Dissertations / Theses: 'Correspondence of arts' – Grafiati (2024)

Abstract:

Anna Matilda Whistler (1804-1881) is now best known as the sitter for perhaps the most famous painting of an artist’s mother in the world, by James McNeill Whistler, Arrangement in Grey and Black: Portrait of the Artist’s Mother, Musée d’Orsay, Paris. My thesis is an annotated edition of Anna Whistler’s extent correspondence, comprising 267 letters and six essays. I have annotated the letters with respect to chronological, geographical, social, political and artistic references, documenting life and culture in the mid-19th century in America, Britain and Russia. Anna Whistler was a prolific letter writer who knew how to shape her epistolary style to suit the person in question. Her commentary ranged from the evolution of travel to Imperialist Russia. Her changing social status - from that of a wealthy housewife in Russia to a bankrupt widow - and her constant search for new homes and horizons for her children, take the reader on a social and geographical journey from the antebellum South to New England, and Europe. It is from these places that Anna Whistler introduced her correspondents and now us, today’s readers, to the personal stories of hundreds of individuals including the leading professionals of the time. These range from manufacturers and railroad engineers to religious leaders, slave owners, army officers and artists. A North Carolinian by birth, Anna Whistler experienced a lifestyle that was rich both in material and spiritual terms. She was brought up in a nineteenth century context, where white middle-class women were confined in most cases to the private domain of the home. Although Anna Whistler believed in traditional domestic roles for women, her circ*mstances actually led her to more beyond these boundaries.

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This thesis examines what literary theory can bring to the practice of visual story telling. Through praxis it examines underlying systems and techniques relative to works of fiction, investigating what impacts and advances narratology can bring to visual communication approaches and methods. This thesis will argue that literary concepts and methods produce new thinking and perspectives on visual methodologies, by establishing a dialectical relationship between the visual and verbal in creative practice; and in respect of literary theory and visual communication.

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Obesity is a contributing factor to many diseases. Unhealthy food choices are a behavior that can lead to obesity. Teaching children to make healthy food choices at an early age could lead to healthy food choices throughout a lifetime, which would mitigate potential for obesity. A number of different treatments have evaluated healthy food choices in children; however, many did not evaluate or show maintenance effects. The purpose of this study was to utilize correspondence training to acquire healthy food choices in preschoolers and to evaluate of natural communities of reinforcement as a maintenance procedure. Results showed that correspondence training is likely to increase healthy food choices in most preschoolers; however, maintenance of healthy snack choices is variable.

Abstract:

Prime Minister Winston Churchill and President Franklin Roosevelt inspired the Allies with memorable speeches in their fight against the Axis Powers during World War II.These speeches resulted from their personalities, preparation, and correspondence; and the speeches directed Allied conduct and challenged Axis aggression. The speeches examined here pertain to Lend-Lease in November, 1940-March, 1941.The author consulted the collections of Churchill's and Roosevelt's speeches and correspondence and drew from memoirs and newspapers. The first two chapters examine Churchill and Roosevelt's rhetorical abilities; the third chapter looks at how their correspondence shaped their speeches; and the fourth chapter looks at the Lend-Lease rhetoric.Roosevelt and Churchill's speeches contributed to the success of the Lend-Lease bill and strengthened the Anglo-American alliance. Their words and actions led to the emergence of America as the leader in the alliance and affected Hitler's perception of the Anglo-American relationship and policy.

Abstract:

Esta pesquisa tenciona apreender a moda das roupas, e afins, na obra de Marcel Proust, À la Recherche du temps perdu. Este escopo desdobra-se num exame sobre a fundação da estética proustiana da moda das roupas, assim como no exame acerca da história das roupas e sua função identitária, e no exame das vestimentas de importantes personagens femininas. O pensamento de Gilles Deleuze mostra-se presente em diversas etapas do trabalho, colaborando na costura do vestido proustiano.
This research intends to capture the fashion of clothes and related subjects in the Marcel Prousts romance À la Recherche du temps perdu. The scope of this work is unfolded in an investigation on the foundations of the Proustian clothing fashions aesthetic, as well as the examination about the history of clothing and their identity role, and as well as the garments of important female characters. Ideas of Gilles Deleuze show up at various stages of this research, collaborating in Proustian fashion dress

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Cette étude a pour ambition de mettre au jour la trajectoire du poète Hispano-Mexicain Tomás Segovia et de définir sa poétique. On tente ainsi de montrer comment son œuvre, conduite par le tropisme du nomadisme, mène de la reconnaissance des origines, à l’acceptation de l’héritage de l’exil puis au dépassem*nt de cette problématique. La poétique du nomadisme touche à différentes sphères, elle est perceptible dans la thématique, l’écriture, les figures, les formes poétiques ou dans les effets de transfert entre les différentes formes d’arts. Ce sont là autant de points d’analyse à prendre en compte pour explorer les possibilités de cette esthétique nomade qui tend définitivement à brouiller les frontières. Des figures comme la synesthésie, l’oxymore ou la personnification emblématisent la propension à l’échange et au mouvement de la poétique « ségovienne ». Le poète explore aussi l’éventail des possibilités que lui offre la variété des mètres différents dans la silva et dans le rythme hendécasyllabique. Il s’essaye à diverses formes poétiques et explore les modalités de l’entre-deux. Il met à profit l’image du poème. Il dialogue avec d’autres pratiques artistiques et tire parti des mots de la musique et de la peinture. Son écriture procède par d’habiles entrelacements de mots, elle est toute sensorielle, à l’écoute du corps et elle s’offre généreusem*nt dans des vagues langagières puissantes. Fidèle aux valeurs et aux luttes héritées de l’Espagne « peregrina », sa poésie n’entre pas dans la polémique de l’hispanité ou de l’américanité, elle a irrémédiablement choisi le drapeau du nomadisme pour réaliser son anagnorèse et ainsi déchiffrer et saisir le monde avec liberté
The objective of this study is to reveal the trajectory of the Hispanic Mexican poet, Tomás Segovia, and define his poetry. We will therefore try to show that his work, driven by the impulse of nomadism, leads from the recognition of his origins to the acceptation of his heritage of exile and finally to the conquering of this problem. The poetics of nomadism touch different spheres perceptible in terms of topics, themes, writing style, figures of speech, poetic forms or even the effects of transferring notions between different domains of art. So many points of analysis must there be taken into account in order to explore the possibilities of this nomadic esthetic which certainly has the tendency to blur the borders. Figures of speech such as synaesthesia, the oxymoron or personification emblemize the propensity of exchange and the “Segovian” poetic movement. This poet also explores a range of possibilities which offer him a variety of different meters within the silva and in the Hendecasyllabic rhythm. He tests out diverse forms of poetry and explores the sensory perceptions between them. He takes advantage of the imagery of a poem. He dialogues with other artistic practices and pulls from them words from the worlds of music and painting. His writing proceeds from a clever interlacing of words; it is entirely sensory, it listens to the body, and it offers itself generously to powerful linguistic waves. Faithful to his values and struggling from a “pilgriming” Spain, his poetry does not enter into the polemic debate of what it means to be Hispanic or American, but rather chooses the emblematic cover of nomadism to fulfill its anagorisis, thus, decoding and seizing the world with freedom

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Notre thèse présente et analyse la vie et l’œuvre de Ceri Richards (1903-1971), artiste peintre britannique d’origine galloise, dont l’art est profondément influencé par la musique. Mélomane et pianiste amateur, Richards développe son art de façon très indépendante et marque l’art britannique par une originalité commentée et appréciée des critiques d’art londoniens de son temps, « ce qui le [classe] comme l’un des plus grands parmi les peintres britanniques du milieu du XXe siècle » (Bénézit). C’est après la Seconde Guerre mondiale que les références musicales apparaissent avec plus d’importance dans son travail artistique dont la série des Cathédrales englouties (v. 1957-1967), inspirée du prélude éponyme de Claude Debussy, est unanimement reconnue.La première partie de la thèse est une biographie revue et augmentée de Ceri Richards en suivant le fil conducteur de la musique. Elle s’appuie sur des sources, notamment épistolaires, jamais dévoilées jusqu’à présent et des articles sur l’artiste non encore exploités.La troisième partie est un catalogue raisonné de l’œuvre de Ceri Richards en rapport avec la musique. Notre classem*nt, aussi exhaustif que possible à ce jour, établit huit grandes thématiques : le piano et les pianistes, Claude Debussy, Ludwig van Beethoven, les décors et les costumes d’opéras, la musique dans la poésie, les illustrations réalisées pour une Histoire de la musique écrite par Benjamin Britten et Imogen Holst, les illustrations d’ouvrages non musicaux et enfin d’autres thématiques musicales diverses. Ce travail de recensem*nt et de catalogage, le premier jamais réalisé, souligne l’étendue et la diversité de l’inspiration musicale de Ceri Richards
My thesis dissertation presents and analyses the life and work of Ceri Richards (1903-1971), a British painter originally from Wales. His art is profoundly influenced by music. As a music lover and pianist, Richards was particularly appreciated by London critics of his time who “placed him as one of the highest ranking, mid-20th-century British Painter” (E. Bénézit, Dictionary of Artists, Paris, Gründ, 2006). After the Second World War, the musical references are much more visible and important in his painting. His Cathédrale engloutie series, which was inspired by the eponymous Prelude by Debussy, is unanimously praised.The first part of my thesis is a biography of Ceri Richards, based on the importance of the music in his life. It relies on sources, letters unknown until now and articles about the artist never before explored.The second part investigates two corpus: the first one inspired by Debussy’s Cathédrale engloutie and the second by Beethoven in a comparative analysis.The third part is a catalogue raisonné of the work in relation with music. The organisation is in eight thematics: piano and pianists, Claude Debussy, Ludwig van Beethoven, opera stage decor and costumes, music in the poetry, illustrations realised for The Story of Music written by Benjamin Britten and Imogen Holst, illustrations for books which are not musical and other diverse musical themes. This catalogue raisonné is the first one and shows the extent and diversity of Ceri Richards’s musical inspiration

