à ce problème. Ce problème fera l'objet d'une réflexion très importante élaborée d'une part par Jean-Paul Sartre dans L'Être et le néant et d'autre part par Emmanuel Levinas, notamment dans Totalité et infini et Autrement qu'être ou au-delà de l'essence. Ce travail, déroule une analyse "originale" des réponses données par Sartre et par Levinas au problème de la connaissance d'autrui et de la configuration du monde intersubjectif en montrant toute l'importance de leurs réflexions respectives sur l'altérité, sur le rôle de la corporéité et le thème de l'opacité dans la connaissance de l'autre trop souvent délaissé par la tradition cartésienne, puis par la phénoménologie husserlienne. Cette analyse nous a conduits de prendre en considération les enjeux proprement éthiques des deux positions critiques que Sartre et Levinas élaborent à l'égard de Husserl. A partir de perspectives différentes, la question de la connaissance d'autrui est renforcée dans les deux cas par une réflexion en profondeur sur la responsabilité
This thesis proposes to analyze a problem that haunts modern philosophy since Descartes : the problem of the knowledge of others in an intersubjective world. Indeed, the radical gesture by which Descartes inaugurated modern philosophy, its desire not place undue reliance status as objects of undoubted knowledge of the cogito, raises the thorny problem of the knowledge of the other who did this indirectly through his body. From the questioning of the knowledge of the other, which provides also the starting point of our research, this thesis shows precisely the great seed of this problem in the 20th century, especially from the time when Edmund Husserl, reconnecting with the radical starting point of the Cartesian philosophy, looking for a new phenomenological method for philosophy. It's in his lectures presented at the Collège de France in 1929, Cartesian Meditations, translated into French by Emmanuel Levinas and Gabrielle Peiffer, Husserl attempts to solve the problem of knowledge of each other and the status of the intersubjective world bequeathed by Cartesian approach.This thesis shows the most unsatisfactory aspect of the solution proposed by the phenomenology of Husserl the problem. This issue will be a very important reflection developed in part by Sartre in Being and Nothingness and secondly by Emmanuel Levinas, particularly in Totality and Infinity and Otherwise than Being or -delà gasoline. This work, conducted an "original" analysis of the answers given by Sartre and Levinas to the problem of knowledge of others and intersubjective world configuration by showing the importance of their reflections on otherness, on the role of corporeality and the theme of the opacity in the knowledge of the other too often neglected by the Cartesian tradition, then by Husserl's phenomenology. This analysis has led us to consider the proper ethical issues two critical positions Sartre and Levinas develop towards Husserl. From different perspectives, the question of the knowledge of others is strengthened in both cases by a deep reflection on the responsibility

Il s'agit d'etudier le statut des objets dans le cinema narratif a partir de quelques films hollywoodiens tres connus. L'approche est celle d'un hedonisme spectatoriel convaincu que le plaisir du sens passe par un travail sur le sens. Le plan d'exposition separe deux niveaux d'existence des objets : la representation des objets par le cinema; ce que les objets filmiques signigient. Le premier tome (les objets profilmiques) decrit, a partir de souriau, la representation des objets selon les etapes suivantes : a) les effets speciaux et l'ecriture cinematographique; b) les objets referentiels comme materiau de depart qu'il est possible de classer ; c)les correspondances qui inscrivent ce materiau a l'interieur des reseaux avant leur entree dans un film; d) les migrations des objets : du referent au filmique (kane), des mots aux images (the maltese falcon) ; la reconstitution des decors (the birds). Le second tome passe en revue les principales "fonctions" signifiantes des objets degagees a partir d'une analyse des debuts de films d'hitchcock : a) analyse des trois principales fonctions diegetiques qui creent l'univers filmique : espace, temps, mise en place de personnages. B) fonctions narratives centrees sur le recit et l'intrigue, illustrees par l'exemple des objets de la communication dans les films d'hitchchock. C) fonctions symboliques des objets, c'est-a-dire du sens considere comme un surplus (lectures textuelles, aspects de l'interpretation, lectures thematiques et reveries)
In this study, the approach of the status of objects in narrative films made in hollywood is mainly hedonistic and centered on the spectator, but it pleads for the idea that the pleasure taken stems from a thorough study of meaning. The two parts of the thesis deal with : a) the way objects are made to appear on films; b) the meaning they assume. The first part (the profilmic) describes, after etienne souriau, the presence of objects on the screen : a) special effects and films as a "written" text; b) objects as a mental reference affording a basic material within a maze of correspondences; c) the migration of objects between their sources and films (examples : citizen kane, the maltese falcon, the birds). The second part analyses the main significant functions of objects a reading of the first minutes of some hithchock's films make quite clear : a) the three main diegetic functions which create the filmic world : space, time and character building; b) narrative and plot exemplified through a study of hitchcock's use of the objects of communication; c) meaning and the symbolism of objects (textual readings; interpretation; thematic readings; "reveries"). The general conclusion, after a survey of the objects used as metaphors of film, considers the ambiguous outcome of a hypermetropic vision afforded by film and tv as it is best seen through hitchcock's

Luchino Visconti ne fit apparaître dans ses films le marxisme et l'homosexualité, ses deux choix de vie, qu'à titre de sédiments opaques dissimulés sous le voile d'une plastique de génie. Les deux termes ne font-ils que se côtoyer dans son oeuvre, ou au contraire se dialectisent-ils pour dépasser leur irréductibilité dans une synthèse ? La notion psychanalytique de formation réactionnelle, qui explique ici le renoncement symbolique du cinéaste à son homosexualité et donc à sa subjectivité, permet de comprendre que son engagement marxiste était la canalisation d'éléments personnels anxiogènes, marxisme et homosexualité ne faisant dès lors, dans son oeuvre, que se côtoyer de manière sécante par le biais de la notion de fraternité, sans jamais entrer dans u rapport dialectique abouti

Dissertação de mestrado em História Contemporânea, apresentada à Fac. de Letras da Univ. de Coimbra
O presente trabalho tem como objectos centrais de estudo Marcello Caetano e António de Spínola, com enfoque para o período do governo marcelista – 1968-74. Partindo-se da evolução da relação de Marcello Caetano com Salazar e o salazarismo, fundamental para uma compreensão em profundidade do marcelismo, pretende-se desvincular o governo marcelista de interpretações pré-estabelecidas, através de uma perspectiva interior ou a partir do próprio objecto de estudo, e, desta forma, reportando-se já ao segundo objectivo, contribuir para o conhecimento do que foi efectivamente o marcelismo e não o que ele não foi ou poderia ter sido e não conseguiu ser. No que toca ao segundo objecto de estudo, pretende-se explorar a relação de influência entre o marcelismo, o spinolismo (enquanto expressão de uma linha militar crítica do regime e da sua condução da Guerra) e o fim do regime inaugurado na Constituição de 1933 e, por inerência, do secular império português e das então designadas Províncias Ultramarinas

Confronté à la construction européenne, le Portugal s'est vu dans l'obligation d'intégrer l'AELE, au grand regret des plus hautes instances de Lisbonne, convaincues que l'avenir du pays se trouvait dans un rapprochement plus étroit de ses colonies africaines. Par crainte d'un isolement économique désastreux et poussé à cette extrémité par l'attitude plus qu'équivoque de son alliée britannique, le Portugal n'a eu d'autre choix que poursuivre cette implication dans les affaires européennes quand se posa la question de rejoindre ou non la CEE. Après la candidature officielle d'association au Marché Commun de mai 1962, l'administration nationale entama l'élaboration d'un projet européen qui ralliait les sympathies des libéraux. Les circonstances aidant, les conservateurs parvinrent néanmoins à maintenir le pays hors de cette zone économique. Le répit fut cependant éphémère car dès 1968 et la chute de Salazar, le gouvernement réformateur, incité une nouvelle fois par Londres, mit sur pied une stratégie visant à un rapprochement économique entre le Portugal et la Communauté européenne. Contrairement à l'action précédente, cette dernière fut couronnée de succès puisque, malgré les résistances de certains pays du continent, Lisbonne parvint à rejoindre la CEE par un accord d'association commerciale. Cette victoire fut de courte durée car le retour aux affaires des conservateurs, en 1972, sonna le glas de l'espoir européen, jusqu'à ce que la gauche le relance après la Révolution des Oeillets

Au croisement de plusieurs langues et idiomes - le francais, l'anglais et l'anglo-irlandais - et de plusieurs domaines de recherche et techniques d'analyse textuelle : litterature et traductologie d'une part, stylistique, psychanalyse et genetique d'autre part, cette these cherche a retracer les procedes de reecriture mis en oeuvre par samuel beckett lorsque se dernier s'auto-traduit. Le corpus, qui comprend la plupart des textes dits + courts ; de beckett, nouvelles et pieces, couvre les annees 1946-1980. L'etude, qui s'appuie essentiellement sur une lecture comparee des versions jumelles, laquelle revele la topographie modifiee du texte auto-traduit, prend aussi largement en compte les avant-textes bilingues qui font l'objet d'une attention particuliere en annexe. Apres une analyse des