Abstract:

Les classiques conçoivent le champ artistique pluriel comme un dense réseau de correspondances, en y décelant un potentiel d’une riche expérience de la culture du temps. En renonçant à chercher dans leurs textes les présages de la conception moderne de l’Art (le génie fulgurant, l’invention, la créativité, l’originalité), nous remettons l’accent sur un autre versant de l’esthétique classique, se focalisant sur la résistance de la matière à la forme, l’exécution, le faire et la durée. En concevant la mimésis comme une équivalence entre poiesis et aisthesis, les classiques affirment que l’expérience artistique doit son déroulement, ses inflexions et la qualité de sa richesse au(x) médium(s) engagé(s). Que ce soit potentiellement ou concrètement, la variété du champ des arts conditionne nécessairement toute expérience artistique. Stimulante ou dérangeante, l’intermédiation des registres allogènes dans la contemplation d’une œuvre ainsi que dans la définition d’un art devient un détour inévitable, un dispositif de cohérence, récalcitrant à toute systématisation. Cette vision des arts anime l’imaginaire depuis la Renaissance jusqu’à la fin du XVIIIe siècle, en trouvant dans la littérature jardinière un terreau particulièrement fécond. Au XVIIIe siècle, la tradition classique fait l’objet d’une importante pression : la nouvelle disposition épistémologique et la lente autonomisation de l’expérience esthétique incitent à l’organisation de relations interdisciplinaires jugées trop chaotiques. La réponse se montre ambiguë entre les constats, les impératifs et l’expérience relatée. La théorie du jardin restreint alors le cercle de ses références aux arts « libéraux », en assignant à chaque alliance interdisciplinaire une fonction particulière. L’entreprise remporte un certain succès : elle parvient à s’ancrer dans l’opinion publique et suscite un débat esthétique inédit dans l’histoire des jardins. Toutefois, la conceptualisation de la correspondance des arts se heurte à une difficulté : l’hom*ogénéisation et l’unification du champ pluriel des arts. La déclaration du jardin en tant que foyer de « tous les arts » a pour but de prévenir le risque de sa monopolisation par un seul intermédiaire. En tout, suspendus entre les tendances du sujet unificateur et le désir de conserver la multiplicité des arts, les Lumières génèrent une forme de gestion de la pluralité que nous appelons une « dissipation contenue ». Les détours interdisciplinaires sont les chemins de la connaissance propres à la culture opérant dans le champ multiple des arts. Le contexte du jardin radicalise cette sémiose détournée. Les différences entre les objets acquièrent ici la valeur de simples différentiels. Dans une composition artistique qui fait de son exposition facteurs imprévisibles et contingents sa raison d’être, la logique fondée sur l’identité et l’opposition est inopérante. Par la voie de contigüité ou de similitude, les valeurs des arts se déplacent des objets à d’autres : la demeure principale rayonne et transmet son ordre architectural aux parterres environnants, le tableau imprime sa copie in situ de qualités picturales, la fabrique abritant une figure se pare de traits sculpturaux, etc. A réunir dans un enclos jardinier « tous » les arts, ses amateurs lui permettant de perpétuer cette sémiose potentiellement à l’infini. Les jardins des classiques ne sont pas conçus pour apporter de nouvelles connaissances, mais pour sonder l’expérience accompagnant son acquisition. L’enchaînement des dérapages disciplinaires « contenu » transforme la lecture du jardin en un « art de la promenade » érudit : une disposition cognitive constituée de comportements intellectuels et corporels étudiés, paradoxalement, dans le but d’atteindre le délassem*nt et le naturel
The art of gardens in France (1760-1808): Correspondence of arts in theory and practice. Classical thinkers understand the plural artistic realm to be a dense network of correspondences, where the rich experience of the culture of time (of cultivating time) yields a high potential. Having renounced to search through their works for harbingers of modern art (brilliant genius, invention, creativity, originality), we concentrate more on another aspect of classical aesthetics which focuses on the resistance of matter to form – execution, the act of doing and duration. Considering mimesis as an equivalence between poiesis and aisthesis, classical thinkers maintain that artistic experience owes its unfolding, its inflections and its quality to the chosen medium or media. Be it potentially or concretely, the diversity of the art realm necessarily conditions every artistic experience. Whether it be stimulating of disturbing, the intermediation of allogenic registers – as regards both the contemplation of an art work and the definition of an art form – becomes a necessary detour, a coherence mechanism, recalcitrant to any systemization. This view of the arts inspired public and artist imagination from the Renaissance to the end of the XVIIIth century, finding in garden literature a particularly fertile ground. During the XVIIIth century, classicism begins to be questioned : a new epistemological tendency, coupled with the growing autonomy of the aesthetic experience, results in the ordering of seemingly chaotic interdisciplinary relations. Assessments, imperatives and portrayed experience make for an ambiguous response. As a result, garden theory reduces the scope of its references to the “liberal” arts, ascribing to each interdisciplinary alliance a particular function. This new approach enjoys considerable success, permeating public opinion and triggering an aesthetic debate never before seen in garden history. Nevertheless, conceptualizing a correspondence between the arts meets with difficulty: hom*ogenizing and the unifying the plural domain of the arts. Presenting the garden as the source of “all of the arts” aims to prevent one single discipline from monopolizing it. All in all, torn between the subject as unifier and the desire to retain the multiplicity of the arts, the enlightenment philosophers invent a way to manage plurality that we call “contained dissipation.” Interdisciplinary detours are paths to knowledge specific to culture, operating in the multiple realm of the arts. In the context of the garden, this indirect semiosis is radicalized. Differences between objects thus acquire simple differential values. In an artistic composition whose existence is defined by its display vis-à-vis unpredictable and contingent factors, logic based on identity and opposition is inoperable. Through contiguity and resemblance, art values are displaced form one object to another: the principal residence radiates, transmitting its architectural order to the surrounding beds, the painting transfers pictorial qualities to its in situ copy, the factory harboring a figure takes on its sculptural traits, and so on. By uniting "all" of the arts in a garden enclosure, enthusiasts of the latter endow it with a material which makes it possible to perpetuate this semiosis infinitely. Classical gardens are not conceived to contibute new knowledge, but rather to enquire into the experience brought about by its acquisition. The succession of "contained" disciplinary blunders transforms the reading of the garden into an erudite “art of promenading” : at work is a cognitive mindset composed of prepared intellectual and bodily comportments whose paradoxical goal is to achieve relaxation and naturalness

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The objective of this study is to analyze the musical correspondences in "Hahn'sPentagon," the third narrative of Nove, Novena (1966), by Osman Lins. This workfrom the author's transitional phase, introduces several poetic innovations suchas the use of unpronounceable signs, that establishes a silence full of meaning.Consider them a stylized representation of the musical figures alreadyestablished in the musical writing, too little for the attempted approximation of thetwo artistic languages, the musical and the literary. The proposal becameeffectively possible by approaching the musical parameters of the characteristicsof the characters and their respective semantic fields. For the configuration ofwhat is called "literary score", the first part of this dissertation is dedicated to theconfiguration of the space, the pentagon. This geometric figure revealed severalsymbolic and also musical representations, constituting the pentagram or thestave where the compositions are written. The concept of soundscape was addedto the constitution of space, expanding the musical possibilities in the literary text.The organum as a manifestation of polyphony, was composed by five narrativevoices in equivalence with the "movements" of a musical composition. For theanalysis of the characters, besides the musical equivalents, references wereused from the field of symbolic hermeneutics, through the elements observed inthe text. The question of silence returns when we analyze the title character,because the animal condition of Hahn, is also an impediment to his speech. As afinal approximation between the arts, we notice the similarity of the musicalcomposition technique called fugue with the structure of the work, indicating theidea of a musical transcription for the literary text. In developing this study, webase ourselves on the considerations of Mario Praz, Etienne Souriau and GELessing, with regard to the correspondence between the arts. For the symbolicimage analysis we make use of the reflections of Mircea Eliade, GastonBachelard and Joseph Campbell. Undertaking an incursion through the text insearch of the author's intent in redimentioning his poetics, we intend to contributewith new approaches to the multiple techniques used by Lins, with the intentionto attain the fullness of his writing.
O objetivo deste estudo é analisar as correspondências musicais em “Pentágonode Hahn”, terceira narrativa de Nove, novena (1966), de Osman Lins. Esta obrada fase de transição do autor, apresenta diversas inovações poéticas, como autilização dos sinais impronunciáveis, que instauram um silêncio cheio designificações. Considerá-los uma representação estilizada das figuras musicaisjá consagradas na escrita musical foi demasiado pouco para a tentativa deaproximação das duas linguagens artísticas, a musical e a literária. A propostase tornou efetivamente possível aproximando os parâmetros musicais dascaracterísticas das personagens e de seus respectivos campos semânticos.Para a configuração do que se chamou “partitura literária”, a primeira parte dessadissertação foi dedicada à configuração do espaço, o pentágono. Essa figurageométrica suscitou diversas representações simbólicas e também musicais,constituindo o pentagrama ou a pauta onde são escritas as composições. Oconceito de paisagem sonora foi agregado à constituição do espaço, ampliandoas possibilidades musicais no texto literário. O organum como manifestação dapolifonia, foi composto pelas cinco vozes narrativas, em equivalência com os“movimentos” de uma composição musical. Para a análise das personagens,além das equivalências musicais, foram utilizadas referências no campo dahermenêutica simbólica, por via dos elementos observados no texto. A questãodo silêncio retorna quando da análise da personagem título, pois a condiçãoanimal de Hahn, também é um impedimento para sua elocução. Como últimaaproximação entre as artes, observou-se a semelhança da técnica decomposição musical denominada fuga com a estrutura da obra, sugerido a ideiade uma transcrição musical para a o texto literário. Para o desenvolvimento desteestudo, apoiamo-nos nas considerações de Mario Praz, Étienne Souriau e G.E.Lessing, no que diz respeito à correspondência entre as artes. Para as análisesdas imagens simbólicas recorremos às reflexões de Mircea Eliade, GastonBachelard e Joseph Campbell. Empreendendo uma incursão pelo texto embusca da intencionalidade do autor em redimensionar sua poética, pretendemoscontribuir com novas abordagens acerca das múltiplas técnicas utilizadas porLins na intenção de alcançar a plenitude de sua escrita.

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In modern historiography, Henri Christophe, king of northern Haiti from 1816-1820, is generally given a negative persona due to his controlling nature and his absolutist regime, but in his correspondence, he engages in diplomatic collaborations with two British abolitionists, William Wilberforce and Thomas Clarkson, in order to improve his new policies and obtain international recognition. This paper argues that the Haitian king and the abolitionists engaged in a mutual collaboration in which each party benefitted from the correspondence. Christophe used the advice of the British abolitionists in order to increase the power of Haiti into a powerful black state, and Wilberforce and Clarkson helped the king position Haiti as a self-sufficient nation to fuel their abolitionist argument of the potential of post-emancipation societies.

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Thesis (M.S.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1988.
Includes bibliographical references (leaves 47-52).
by Adriano Abbado.
M.S.

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The art ideal is usually understood as an exemplary art thatstands out in a formalist conception of the history of art, or as the artthat matches the programmatic conception of a normative aesthetics.Hegel’s conception is different in that it makes no emphatic commandfor ideal conditions of art or for it. Instead, and according to his notionof the ideal, which is none other than the idea of the true in historyand its realities, the art ideal is art itself accomplishing this task of realization. It achieves this by way of intuition, and with relation to theculture of sensuality, whereby the demands for art transform themselves in concurrence with the ideas that brand culture in general. Inagreement with this idea, art’s efforts do not consist so much in rendering the idea sensual, as in raising the sensual to appearance. Thisconception is exemplified in how Hegel approaches painting in his Lectures. This paper criticizes the usual interpretation of Hegel as a classicist, and strives to show the current potential of his theory.
El ideal del arte suele entenderse como un arte ejemplar que se destaca en unahistoria del arte de concepción formalista, o como el arte que responde a laconcepción programática de una estética normativa. La concepción de Hegel esdistinta; en ella no hay la exigencia en un sentido enfático de condiciones ideales,ni del arte ni para el arte, sino que de acuerdo con su concepción del ideal, queno es otra cosa que la idea o lo verdadero en la historia y sus realidades, el idealdel arte es el arte mismo cumpliendo esta tarea de realización. Ello lo consigueen el medio de la intuición y en relación con la cultura de la sensibilidad, cuyasdemandas para el arte se transforman de acuerdo con la mentalidad que le vadando el sello a la cultura en general. Acorde con esta idea, el esfuerzo del arteno consiste tanto en sensibilizar la idea, cuanto en elevar lo sensible a apariencia.Esta concepción queda ejemplifi cada en la forma cómo Hegel aborda la pintura ensus Lecciones. El artículo conlleva una crítica a la interpretación usual de Hegelcomo clasicista, e intenta mostrar el potencial de su teoría para la actualidad.

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Orientador: Jeanne Marie Gagnebin de Bons
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho pretende lidar com a relação entre arte e verdade, tal como ela é iscutida nos debates a respeito de um conceito materialista de crítica de arte, ocorridos durante a década de 1930 entre Theodor W. Adorno e Walter Benjamin. A tarefa central aqui é a de articular a idéia original de um projeto comum aos dois autores, cujo ponto de partida estaria em aspectos da obra de juventude de Benjamin, e o desenvolvimento posterior por cada um deles como uma concepção própria de crítica no momento em que eles são confrontados com elementos das artes de vanguarda e da cultura de massa das primeiras décadas do século XX. Com o intuito de salientar que as divergências surgidas na Correspondência entre Adorno e Benjamin originam-se sobretudo de posicionamentos distintos perante estes fenômenos artísticos, as questões pertinentes são apresentadas e discutidas em três momentos: 1) a exposição de aspectos dos escritos de juventude de Benjamin, fundamentais à compreensão dos debates da década de 1930; 2) as divergências entre Adorno e Benjamin a respeito da interpretação das obras de Bertolt Brecht e Franz Kafka; 3) os posicionamentos distintos dos dois autores perante a arte de massa, tal como apresentados em seus respectivos trabalhos sobre o cinema e o jazz
Abstract: This work intends to deal with the relationship between art and truth as they are discussed in the debates over a materialistic concept of art criticism taken place in the 1930s between Theodor W. Adorno and Walter Benjamin. The main effort here is to articulate the original idea of a common project shared by both authors -- whose background is situated in some aspects of Benjamin¿s early writings -- and its subsequent development by each author as his own distinctive concept of art criticism when they are both confronted with elements of the avant-garde and of the mass culture of the first decades of the 20th century. After pointing out that the divergences discussed on the Correspondence between Adorno and Benjamin rise from different attitudes with regard to the mentioned artistic phenomena, the ensuing questions are presented and discussed in three different moments: 1) the presentation of certain problems of Benjamin¿s early writings, indispensable to an understanding of the discussions emerging later in the 1930s; 2) the divergences between Adorno and Benjamin concerning the interpretation of Bertolt Brecht¿s and Franz Kafka¿s works; 3) their different positions on mass culture so as they are presented in their respective works on film and jazz
Doutorado
Historia da Filosofia Contemporanea
Doutor em Filosofia

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This Capstone Project encompasses two videos, each representing different ways to visually structure the experience of “the city”.The first video, "My Way or the Highway", is a 5 minute piece examining Los Angeles Transportation systems. Through observational footage and a poetic editing style, I compare and contrast the experience of traveling via public and private transportation. Through this video I aim to encourage the viewer to consider their own transportation options whether it is in Los Angeles or anywhere else around the world.The second is a 12 minute video, titled "A Correspondence" structured as a correspondence between Seattle and Los Angeles as if they were personified discussing what it means to be a developing/growing city and the responsibilities it entails. Visually I present a combination of footage from L.A. and Seattle to create an "impossible city" making the viewer second guess from where the footage originates, emphasizing the difference between learning about a city from others and learning about a city through experience. In "A Correspondence" I aim to provide an experience that forces the viewer to realize their own interactions with cities and how their view is shaped by their specific experiences, making everybody's view of a city subjective.