implications psychologiques de la reecriture dans une autre langue, l'attention se porte sur l'evolution du style. Beckett auto-traducteur travaille sur les deux axes du discours, attentif aux rythmes et aux sonorites. L'art de l'auto- traduction est un art parodique comme le style de l'auteur : art combinatoire, il se fait egalement art de la disjonction ; art de l'inflexion, il articule un humour drolatique avec un pessimisme des plus drus ; art de l'amoindrissement, il privilegie le laconisme, tout en aimant creer une langue polyphonique, riche et discordante, aux accents etrangers, appreciant contradictions, jeux de mots et cliches. Cette economie paradoxale suit les lignes de force d'une structure schizomorphe. Elle est celle de l'inconscient freudien qui refait surface dans le discours du psychotique. Chaque texte de beckett existe donc en concurrence avec son double, offrant deux visions decalees, decentrees du moi et de son rapport au monde et a lui-meme. C'est en ce sens que l'on peut dire que cette poetique de l'auto-traduction (au sens de + art de faire ;) definit une poetique de la traduction de soi (au sens de + motif ; et de + programme operatoire ; de l'auteur). En etat de + desaide ;, les narrateurs beckettiens achoppent toujours sur les signifiants de la folie et de la mort. Meme s'ils s'en rapprochent parfois lors de la redite dans l'autre langue, ils s'en ecartent immanquablement dans un jeu de va-et-vient qui se poursuit a chaque nouvelle version des textes, faisant l'experience du tragique
At the juncture of several languages and idioms - french, english, anglo-irish - and of several domains of research and textual analysis: literature and translation theory on the one hand, stylistics, psychoanalysis and variorum study on the other, this thesis aims at delineating how samuel beckett rewrites his texts when he self-translates them. The corpus, comprising most of the + shorter; texts, both prose and drama, spans the years 1946-1980. The research, which relies mainly on a comparative reading of the twin versions, while revealing the modified topography of the self-translated text, also takes greatly into account the bilingual draft versions which are studied in detail in the annexed document (vol. Ii). After analysing the psychological issues linked to the fact of rewriting in another language, the focus is put on the evolution of beckett's style. As a self-translator, beckett works on the two axes of discourse, sensitive to the rhythmic and aural aspect of his texts. The art of self-translation is a parodic art, as is the author's style: a combinatory art, it is also a disjunctive art; an art of inflexion, it relies upon a droll humour as well as on a harsh pessimism; an art of lessening, it prefers to be laconic, while liking to create a rich discordant polyphonic language with foreign accents, keen on contradiction, word-play, and cliche. This paradoxical economy follows the lines of a schizomorph structure. It is that of the freudian unconscious which surfaces in the discourse of a psychotic subject. Thus, each text exists conjointly with its double, offering two displaced, de-centred visions of the ego and of its relationship to the outer world and to himself. That is why it is possible to say that this poetics of self-translation (meaning + way of doing ;) defines a poetics of translation of the self (meaning + motif ; and + operating programme ; of the writer). In a state of helplessness, beckett's narrators keep stumbling on the signifiers of madness and death. Even if they happen to approach them through repetition in the other language, they part from them inevitably, to and fro at each new version of the texts, experiencing the gist of tragedy

The thesis inquires into the theme of political judgement and aims to rethink it from the perspective of twentieth-century philosophies of existence. It seeks to take up the contemporary challenge of political judgement that remains inadequately addressed within recent theorizing: how, given the modern breakdown of metaphysical absolutes, to reinvigorate the human capacity for political judgement as a practical activity able to confront the ambiguous, plural and complex character of our postfoundational world. Against this background, the thesis aspires to reclaim the distinctly historical orientation of twentieth-century existentialism, in particular the work of Jean-Paul Sartre, Simone de Beauvoir, Albert Camus and Hannah Arendt. It draws on their aesthetic sensibility to resuscitate the human judging ability in its worldly ambiguity and point towards an account of political judgement capable of facing up to the challenges of our plural and uncertain political reality. Retrieving their vigilant assumption of the situated, worldly condition of human political existence and the attendant perplexity of judging politically, the aim of the thesis is to suggest how the existentialists' insights can be brought to bear on contemporary problematics of political judgement that seem to elude the grasp of abstract standards and predetermined yardsticks.

Esta investigación trata de estudiar la relación entre Iba N’Diaye, artista miembro de la Escuela de Dakar, y la política cultural de Léopold Sédar Senghor, debido a que el pintor es una figura que no se ha trabajado desde el punto de vista historiográfico. En este sentido, se aporta innovación, al abordar desde la Historia Cultural una cuestión como el proceso de construcción de la identidad nacional en Senegal. Así, se comprueba si Iba N’Diaye es partidario de la Negritud, ideología de Léopold Sédar Senghor sobre la que gira todo el proceso o, si, por el contrario, es crítico con ella. Para conseguir los objetivos planteados en la tesis doctoral se estudiaron documentos de todo tipo sobre los principales protagonistas, sobre la Negritud y sobre la Escuela de Dakar y algunos de sus miembros. Para ello se leyeron libros y artículos tanto en formato papel como digital disponibles en diferentes bibliotecas y en páginas en línea de tipo académico. Asimismo, se consultaron en Barcelona los archivos del Museo de Arte Contemporáneo de Barcelona y del Museo Etnológico y de Culturas del Mundo, se hicieron estancias en Francia y Senegal para consultar diversos archivos y, además, se realizaron entrevistas a expertos y personas cercanas a Iba N’Diaye. A través del trabajo realizado se comprobó que Iba N’Diaye participó en un inicio con entusiasmo en la política artística y cultural de Léopold Sédar Senghor. Sin embargo, el pintor no fue parte de la Negritud, ya que comprobamos que con el tiempo se vió obligado a abandonar Senegal y volver a Francia, donde había estudiado años atrás, debido a que siempre fue crítico con algunos aspectos de la Negritud senghoriana y del pensamiento de Senghor en relación con el arte. Además, tenía ideas en torno a la enseñanza opuestas a las de Pierre Lods y Papa Ibra Tall, los otros profesores de la Escuela de Artes de Senegal, más cercanos a la visión del presidente senegalés en torno al arte africano. Respecto a lo anterior, la investigación introduce el concepto de "dictadura o autocracia de la Negritud senghoriana" en la política artística y cultural de Léopold Sedar Senghor y su Escuela de Dakar, ya que como se pudo comprobar con la investigación, el presidente senegalés intentó con esos elementos impregnar la identidad nacional senegalesa de su Negritud y acabó beneficiando con el tiempo a los partidarios de su ideología en detrimento de aquellos críticos.
This research tries to study the relationship between Iba N’Diaye, a member artist of the Dakar School, and the cultural policy of Léopold Sédar Senghor, because the painter is a figure that has not been worked from the historiographic point of view. In this sense, brings innovation, when addressing from the Cultural History a question like the process of construction of the national identity in Senegal. Thus, it is checked if Iba N’Diaye is a supporter of "Négritude", ideology of Léopold Sédar Senghor on which the whole process revolves or, if, on the contrary, he is critical of it. To achieve the objectives set forth in the doctoral thesis, documents of all kinds were studied on the main protagonists, on "Négritude" and on the Dakar School and some of its members. For this, books and articles were read both in paper and digital format available in different libraries and on academic-grade online pages. Likewise, the archives of the Museum of Contemporary Art of Barcelona and the Ethnological Museum of World Cultures were consulted in Barcelona, stays were made in France and Senegal to consult various archives and, in addition, interviews were conducted with experts and people close to Iba N'Diaye. Through the work carried out it was found that Iba N’Diaye initially participated with enthusiasm in the artistic and cultural policy of Léopold Sédar Senghor. However, the painter was not part of "Négritude", since we found that he was eventually forced to leave Senegal and return to France, where he had studied years ago, because he was always critical of some aspects of senghorian "Négritude" and Senghor's thought in relation to art. Regarding the above, the research introduces the concept of "dictatorship or autocracy of Négritude" in the artistic and cultural policy of Léopold Sedar Senghor and his Dakar School, since as it was possible to verify with the investigation, the Senegalese president tried with these elements to impregnate the Senegalese national identity of his "Négritude" and eventually benefited the supporters of his ideology to the detriment of those critics.