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La decisión de ocuparme de un tema que abarca al mismo tiempo dos personajes distintos, es imputable principalmente a mi fuerte interés por el patronazgo femenino renacentista, y en segundo lugar, al hecho que las dos figuras tratadas, aunque muy estudiadas singularmente, nunca han estado realmente profundizadas en cuanto cuñadas y, por ese motivo, fuertemente afines. Analizando la bibliografía relativa a la relación existida entre Isabella d’Este y Lucrezia Borgia, de hecho resultada más bien lagunosa, y encontrando en archivo una surtida correspondencia que les pertenece, he pensado en intentar alumbrar aquella parte de su historia con una pieza más, demorándome sobre la manera con el que se relacionaron a la hora de afrontar aquellos aspectos de su vida que las obligabas a confrontarse. Teniendo en cuenta que la bibliografía existente concuerda en aseverar que Isabella tenía en gran antipatía su cuñada, mi curiosidad, ya desde el principio, consistía en averiguar si realmente Isabella era tan envidiosa de Lucrezia, y si así fuera, cómo se relacionó con ella a lo largo de los diez y siete años en el que fueron parientes y con cuales consecuencias bajo varios puntos de vista. El resultado de la investigación me ha llevado a individuar tres grandes temas que las vieron, con factores distintos, estrechamente conectadas; el primer tema es aquello ligado al patronazgo de cultura que, puesta la posición de Isabella en querer ser recordada cual única primera dama de su tiempo, las ve netamente en contraposición, con, por un lado, intelectuales y humanistas empeñados en tejer las laudes de ambas, y por otro, la evidente aversión demostrada por Isabella hacia Lucrezia, que en vano intenta establecer un dialogo erudito con la cuñada. En segundo lugar, la investigación ha evidenciado inesperados puntos de unión por lo que se refiere al tema de la religión y sus distintas facetas, de que estaba cargada toda la sociedad renacentista; partiendo por dos posiciones muy distintas, es posible ver los diferentes aproches de ambas en algunas circunstancias claves ligadas al mundo eclesiástico. En fin, el enfoque se ha desplazado sobre los asuntos estrechamente inherentes a su posición en seno a sus familias, resaltando temas familiares y de gestión del propio deber cuales señoras de sus estados. La investigación ha conducido a resultados interesantes e inesperados, sobre todo cuando la historia oficial se ha mezclado con la historia intima de las dos mujeres, ligada a su intercambio epistolar. Al término de esta investigación que ha abarcado un largo lapso de historia a caballo entre siglo XV y siglo XVI Y Analizando el intercambio epistolar, notamos que la correspondencia está sostenida principalmente por Lucrezia, que parece sufrir de una forma de grafomanía unida a su necesidad de resultar agradecida a Isabella. Como visto, por su parte Isabella resulta haber escrito pocas cartas a Lucrezia, dejando frecuentemente que fuese un miso a transmitirle el mensaje, y los temas que toca son a menudo muy convencionales, denotando cierta frialdad hacía ella. Una particularidad que sobresale es que si entre Isabella y Alfonso la correspondencia resulta constante y rica de temas de grande interés cultural y artístico, o sea los temas favoritos de Isabella, con Lucrezia, este tipo de contenido falta completamente. La única ocasión en la que tratan de un artista en su correspondencia es justo al principio, cuando Lucrezia todavía se ilude, considerando la extracción humanística e intelectual de ambas, de poder empezar una relación de cualidad con su cuñada, que de hecho hará exactamente lo contrario de lo que ella espera, escribiendo poco y tocando temas de escaso interés. En conclusión, podemos decir que en un periodo de grande fervor cultural y verdadero receptáculo de ilustres personajes, dos damas de dos grandes familias se han distinguido, y que con más o menos fortuna critica han llegado hasta nuestro días, casi como dos heroínas. Detrás de la imagen que nos han dejado, sin embargo se celan, antes que todo, dos mujeres extraordinarias, que han sabido distinguirse en una sociedad mandada por los hombres, imponiéndose cuando la situación lo requería, y utilizando también astucias típicamente femeninas para obtener los resultados esperados. A través de su intercambio epistolar sobresalen totalmente estas dos mujeres; empeñadas a veces con la rutina cotidiana, a veces con problemas a menudo más grandes que ellas, y aunque podemos tal vez lamentar de la escasa complicidad demostrada, podemos por otra parte verlas en toda su humanidad y fragilidad, reconociendo en ellas defectos y valor, y seguramente apreciándolas ambas, por lo que han sido y también por lo que no han sido
ENGLISH ABSTRACT The decision to deal with a subject that covers simultaneously two different characters, is attributable mainly to my strong interest in Renaissance female patronage, and secondly, at the fact that the two figures treated, although very studied singularly, have never been really deepened as sisters in law and, for that reason, strongly related. Analyzing the literature on the relationship existed between Isabella d'Este and Lucrezia Borgia, in fact turned out rather lacunose, and finding a stocked correspondence on file that belongs to them, I thought of trying to illuminate that part of their history with another piece, linger myself on the manner in which they were related to tackling those aspects of their life that obligate them to confront. Given that the literature is consistent in asserting that Isabella had a great dislike to her sister in law, my curiosity, from the beginning, was to find out if you really Isabella was so jealous of Lucrezia, and if so, how he related to her over the seventeen years in which they were relatives and which been the consequences under various viewpoints. The result of research has led me to single out three issues that saw, with different, closely connected factors; the first issue is that linked to patronage of culture, considering Isabella in the position of wanting to be remembered that only first lady of her time, seen clearly in contrast, with one hand, intellectuals and humanists determined to weave the praises of both, and secondly, the apparent aversion demonstrated by Isabella to Lucrezia, who vainly tries to establish a dialogue with the sister in law. Second, research has shown unexpected attachment points so it addresses the issue of religion and its various facets, that was charged full Renaissance society; starting with two very different positions, it is possible to see the different approaches of both in some key factors linked to the ecclesiastical world. Finally, the focus has shifted on closely associated with their position in matters within their families, highlighting family management and ladies of their states which own duty issues. The research has led to interesting and unexpected results, especially when the official story has been mixed with the intimate story of two women, linked to their epistolary exchange. Upon completion of this investigation that has spanned a long period of history straddling and analyzing the exchange of letters XV and XVI century, we note that the correspondence is mainly supported by Lucrezia, who seems to suffer from a form of graphomania due to her need to be grateful to Isabella. As seen, meanwhile Isabella is having written few letters to Lucrezia, often leaving it to be a messenger to convey the message, and the issues it raises are often very conventional, denoting a certain coldness from her. One feature that stands out is that if between Isabella and Alfonso correspondence is consistent and rich themes of great cultural and artistic interest, that is the favorite themes of Isabella, with Lucrezia, this type of content is completely missing. The only time they treat an artist in their correspondence is just at the beginning, when Lucrezia deluding herself, still considering the humanistic and intellectual extraction of both, she can begin a relationship of quality with her sister in law, who in fact do exactly the contrary to what she expected, writing and playing some topics of little interest. In conclusion, we can say that in a period of great cultural fervor and true cradle of famous people, two women of illustrious families have distinguished, and with more or less success criticism have come down to our days, almost as two heroines. Behind the image we have left, however conceal, first of all, two extraordinary women who have managed to distinguish itself in a society controlled by men, beating when the situation required, and also using typically feminine wiles to get the expected results. Through their epistolary exchange these two women stand completely; engaged sometimes daily routine, sometimes with problems bigger than they often, and although we may lament the lack proven complicity, can moreover see them in all their humanity and frailty, recognizing these shortcomings and value, and surely appreciate them both for what they have been and what they have not been

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This thesis addresses the roles and experiences of fourteen London correspondents for New Zealand newspapers, 1884-1942. It argues that these correspondents made a small but significant contribution to news flow into New Zealand and that the importance of London’s role as an imperial, cultural and news-flow metropole make it central to studies of the New Zealand press during this period. However, correspondents identities as New Zealanders and the unique requirements of the New Zealand press system were also important, meaning that correspondents and their correspondence need to be addressed in terms of layered identity and of both imperial and domestic press systems.

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The present dissertation analyses the readers´letters sent to the author Ana Maria Machado, born in Rio de Janeiro in 1941. Most of her work is infant or young teenager books. The letters of this research discuss the children´s comments about her work. The letters are from 2004 to 2009, therefore showing their modern time. It is believed that, by studying this work, it is possible to analyse some reading practices at the Brazilian schools today, as well as the most reading book by young children: Bisa Bia, Bisa Bel. The work presented here is based on the formulation of Antonio Candido´s Literary System (1959) and a little influence of the Dialogism of Mikhail Bakhtin(1960), considering that the children experience two moments: as readers of Ana Maria Machado´s books and also authors of the letters sent to her.
Esta dissertação analisa cartas de leitores à escritora Ana Maria Machado, nascida no Rio de Janeiro em 1941. A maior parte de sua obra compõe-se de livros infantis e infanto-juvenís. As cartas de que se ocupa esta pesquisa discutem oscomentários das crianças sobre estas obras. As cartas abrangem o período compreendido entre 2004 a 2009 sendo, portanto, seu contexto contemporâneo. Acredita-se que, através do estudo desse acervo de cartas, é possível analisar algumas práticas de leitura, em curso na escola brasileira de hoje, bem como a obra mais lida pelos pequenos: Bisa Bia, Bisa Bel. O trabalho aqui apresentado fundamenta-se na formulação do Sistema Literário de Antonio Candido (1959) e em certa medida, no Dialogismo de Mikhail Bakhtin (1960), visto que as crianças vivem dois momentos: como leitores, das obras de Ana Maria Machado e também autores das cartas enviadas a ela.