Cette recherche tente d’étudier la relation entre Iba N’Diaye, artiste membre de l’École de Dakar, et la politique culturelle de Léopold Sédar Senghor, car le peintre est une figure qui n’a pas été travaillée du point de vue historiographique. En ce sens, l'innovation est fournie, en abordant depuis l'histoire culturelle une question comme le processus de construction de l’identité nationale au Sénégal. Ainsi, on vérifie si Iba N’Diaye est un partisan de la Négritude, idéologie de Léopold Sédar Senghor, sur laquelle tout le processus tourne ou, au contraire, s’il est critique. Pour atteindre les objectifs fixés dans la thèse de doctorat, des documents de toutes sortes ont été étudiés sur les principaux protagonistes, sur Négritude et sur l'école de Dakar et sur certains de ses membres. Pour cela, des livres et des articles ont été lus à la fois en format papier et numérique disponibles dans différentes bibliothèques et sur des pages en ligne de niveau universitaire. De même, les archives du musée d'art contemporain de Barcelone et du musée ethnologique des cultures du monde ont été consultées à Barcelone, des séjours ont été effectués en France et au Sénégal afin de consulter diverses archives et des entretiens ont également été réalisés avec des experts et des personnes proches d'Iba N'Diaye. Les travaux effectués ont permis de constater qu’Iba N’Diaye participait initialement avec enthousiasme à la politique artistique et culturelle de Léopold Sédar Senghor. Cependant, le peintre ne faisait pas partie de la Négritude, car nous avons découvert qu'il avait finalement été contraint de quitter le Sénégal pour rentrer en France, où il avait étudié il y a des années, car il avait toujours critiqué certains aspects de la pensée de Senghor et de la Négritude senghorienne par rapport à l'art. En ce qui concerne ce qui précède, la recherche introduit le concept de "dictature ou autocratie de la Négritude" dans la politique artistique et culturelle de Léopold Sédar Senghor et de son école de Dakar, puisqu’il a été possible de vérifier avec la recherche, que le président sénégalais Il a essayé avec ces éléments d'imprégner l'identité nationale sénégalaise de son Négritude et a finalement profité aux partisans de son idéologie au détriment de ces critiques.

Esta dissertação pretende analisar como o crítico Herbert Caro (1906-1991) instiga o gosto pela música de concerto, considerando que o jornalismo tem a função mediadora de aproximar do leitor os campos especializados e que a crítica é um espaço fértil neste sentido. Alemão judeu radicado no Brasil em 1935, Caro foi figura ativa no cenário cultural portoalegrense de meados do século XX. Sua coluna Os melhores discos clássicos estreou no principal jornal do Rio Grande do Sul à época, o Correio do Povo, em 22 de fevereiro de 1959, e circulou semanalmente durante mais de vinte anos. Para este estudo, utilizamos a análise de conteúdo e adotamos como corpus de pesquisa os anos em que esses textos estiveram inseridos no suplemento Caderno de Sábado (1967-1981). Elegemos uma amostra composta de todo o período em que o encarte foi publicado nos doze meses, o que exclui 1967 e 1981. Trabalhamos com 26 colunas, selecionadas após a leitura flutuante do universo de 466 textos. A análise procura identificar, por um lado, os conteúdos mobilizados pelo colunista para preparar a escuta dos discos clássicos e, por outro, as estratégias cronísticas usadas para aproximar a música de concerto do leitor leigo. Percebemos que Herbert Caro prescreve predominantemente a escuta da tradição da música de concerto europeia, em especial a dos séculos XVIII e XIX, mas também algumas obras contemporâneas, o repertório nacional, o folclore e o “pop” – visto como porta de entrada para desenvolver o gosto. As palavras de Caro estão sempre revestidas por uma aura de sedução, prometendo a música de concerto como algo acessível, necessário à vida, e como fonte de prazer, de conhecimento e de distinção social. Com intuito pedagógico, o crítico preocupa-se em alicerçar o contato do leitor com essa música, fornecendo um guia de escuta, com contextualização rápida e orientações práticas. O colunista também se coloca como um incentivador do consumo de discos e orienta que a compra seja baseada no gosto pessoal, na novidade e na assinatura de artistas consagrados. A explícita voz pessoal de Caro reforça a credibilidade angariada no prestígio do espaço jornalístico que ocupa e busca a aproximação com o leitor. O forte vínculo com o local traz a realidade do leitor para o texto, instigando seu envolvimento e construindo um retrato da cidade. A linguagem informal desmancha o ar sisudo da música de concerto com diminutivos, aumentativos, superlativos, provérbios, oralidade, trocadilhos e analogias. Concluímos que Herbert Caro foi um típico homem de letras. Crítico diletante e impressionista, soube explorar o espaço jornalístico para traduzir os códigos da música de concerto para o leigo e incentivar a escuta, colocando seu conhecimento enciclopédico a serviço do leitor e orientando o consumo dos discos clássicos.