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Esta investigación está dirigida al estudioso de la danza y de la música y, al ciudadano que sensibiliza su cuerpo. El estudio trata de una propuesta interdisciplinaria que liga lo musical con lo dancístico en un intento de sincronía de los aspectos lingüísticos musicales y los dancísticos. La música fue creada por compositores de la antigua academia de la música, que derivan su dominio para crear bajo una perspectiva contemporánea. Respecto a la danza; la evolución consiste en dejar el lenguaje cada vez más al desnudo; proceso que quiebra los límites entre lo artístico y lo cotidiano. Esta propuesta lingüística surge desde el seno de la más rigurosa tradición de la danza, llevado a un espíritu contemporáneo.

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Made available in DSpace on 2016-04-28T18:22:58Z (GMT). No. of bitstreams: 1Tese Paulo Rogerio Stella.pdf: 12351071 bytes, checksum: 5b413b8b5736a520f574011b6cc8bd72 (MD5) Previous issue date: 2006-02-02
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This text aims at the discursive study of six Files for the Registration of Correspondence from the Escola Complementar e Grupo Escolar de Itapetininga (Complementary and Publica School at Itapetininga). The Files contain 648 letters written by a writer contracted by the school in the period of 1905 to 1911. Starting from a study of the possible circulation of the Files and the contents of the correspondence, we established four major subjects: communication, requests, delivery and reception of documents. We constituted a corpus of 36 letters. The turning point of the work is the relation between the seemingly stability of the written language registered in the Livros de Registro da Correspondência and the possible aspects of instability as a consequence of the chances of regime from Empire to Republic in Brazil in the end of the XIXth century and beginning of the XXth century, same period as the creation of the school where the Files were found. The theoretical point of view is related to the notions of locutor (BENVENISTE, 1974/1989), interlocutor (BAKHTIN, 1979/2003), others (BAKHTIN, 1929/1988), discourse genre (BAKHTIN 1979/2003), immediate verbal context and extraverbal context (BAKHTIN/VOLOCHINOV (1926/2000). The analysis of the material was done in three stages: 1) the observation of the language forms (BAKHTIN/VOLOCHINOV (1926/2000) working in relation to person, space and time in the texts; 2) the observation of the organization of the forms of the language working as a discourse genre (BAKHTIN 1979/2003) named Livro de Registro da Correspondência; and 3) the interference of the extraverbal context in the forms of the language. We noticed that the locutor constitutes itself in a stable environment, organized under the theme of order which stabilizes and organizes the forms of language. But, an exterior reality, less stable, imposes itself in the reality of the language. We reached the conclusion that the Livros Registros da Correspondência are a way of dialogue (BAKHTIN/VOLOCHINOV, 1929/1988) of the direction of the school. The value of order in circulation in the Files stabilizes the writing, but this value is only a wish of the locutor in relation to the interlocutors. A wish to come (BAKHTIN/VOLOCHINOV (1926/2000), opposing itself to the value of disorder circulating in the reality during the beginning of the Republican regime in Brazil.
Este texto visa ao estudo discursivo de seis Livros de Registro da Correspondência da Escola Complementar e Grupo Escolar de Itapetininga. Os livros contêm no total 648 cartas registradas por amanuenses da escola durante o período de 1905 a 1911. A partir de um estudo sobre a possível circulação dos livros e o conteúdo da correspondência arquivada, definimos quatro assuntos gerais tratados na correspondência, que são: comunicações de eventos, pedidos, remessas e recebimentos de documentos. Constituímos um corpus de pesquisa de 36 cartas. A tese que perseguimos neste trabalho visa à relação entre a aparente estabilidade apresentada na linguagem do material registrado nos Livros de Registro da Correspondência e possíveis aspectos de instabilidade subjacentes, decorrentes da mudança de regime político de Império para a República no Brasil no final do século XIX e início do XX, mesma época em que a escola foi criada e o arquivo de correspondências foi feito. O ponto de vista teórico utilizado diz respeito às noções do locutor (BENVENISTE, 1974/1989), interlocutor (BAKHTIN, 1979/2003), outros (BAKHTIN, 1929/1988), gêneros do discurso (BAKHTIN 1979/2003), contexto verbal imediato e contexto extraverbal (BAKHTIN/VOLOCHINOV, 1926/2000). A análise do material foi feita em três etapas: 1) a observação das formas da língua (BAKHTIN/VOLOCHINOV, 1926/2000) em funcionamento a partir das relações de pessoa, espaço e tempo nos textos das cartas arquivadas; 2) a observação da organização das formas da língua em funcionamento no gênero (BAKHTIN 1979/2003) Livro de Registro da Correspondência; e 3) a interferência do contexto extraverbal nas formas da língua. Percebemos que o locutor se constitui em um ambiente estável, marcado pelo tema da ordem que estabiliza e organiza as formas da língua no interior do arquivo. Entretanto, à realidade da língua se impõe uma realidade exterior, menos estável. Com o estudo, chegamos à conclusão que os Livros Registros da Correspondência são uma forma de diálogo (BAKHTIN/VOLOCHINOV, 1929/1988) da direção do estabelecimento de ensino, locutor dos registros com os outros órgãos públicos. O valor da ordem, circulante nos livros, estabiliza a escrita, contudo, esse valor é apenas um desejo que se opõe ao valor da desordem circulante na realidade durante início do regime republicano no Brasil.

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Man is an animal that writes letters this phrase is present in a Lewis Carroll s letter, it not only points out the importance of correspondence in the author s lifebut it also suggests that the genre plays a fundamental role in the construction and expression of human identity. Nevertheless, the study of the genres ( discursive andtextual) at school is focused on the presentation of standardized model for reading and, by producing, exercise the writing of texts which do not circulate outside the classroom. That is what is inferred from the analysis of the work with the letter genres especially personal letters present in thirteen compilations for the initial grades of Elementary Education (2nd to 5th grades) part of the Programa Nacional para o Livro Didático 2007 (PNLD). In these grades, there are general concepts about letters which are expected to be known by the students and used at the following grades, and it has become relevant, in this paper, to compare this knowledge: a) with concepts by different theorists about discursive genres and textual genres, what allowed to observe a reductive conception ofthem in school manuals; b) with a brief history of the letter genre, which showed a proximity between the models brought to the students and the proposals of the medievalrhetoric, distancing itself from positions turned to a diversity of individual constructions before each discursive situation, used, between other ages, in the nineteenth century, when Lewis Carroll produced his literary works and letters; c) with the data from asurvey made in a private school, with 226 students from the 5th, 7th and 8th grades, which inquired their concepts about letters and which suggests that there is a remarkable distance between the standardized information in the manuals up to the 5th grade and the knowledge built by the student in the same period and in the following grades while, through writing letters in traditional supports, such as paper, and new ones, such as email, they exercise an effective social participation outside school; d) with the use that writers make of the creative aspects of letters, taking as an example, Lewis Carroll s letters written to children in the nineteenth century and bearing in mind, in this point of view, the weight of the Alice s Adventures in Wonderland s author in the world or literary production for children and his extensive epistolary production; from this proximity it was possible not only the contrast it with the artificiality of the models presented in school manuals, but also the resumption of the role of writers epistolary production in harboring the literary system and in the reception of the texts by the readers. These are some conclusions of this paper: a) the teaching of letter as a genre, present in school manuals, has underestimated the knowledge contemporary students have about letters; b) the work with letters in manuals do not consider the importance of some material aspects of the text (size, format, texture etc.) in the construction of meanings by the reader, as the students point out as necessary to the effects they expect to cause with their production outside school; the student s contact with letters written by Brazilian and foreign authors, contemporary or not, is a way to a more meaningful work of writing as a solution of a problematic situation , not a sheer model reproduction exercise; d) the reading of an author s correspondence can be an opendoor to his literary production; e) the contact with writer s letters and other authentic texts allows to bring, to school space, discussions about the ethics of publication of what initially belonged to the private space, which is permeating the epistolary study. Thispresent work does not aim to be a manual of teaching letters at school, but to discuss ideas that help teachers to reflect about their work and find means to get them closer to the premises of Parâmetros Curriculares Nacionais which say that the linguistic knowledge learned at school must allow the students to have an effective social participation, the exercise of citizenship, which is defined as a possibility of the construction and expression of ideas, feelings and their own identity in the interaction with the diversity of ideas, feelings and identities mediated by reading and writing texts.
O homem é um animal que escreve cartas essa frase presente em carta de Lewis Carroll, não só aponta a importância da correspondência na vida do autor, como também sugere um papel primordial do gênero na construção e expressão da identidade humana. Entretanto o estudo de gêneros (discursivos e textuais) na escola se mostra voltado para apresentar modelos padronizados para leitura e, pela produção, exercitar a escrita de textos que não circulam para além da sala de aula. É o que se infere da análise do trabalho com os gêneros da correspondência especialmente das cartas pessoais presente em treze coleções para as séries iniciais do Ensino Fundamental (2º ao 5º ano), parte do Programa Nacional para o Livro Didático 2007 (PNLD). Nessas séries, veiculam-se conceitos gerais sobre cartas que, espera-se, sejam conhecimentos de que os alunos se valham nas séries posteriores, o que tornou relevante, nesta tese, confrontar esses conhecimentos: a) com conceitos de teóricosdiversos sobre gêneros discursivos e gêneros textuais, o que permitiu observar uma conceituação redutora dos mesmos pelos manuais escolares; b) com um breve histórico do gênero carta, o que apresentou uma proximidade entre os modelos trazidos aos alunos e as propostas da retórica medieval, distanciando-se de posições voltadas para a diversidade de construções individuais frente a cada situação discursiva, veiculadas, entre outros períodos, no século XIX, época em que Lewis Carroll produziu sua obra literária e epistolar; c) com dados de pesquisa realizada em escola particular, com 226 alunos de 5º, 7º e 8º ano, que investigou seus conceitos sobre cartas e que sugere haver uma distância bem marcada entre as informações padronizadas dos manuais até o 5º ano e os conhecimentos construídos pelo aluno no mesmo período e em séries posteriores enquanto, por meio da escrita de cartas em suportes tradicionais, como o papel, e novos, como o e-mail, exercitam uma participação social efetiva fora da escola; d) com o uso que escritores fazem da face criativa da carta, tomando, como exemplos, cartas de Lewis Carroll escritas para crianças no século XIX e tendo-se em mente, nessa escolha, o peso do autor de As aventuras de Alice no País das Maravilhas na produção literária infantil mundial e sua extensa produção epistolar; dessa aproximação, foi possível não só o contraste com a artificialidade dos modelos apresentados nos manuais escolares, como também a retomada do papel da produção epistolar dos escritores na alimentação do sistema literário e na recepção dos textos pelos leitores. São algumas conclusões deste trabalho que: a) o ensino de gêneros da correspondência, presente nos manuais escolares, tem subestimado os conhecimentos que os alunos contemporâneos possuem sobre cartas; b) o trabalho com cartas nos manuais apaga a importância dos aspectos materiais do texto (tamanho, forma, textura etc.) na construção de sentidos pelo leitor, enquanto os alunos os salientam como necessários aos efeitos que esperam provocar com sua produção de cartas fora da escola; c) o contato de alunos com cartas escritas por autores estrangeiros e brasileiros, contemporâneos ou não é um caminho para trabalho mais significativo de escrita como resolução de situações-problema, não mero exercício de reprodução demodelos; d) a leitura da correspondência de um autor pode ser uma das portas de entrada para a leitura de sua produção literária; e) o contato com cartas de escritores e outros textos autênticos permite trazer, para o espaço escolar, discussões sobre a ética da publicação do que, inicialmente, pertenceu ao espaço privado, que vem permeando os estudos da epistolografia. O presente trabalho não se pretende como manual de ensino de cartas na escola, mas como espaço de discussão de ideias que ajudem professores a refletir sobre o trabalho que realizam e buscar meios de aproximá-lo melhor da premissa dos Parâmetros Curriculares Nacionais de que os conhecimentos linguísticos conseguidos na escola devem permitir ao aluno a participação social efetiva, o exercício da cidadania, que circunscrevemos como a possibilidade de construção e expressão de ideias, sentimentos e da própria identidade na interação com a diversidade de ideias, sentimentos e identidades mediadas pela leitura e escrita de textos.