This dissertation intends to analyze how the critic Hebert Caro (1906-1991) entices the liking of classical music, considering that journalism has the mediation function of approximating readers to specialized fields and that the criticism is a fertile expression in this sense. German Jew rooted in Brazil in 1935, Caro was an active figure in Porto Alegre’s cultural scene during the mid-twentieth century. His column Os melhores discos clássicos (The best classical records) began in February 22nd 1959, in Rio Grande do Sul’s main newspaper at the time, Correio do Povo, and circulated weekly for more than twenty years. For this study, we used content analysis and adopted as our research corpus the years when the texts were publish in the supplement Caderno de Sábado (1967-1981). We elected a sample composed of the period in which the supplement was published for twelve months, hence excluding 1967 and 1981. We worked with 26 columns, selected after an initial reading of a universe including 466 texts. The analysis aims at identifying, at one hand, the contents mobilized by the columnist to prepare the listening of classical records and, at the other hand, the chronicle strategies used to approximate the laymen reader to classical music. It came to our attention that Hebert Caro prescribes predominantly the listening of the European classical music tradition, especially from the eighteenth and nineteenth centuries, but also some contemporary pieces, national repertoire, folklore and “pop” – seen as a starting point to develop taste. Caro’s words always have a seduction aura to them, promising classical music as something accessible, necessary to life, and as a fountain of pleasure, knowledge and social distinction. With pedagogical intent, the critic is concerned with cementing the contact of the reader with such music, providing a listening guide, with rapid contextualization and practical orientation. The columnist also places himself as an inciter of record consumption and orientates the buy towards personal taste, novelty and signature of consecrated artists. Caro’s explicit personal voice reinforces the credibility related to the prestige of the journalistic field that occupies and looks for an approximation to the reader. The strong liaison to the local brings the reality of the reader to the text, enticing involvement and building a portrait of the city. The informal language dissolves the sternness of classical music with diminutives, augmentatives, superlatives, proverbs, orality, play on words and analogies. We conclude that Hebert Caro was a typical man of letters. Dilettante and impressionist critic, he knew how to explore the journalistic space to translate the codes of classical music to the laymen and to stimulate the listening, putting his encyclopedic knowledge in service of the reader and orientating the consumption of classical records.

Ce travail de littérature comparée est axé sur 7 romans latino-américains polarisés entre l’Europe et l’aire caraïbe : Son vacas, somos puercos(C. Boullosa), El siglo de las luces(A. Carpentier), La tejedora de coronas(G. Espinosa), Rasero(F. Rebolledo), La noche oscura del Niño Avilés et El camino de Yyaloide(E. Rodríguez Juliá), La isla de Róbinson(A. Uslar Pietri). Le corpus se veut le reflet de la gamme des possibles au sein d’un genre protéiforme: le roman historique. La période abordée par ces textes s’étend de la fin du 17e à la première moitié du 19e. Tous les romans, en amont ou en aval de la Révolution française, témoins des convulsions de l’Histoire ou englués dans le temps suspendu, s’articulent autour des notions d’Utopie et de Révolution. Qu’ils s’interpénètrent ou s’excluent mutuellement, les 2 termes se révèleront indéfectiblement liés. Dans chacun des textes, leur combinaison définit en effet le mouvement de l’Histoire, entre la stagnation, le cercle, la spirale et la chute
This work of comparative literature is centered on seven latinoamerican novels torn between Europe and the caribean area : Son vacas, somos puercos (C. Boullosa), El siglo de las luces (A. Carpentier), La tejedora de coronas (G. Espinosa), Rasero (F. Rebolledo), La noche oscura del Niño Avilés and El camino de Yyaloide (E. Rodríguez Juliá), La isla de Róbinson (A. Uslar Pietri). This corpus reflects the diversity of a multifaceted literary genus : historical novel. It covers a period of more than two centuries (late 17th - first half of the 19th). All novels, upstream or downstream from the French Revolution, either witness of History’s convulsions or stucked in a suspended time, are about the same notions : Utopia and Revolution. Wether they interpenetrate or mutually exclude each other, the two terms are irreparably tied. They combine and offer at last, in each of these works, a different motion for History, between stagnation, circle, spiral and fall