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This work is a study of correspondence in the area of English and Portuguese verb tenses, and takes as focus the Present Perfect verb tense. In this study it is used as corpus theoccurrences of this English verb tense in North American articles of the National Geographic magazine, and its statements and sense effects compared with the translationsof the respective Brazilian articles. With the purpose of reflecting on this correspondence, this work is based on the description of the Present Perfect presented by grammars ofdifferent theoretical orientations, on the analysis of the grammatical categories of aspect and tense in both English and Portuguese languages, and, also, on theoretical aspectsrelated to the problem of foreign language acquisition.
Este trabalho é um estudo de correspondência no domínio de tempos verbais da língua inglesa e da língua portuguesa, e toma como foco o tempo verbal Present Perfect da línguainglesa. Para tanto, utilizam-se como corpus as ocorrências desse tempo verbal em edições norte-americanas da revista National Geographic e analisam-se seus enunciados e efeitosde sentido comparados aos das traduções das respectivas edições brasileiras. Com o objetivo de refletir sobre essa correspondência, este trabalho fundamenta-se na descrição do Present Perfect apresentada por gramáticas de diferentes orientações teóricas, na análise das categorias gramaticais aspecto e tempo em língua inglesa e em língua portuguesa, e,ainda, em aspectos teóricos referentes à aquisição de língua estrangeira.

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The aim of the present study has been to investigate how titles of social rank used in Tudor and Stuart England are modified by attributive adjectives in pre-adjacent position and the implications that become possible to observe. Using the Corpus of Early English Correspondence Sampler (CEECS) the present work set out to examine adjectival modification, gender perspectives and MI (Mutual Information) scores in order to gain a deeper understanding of how and why titles were modified in certain ways. The titles under scrutiny are Lord, Lady, Sir, Dame, Madam, Master and Mistress and these have been analysed following theories and frameworks pertaining to the scientific discipline of sociohistorical linguistics. The findings of the present study suggest that male titles were modified more frequently than, and differently from, female titles. The adjectives used as pre-modifiers, in turn, stem from different semantic domains which reveals differences in attitudes from the language producers towards the referents and in what traits are described regarding the holders of the titles. Additionally, a type/token ratio investigation reveals that the language producers were keener on using a more varied vocabulary when modifying female titles and less so when modifying male titles. The male terms proved to be used more formulaically than the female terms, as well. Lastly, an analysis of MI scores concludes that the most frequent collocations are not necessarily the most relevant ones. A discussion regarding similarities and differences to other studies is carried out, as well, which, further, is accompanied by suggestions for future research.

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Poète et romancier, Raymond Queneau était aussi peintre. Peu de spécialistes de Queneau se sont penchés sur cet aspect de son oeuvre. Quelles circonstances l’ont amené à peindre ? Son enfance havraise a joué le rôle de déclencheur. Très tôt et avant même d’écrire, il a dessiné et peint. À une période de sa vie, devant l’insuccès de ses oeuvres littéraires, il a pensé faire une carrière de peintre. Il a fréquenté les musées et rencontré de très grands peintres (Miró, Dali, Picasso, Chaissac, Lascaux, Hélion, Prassinos et Dubuffet). Malgré son goût pour la peinture et son amitié pour de nombreux artistes, il est resté écrivain et a cessé assez vite de poursuivre sa carrière de peintre tout en continuant à peindre en amateur. Comme ses écrits critiques sur la peinture, ses toiles sont originales et constituent le fruit d’une réflexion profonde sur les interférences entre littérature et peinture. La présence de l’art et des artistes, tant dans son oeuvre poétique que romanesque, et l’influence de peintres-écrivains servent à éclairer ces interférences. Préfaces et correspondances nous apprennent que Queneau n’était pas un critique d’art traditionnel. Nous montrons les influences qu’il a subies, les peintres qu’il a copiés voire pastichés. Nous recensons sa production picturale malgré la difficulté d’un classem*nt chronologique : il datait très rarement ses gouaches ou ses aquarelles et les titrait aussi peu. Enfin, nous étudions l’influence de l’amateur d’art sur ses illustrateurs et sur son fils peintre et la continuité de sa pensée qu’assurent les recherches de l’Oupeinpo même si Queneau est aujourd’hui surtout reconnu comme un des grands écrivains du XXe siècle
Poet and novelist, Raymond Queneau was also a painter. He was born in Le Havre on february 21, 1903, the only child of two haberdashers. What circ*mstances brought him to paint ? He grew up under the watchful eye of an over protecting mother. He said he complained of a lack of love during his childhood. After his baccalaureat he went to Paris with his parents and he studied at the Sorbonne and met the surrealist group. He began to frequent the Central Bureau of Surrealist Research. He met the most famous painters of the century. At a time, as he did not earn enough money with his novels he thought he could try to be a painter. He visited a lot of museums, was a friend ofMiro, Helion, Labisse, Chaissac and Dubuffet. Noël Arnaud wrote “Queneau is one with whom one can talk about painting”. As a fact, he drew and painted as a young child before he could read and write. He subscribed at the ABC School whose program was “If you can write you are able draw!”. Very few of the Queneau’s specialists have been interested by this part of his work. None of his numerous foreign translaters were. Himself recognised as soon as 1950, that his pictures where not good enough to make him an important artist, but in his poems and novels (especially The Blue flowers) he introduces a great number of painters, famous or not. Nowadays he his really recognised as one of the most important writers of the XXth century

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Made available in DSpace on 2016-04-28T18:22:32Z (GMT). No. of bitstreams: 1Maria de Lourdes Albuquerque de Souza.pdf: 1686293 bytes, checksum: a28a692a21618b677116d0060ee09c27 (MD5) Previous issue date: 2012-06-27
Fundação Ford
This research has as main objective to create moments of critical reflection with theresearched group looking for the comprehension and discussion of the organizationand use of the official correspondence genre - correspondência oficial ofício, anofficial document that is commonly received from non- indigenous institutions forkaiowá leaderships and teachers from T. I. Panambizinho. This study is basedtheoretically in the Socio-Historical- Cultural Activity Theory (Vygotsky, Leontiev,Engeström) and the discussions of Bakhtin about discourse genres; in Magalhães(2004), Liberali (2009), Kerbrat-Orechioni (2010), Brookfield & Preskill (2005),Smyth (1992) and Mackay (1980), in order to analyze the organizational pattern oflanguage in the turn-taking in the discussions. The methodological orientation isanchored in the Critical Research of Collaboration, which points to the organizationof language as dialogical and dialectic in the accomplishment of a joint work by theparticipants. As pointed out by Magalhães (2007a) it is about a methodology ofintervention in the context of accomplishment of the research, with the objective tocreate spaces of joint construction for the understanding and transformation ofsenses attributed to the object under discussion and production of sharedmeanings. This study was carried out with leaderships and teachers of theIndigenous Land, Panambizinho, Dourados/MS. The data was collected/produced,through workshops of study, with focus in the reading and writing of the officialcorrespondence genre, correspondência oficial ofício, that were recorded in audioand video. The focus of this dissertation is on the reading. The results had disclosedno initial understanding of the indigenous participants on the importance and useof the official correspondence ofício, in their relations with the non-indigenousinstitutions. It also revealed the collaborative production of meanings during the twodays workshops, as well as the partial transformation of them, made possible by theconstruction of a collaborative interactional pattern, where all the participantsshared the object of the activity and revealed themselves committed to participate inthe discussions. The sharing of meanings, as to the understanding and use of theofficial correspondence ofício by kaiowá participants, will only be possible to beevidenced at the subsequent moment to the accomplishment of this research
Esta pesquisa tem como objetivo geral criar momentos de reflexão crítica com ogrupo pesquisado para a compreensão e discussão da organização e uso dogênero correspondência oficial - ofício, recebidos de instituições não-indígenas porlideranças e professores kaiowá da T. I. Panambizinho. Este estudo estáembasado, teoricamente, na Teoria da Atividade Sócio-Histórico-Cultural(Vygotsky, Leontiev, Engeström) e nas discussões de Bakhtin sobre gêneros dodiscurso; em Magalhães (2004), Liberali (2009), Kerbrat-Orechioni (2010),Brookfield & Preskill (2005), Smyth (1992) e Mackay (1980), para analisar o padrãoorganizacional da linguagem nos turnos de fala nas discussões. A orientaçãometodológica está ancorada na Pesquisa Crítica de Colaboração- PCCol, queaponta para a organização da linguagem como dialógica e dialética na realizaçãode um trabalho conjunto pelos participantes. Como aponta Magalhães (2007a)trata-se e uma metodologia de intervenção no contexto de realização da pesquisa,com o objetivo de criar espaços de construção conjunta para a compreensão etransformação de sentidos atribuídos ao objeto em discussão e produçãocompartilhada de significados. O estudo foi realizado com lideranças e professoresda Terra Indígena Panambizinho, Dourados/MS. Os dados foramcoletados/produzidos, por meio de oficinas de estudo realizadas, com foco naleitura e escrita do gênero correspondência oficial ofício, que foram gravadas emáudio e vídeo. O foco desta dissertação está na leitura. Os resultados revelaram anão compreensão inicial dos participantes indígenas sobre a importância e uso doofício nas suas relações com as instituições não-indígenas. Revelaram, também, aprodução colaborativa de sentidos durante os dois dias de oficinas, bem como atransformação parcial dos mesmos possibilitada pela construção de um padrãointeracional colaborativo, em que todos os participantes compartilharam o objeto daatividade e se revelavam empenhados em participar das discussões. Ocompartilhamento de significados, quanto à compreensão e uso do ofício pelosparticipantes kaiowá, só será possível ser constatado em momento posterior àrealização desta investigação

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This study has as objective showing the importance of the letters, as influence in theprocess of the literary creation of Manuel Bandeira and Ribeiro Couto, in view of thesecond phase of the modernist movement, in the period between 1929 and 1939. At thesame time, I want to demonstrate that the referring poetical function to the letters asliterary genre, allows, many times, an aesthetic enjoyment.Under this subject, Sophia Angelides, in Carta e Literature (apud SCHNAIDERMAN,2001, p.23-24), affirms : "in the personal testimonials of a writer, the poetical function canmanifest itself with greater or minor intensity, but, in someway, the speech is marked bya peculiar procedure that will allow, many times, the aesthetic enjoyment".This way for Angelides "the proper spontaneous and fragmentary character, thealternation of the poetical and not poetical language, the cliches, everything is inherentto the epistolar genre. Being this way, many of the letters changed between Manuel Bandeira and RibeiroCouto assume didactic value, others correspond to the intensity of feelings, transformingthemselves into a subjective artistic expression that favors the understanding of theworkmanships.The literary subjects in the letters are these: references to the workmanships publishedfor both, appreciation of these workmanships, including citation of chronicles and quarrelof genres.Still, the letters exchanged between the two poets disclose tboth of theirs opinions onpainting, the poetry of Carlos Drummond de Andrade, Jorge de Lima, Múcio Leão, etc.This way, the correspondence between Manuel Bandeira and Ribeiro Couto suppliesinformation to us on the intellectual and literary trajectory of both, giving a theoretical andutilitarian contribution to the study of the genres in Brazilian Literature, in particular, theepistolar one
Este estudo tem como objetivo mostrar a importância das cartas como influência noprocesso da criação literária de Manuel Bandeira e Ribeiro Couto, considerando asegunda fase do movimento modernista, no período entre 1929 e 1939. Ao mesmotempo, pretende demonstrar que a função poética referente às cartas como gêneroliterário permite, muitas vezes, a fruição estética.Sob esse aspecto, Sophia Angelides, em Carta e Literatura (apud SCHNAIDERMAN,2001, p.23-24), afirma: nos testemunhos pessoais de um escritor, a função poéticapode se manifestar com maior ou menor intensidade, mas, de alguma forma, o discursoé marcado por um procedimento peculiar que permitirá, muitas vezes, a fruiçãoestética .Para a autora o próprio caráter espontâneo e fragmentário, a alternância da linguagempoética e não poética, os clichês, tudo isso é inerente ao gênero epistolar .Assim, muitas cartas trocadas entre Manuel Bandeira e Ribeiro Couto assumem valordidático, ao passo que outras correspondem à intensidade de sentimentos,transformando-se em expressão artística a subjetiva que favorece a compreensão dasobras.Os temas literários tratados nas cartas são: referências às obras publicadas por ambos,apreciação dessas obras, inclusive citações de crônicas e discussão de gêneros.As cartas também revelam a opinião de ambos sobre pintura, a poesia de CarlosDrummond de Andrade, Jorge de Lima, Múcio Leão, etc.Desta forma, a correspondência entre Manuel Bandeira e Ribeiro Couto fornece-nosinformações sobre a trajetória intelectual e literária desses dois autores, dando umacontribuição teórica e utilitária para o estudo dos gêneros na Literatura Brasileira,particularmente o gênero epistolar