Cette étude s’attache à analyser neuf œuvres (romans et contes) de la littérature hispano-américaine, écrites dans la seconde moitié du XXème siècle. Nous avons retenu quatre images fondamentales qui correspondent aux quatre chapitres de ce travail : 1. Le voyage. Il comprend : La isla de Robinsón (A. Uslar Pietri), El hablador (M. Varges Llosa), El naranjo (C. Fuentes) et Vigilia del Almirante (A. Roa Bastos). 2. Le sacrifice. On y trouve « La noche boca arriba » de Final del juego (J. Cortazar), « El hombre », « No oyes ladrar los perros » et « Luvina » de El Llano en Llamas (J. Rulfo), Del amor y otros demonios (G. Garcia Marquez) et « El immortal » de El Aleph (Jorge Luis Borges). 3. Le châtiment et la purification. Il porte sur « Los advertidos » et « Viaje a la semilla » de Guerra del tiempo y otros relatos (A. Carpentier), « Es que somos muy pobres » et « El Llano en llamas » de El Lano en llamas. 4. Le monde imaginaire comme objectif du voyage. On y accède à travers le jeu, la musique, le rêve/la rêverie et la parole/l’écriture. Y sont analysés « Final del juego » et « Las Ménades » de Final del juego, « La casa de Asterion » et « La Escritura del Dios » de El Aleph. Le repérage puis la classification des images fondamentales nous conduira à interpréter la littérature hispano-américaine à travers son Imaginaire, nous révélant ainsi l’expression profonde de ses mythes
This thesis analyzes nine works of Spanish American literature (novels and short stories) written during the second half of the 20th century (1949-1994) by nine major author. We divided our research in four chapters. Each chapter is devoted to the study of a distinct fundamental image : 1. The journey. We study La isla de Robinsón (A. Uslar Pietri), El hablador (M. Varges Llosa), El naranjo (C. Fuentes) and Vigilia del Almirante (A. Roa Bastos). 2. Sacrifice. We study « La noche boca arriba » from Final del juego (J. Cortazar), « El hombre », « No oyes ladrar los perros » and « Luvina » from El Llano en Llamas (J. Rulfo), Del amor y otros demonios (G. Garcia Marquez) and « El immortal » from El Aleph (Jorge Luis Borges). 3. Punishment and purification. These are experienced through three of the four primordial elements : water, earth, mud – a mixture of the two previous one – and fire. We study « Los advertidos » and « Viaje a la semilla » from Guerra del tiempo y otros relatos (A. Carpentier), « Es que somos muy pobres » and « El Llano en llamas » from El Lano en llamas. 4. The imaginary world as the final detsination, of the journey. It can be reaches trhough games, music, dreams/daydreaming and through the act of writing/telling. We study « Final del juego » and « Las Ménades » de Final del juego, « La casa de Asterion » and « La Escritura del Dios » from El Aleph. The identification and classification of these fundamental images will finally lead us to an interpretation of Spanish-American literature trough its imaginary,thus revealing the deeper meaning of its myths

Le théâtre contemporain chinois a un lien étroit avec le théâtre occidental. Depuis un siècle, le théâtre chinois, notamment le théâtre parlé, analyse et s’approprie les cultures occidentales en filtrant et en reprenant certains points en fonction de ses propres intérêts et de ses présupposés.Cette appropriation s’accompagne d’une série d’opérations théâtrales.Dans cette perspective, nous avons présenté en détail, la réception du théâtre français dans la Chine des quarante dernières années en deux temps : de 1978 à 1992 et de 1993 à 2014, en analysant des cas précis et variés. Nous avons mis l’accent sur les caractéristiques historiques de chaque période qui influencent clairement l’environnement général du théâtre chinois et son rapport avec le théâtre occidental, en précisant l’influence et le rôle majeur qu'a joué le théâtre français dans le paysage de la culture moderne chinoise et notamment ses créations théâtrales.Ses échanges riches avec le théâtre français permettent au théâtre chinois de dialoguer, des’interroger, d’évoluer et de reconstruire sa propre identité
Contemporary Chinese theater has a close connection with Western theater. For one century, Chinese theater, and especially spoken theater, has analyzed and appropriated Western cultures by filtering and summing up characteristics according to its own interests and presuppositions.This appropriation is accompanied by a series of theatrical operations.In this perspective, we have presented in detail, analyzing specific and varied cases, the reception of French theater in China of the last forty years in two stages: from 1978 to 1992 and from 1993 to 2014. We have emphasized the historical characteristics of each period, which clearly influence the general environment of Chinese theater and its relation to Western theater, by highlighting the influence and the major role played by French theater in the landscape of modern Chinese culture and especially his theatrical creations. The rich exchanges with Frenchtheater allow the Chinese theater to dialogue, to question, to evolve and to rebuild its ownidentity

Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade Aberta
A substituição de Salazar por Marcelo Caetano no poder ocorre num momento de crise social e política agudizada pela guerra colonial. A “Primavera Marcelista” com as falsas esperanças que criou contribui para tornar mais prementes os sentimentos de revolta e frustração de um número sempre crescente de cidadãos que, cada vez mais abertamente, contesta o sistema e se alia à oposição. Os ecos das mudanças que ocorrem no resto do mundo repercutem-se em Portugal, sobretudo entre a jovem geração, em particular nos meios estudantis. Aí nasce e se desenvolve um movimento artístico-cultural de contestação que, não se esgotando na música popular, tem nela a sua expressão mais visível. Novos cantores com novas propostas de música, nova postura e, sobretudo, com um discurso diferente, popularizam-se e repudiam a música ligeira em voga e quem a representa. Este repúdio estará na origem de um confronto a que chamei “Guerra de Cantigas” e constitui o objecto de estudo deste trabalho. A principal questão que se coloca nesta pesquisa é saber quais os valores que o discurso musicado de cada um destes grupos transmite. Procurei também compreender e retratar o contexto socio-político em que se desenvolve, para melhor apreender o fenómeno e responder a outras questões subsidiárias como o papel desempenhado pela indústria discográfica e os media, a origem social de cada grupo e os objectivos que pretende alcançar. Para tal, utilizam-se como fontes de análise os textos das cantigas e das críticas e comentários da imprensa especializada e dos diferentes actores envolvidos no processo.

To do painting: The inveterate observation treats the theme of observation of the world as an observation painted and rooted in the material. This is a theoretical-practical project. The document presents the portfolio with records of practical work (paintings) that value the materialization of the seen and felt as a form rooted in the transformation of the painter’s gaze. The document has three points. The first: Universal’s appeal, witch will work on an unknown order focusing on another painters where we feel it, the second: Creation and the lie: affection and the need for affection, where we will think the creative act through the questions that arose during the production of the works presented in the portfolio, and the third: Journey to Madrid: Balthus retrospective exhibition, in witch we register a visit of a great relevance for the production of the works, namely dealing with the materials and the painting material.

Drawing is understood as a means of foundational expression of artistic activity and as the most effective tool to access the representation. The paradoxical situation of drawing and painting remaining as taxonomically diferent activities, since there are approximations by practice while subsisting as actions described differently, requires a theoretical review from within the artistic practice in the context of studio practice. The gap between drawing and painting, stimulates demand for a change of procedures within the art project. In the territory of figuration, universe in which the artistic project is developed, it is necessary to find an element that allows this approach. The connection between drawing and painting is questioned based on three main ideas: the relationship between drawing typologies and painting, drawing protagonism within the hierarchical work established by historical practices of painting, and visual participation of drawing in the finished painting. Drawing is considered as belonging to a tradition which becomes active through its reassessment by working in the studio with the potential to reconfigure the territory of painting. In this case the support, as the first distinctive feature of the two practices, is thought of as a continuous territory through the action that is developed on it. In this sense, the modest character of the paper works as a model for the work on canvas that becomes materially rarefied. The line is understood as an element that inhabits the drawing and painting using different graphic expressions. It is understood that through the intervention of brush you can find a common configuration for both practices. The characteristics of the material and support are no longer relevant in the classification of a work as drawing or as painting, this function being assigned to the graphic element that builds the representation, in this case the line drawn with a brush. By using the line as painting’s building element it becomes potentially a hybrid entity, which is necessary to understand as an extended field of drawing practice