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La découverte fortuite d’archives conservées intactes depuis 1941, apporte un éclairage nouveau à la carrière de l’artiste français Michel Maximilien Leenhardt (dit Max Leenhardt, 1853-1941). Ces sources dévoilent les multiples centres d’intérêt d’un créateur qui fut peintre, graveur, architecte, écrivain et philosophe. L’approche de sa production se révèle complexe tant elle s’adapte à un contexte relationnel, une destination ou une émulation artistique, nous obligeant à considérer certaines d’entre elle, compte tenu de leur édition imprimée, comme des œuvres de propagande chargées d’un message politique ou mystique. Durant les périodes de crise socio-économique et de conflits armés, la peinture « sur le motif » se révèle propice à la réflexion philosophique et mystique. Max Leenhardt rejoint alors les idéaux du mouvement du « renouveau de l’art chrétien suisse », que cela soit par des toiles historiques aux proportions frôlant le gigantisme ou des couchers de soleil sur des horizons. Ainsi, après avoir identifié chaque réseau et leurs influences respectives sur la production artistique, nous exposerons les aspirations et les compromis auquel l’artiste est arrivé. C’est en effet son appartenance à la haute bourgeoisie protestante et son éducation qui l’obligeront à relever des défis esthétiques, comme inventer une esthétique à mi-chemin entre impressionnisme et symbolisme apte à véhiculer un message engagé, militant ou spirituel
The accidental discovery of archives preserved intact since 1941, brings a new light to the career of the French artist Michel Maximilien Leenhardt (known as Max Leenhardt). These sources reveal the multiple interests of a creator who was a painter, engraver, architect, writer and philosopher. The approach to his production is complex since it adapts to a relational context, a particular aim or an artistic emulation, obliging us to consider some of them, given their printed edition, as propaganda works which carry a political or mystical message. During the periods of socio-economic crisis and armed conflicts, painting “on the motive” is a way to philosophical and mystical thoughts. Max Leenhardt then joined the ideals of the movement of the «renewal of Swiss Christian art», whether through historical canvases with dimensions close to gigantism or sunsets on horizons. Thus, after identifying each network and their respective influences on the artistic production, we will detail the aspirations and compromises achieved by the artist. It is in fact his belonging to the Protestant upper bourgeoisie and his education that will force him to face aesthetic challenges, such as inventing an aesthetic halfway between impressionism and symbolism able to convey a committed message, militant or spiritual
Die zufällige Entdeckung von Archivmaterial, das seit 1941 unberührt geblieben war, stellt den Werdegang des französischen Malers Michel Maximilien Leenhardt (genannt Max Leenhardt) in einem neuen Licht dar. Diese Quellen lassen seine breit gefächerten Interessen erkennen, sei es in der Malerei, der Kupferstechkunst, der Architektur, der Dichtkunst oder der Philosophie. Sich seinem Schaffen zu nähern erweist sich umso schwieriger als es in engem Zusammenhang mit den Beziehungsgeflechten des Malers, seinen Reisen oder im Wettstreit mit anderen Künstlern entsteht. So müssen wir einige Werke, die in gedruckter Form herausgegeben worden sind, auch als Propagandawerke betrachten, die eine politische oder mystische Botschaft beinhalten. In Zeiten sozialer und wirtschaftlicher Krisen sowie kriegerischer Auseinandersetzungen bietet die Malerei „vor dem Motiv“ ((ohne Vorzeichnung und Nachbearbeitung im Atelier)) Raum für die philosophische und mystische Reflexion. Max Leenhardt wendet sich damit den Idealen der Bewegung zur „Erneuerung der christlichen Kunst in der Schweiz“ zu, was sich an seinen Historienbildern fast gigantischen Ausmaßes oder auch in seinen Sonnenuntergängen vor verschiedenen Horizonten manifestiert. Wir werden zunächst die Beziehungsnetzwerke mit ihren jeweiligen Einflüssen auf das Kunstschaffen des Malers herausarbeiten und anschließend seine Bestrebungen darlegen sowie die Kompromisse, die er eingehen musste. Aufgewachsen im protestantischen Großbürgertum und nach dessen Prinzipien erzogen sah er sich mit ästhetischen Herausforderungen konfrontiert - eine neue Ästhetik zu erfinden, auf halbem Weg zwischen Impressionismus und Symbolismus, um seine Botschaft, sei sie engagierter, militanter oder geistiger Natur, zu vermitteln

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Made available in DSpace on 2018-09-03T12:58:10Z (GMT). No. of bitstreams: 1Almir Grigorio dos Santos.pdf: 24089573 bytes, checksum: 6645820e31162ea71a414f0ced2ec214 (MD5) Previous issue date: 2018-08-14
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This thesis is within the research approach History of Linguistic Ideas, of the Programof Postgraduate Studies within Portuguese Language of the Pontifical CatholicUniversity of São Paulo. It has as analyzes’ object the letters of Anchieta, draftedbetween 1554 and 1594. The principal goal of this research is to verify within theletters how Anchieta priest saw the education. The objectives are: a) to exhibit thestructure of Anchieta's letters and b) to analyse in Anchieta's correspondence thecontributions to Brazilian education of the sixteenth century. The formal education inBrazil was initiated by the priests of the Jesus’ company in 1553. Its members weremen who lived not only for the teaching, such as it was primary, secondary andsuperior, but also of indoctrination. They traveled the world propagating the faith,instituting a place of teaching where they arrived and implanting the European’sculture. For the good achievement of the mission, the Jesuits wrote letters addressed tosuperiors. The paper is based on theorists of the History of Linguistic Ideas, theAnnales and the Cultural History, such as Auroux, Burke, Chartier, Fávero & Molina.Through the collection and analysis of the letters written by Anchieta during the periodin which he was in the Jesus’ company in Brazil, the correspondence structure and theeducation thematic are verified. As thesis’ conclusion we affirm that Anchieta, with hisideas, innovated the teaching within Brazil when he was understood that learning theTupi it would be easier to teach the European’s language to the Indians
Esta tese situa-se na linha de pesquisa História das Ideias Linguísticas, do Programa deEstudos Pós-Graduados em Língua Portuguesa da Pontifícia Universidade Católica deSão Paulo. Tem por objeto de análise as cartas de Anchieta, produzidas entre 1554 e1594. O objetivo principal desta pesquisa é examinar nas cartas como o padre Anchietavia a educação. Quanto aos objetivos específicos são: a) apresentar a estrutura dascartas de Anchieta e b) analisar nas correspondências de Anchieta as contribuições àeducação brasileira do século XVI. A educação formal no Brasil é iniciada pelos padresda Companhia de Jesus em 1553. Seus integrantes foram homens que viviam não sópara o ensino, quer fosse primário, secundário, superior, mas também da doutrinação.Viajaram o mundo propagando a fé, instituindo local de ensino onde chegassem eimplantando a cultura do europeu. Para o bom andamento da missão, os jesuítasescreviam cartas endereçadas aos superiores. O trabalho baseia-se em teóricos daHistória da Ideias Linguísticas, dos Annales e da História Cultural, como Auroux,Burke, Chartier, Fávero, Fávero & Molina. Por meio do levantamento e análise dascartas escritas por Anchieta no período em que esteve na Companhia de Jesus noBrasil, examinam-se a estrutura das correspondências e a temática educação. Comoconclusão da tese afirmamos que Anchieta, com suas ideias, inovou o ensino no Brasilao perceber que aprendendo o tupi seria mais fácil ensinar a língua do europeu aosíndios

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Made available in DSpace on 2016-04-28T19:34:27Z (GMT). No. of bitstreams: 1Luscelma Oliveira Cinachi Craice.pdf: 1838042 bytes, checksum: 85cf5fd944b2516119e37f12f6f8ceaf (MD5) Previous issue date: 2008-06-19
Secretaria da Educação do Estado de São Paulo
This essay is bonded to the group of Linguistic Ideas History, of the Historyand Language Description research line, making part of the Graduate Studies Programin Portuguese Language of PUC-SP (Pontifical Catholic University of Sao Paulo), andstudies Father Manuel da Nóbrega and Society of Jesus in the pedagogicalsystematization in Brazil during 16th Century. Such period, called by Alves de Mattos(1958) of Heroic Period, which goes from the arrival of the first missionaries andeducators in 1549 up to Manuel da Nóbrega s death in Rio de Janeiro in 1570, isdepicted in Letters written by Nóbrega.Nóbrega exchanged, since his arrival to Baía de Todos os Santos, Brazil onMarch 29th, 1549, numerous letters with his Ordination superiors both in Portugal andRome, and reported, in details, the first educational attempts in Brazil during 16thCentury. Such actions were fostered by the experience of associating the Christiandoctrine teaching (catechetical instruction) with literacy, i.e., reading and writing(regular instruction). The mission consisted of disseminating Christian faith over theextensive Portuguese dominions, while introducing the reading and writing school as avehicle to teach the Christian doctrine.Therefore, this paper starts with the theoretical grounds provided by theLinguistic Ideas History that guides this work, and goes on, considering, in ChapterTwo, the members of Society of Jesus and the Missionary Order. Chapter Threeintroduces Manuel da Nóbrega, who was the Humanist and Jesuit responsible forendeavoring the missionary work of conversion of heathen, and presents Brazil, whichis the representation of Garden of Eden. And, finally, Chapter Four considers theprovisions on letters, which were the means of communication of the Society of Jesusabout the progress both of catechesis and regular teaching in all missions; the publicteaching of sciences and letters; and the educational articulation in Brazil in the 16thCentury contained in Father Manuel da Nóbrega s letters.The result of this research was the dialogue of nowadays with the past, ascommunications that took place amongst people along time, and Nóbrega, having lefthis testimony, opened the way to a joint and wide approach of history aspects in whichhe lived
Esta dissertação é vinculada ao grupo de História das Idéias Lingüísticas, dalinha de pesquisa História e Descrição da Língua, do Programa de Estudos Pós-Graduados em Língua Portuguesa da PUC-SP e estuda Manuel da Nóbrega e aCompanhia de Jesus na sistematização pedagógica no Brasil do século XVI. Esteperíodo, chamado por Alves de Mattos (1958) de Período Heróico, que se estendeu dachegada dos primeiros missionários e educadores, em 1549, até a morte de Manuel daNóbrega, no Rio de Janeiro, em 1570, é retratado em Cartas escritas por Nóbrega.Nóbrega manteve, desde sua chegada à Baía de Todos os Santos a 29 de Marçode 1549, uma extensa correspondência com os superiores da Ordem em Portugal eRoma e relatou, em detalhes, as primeiras tentativas educacionais no Brasilquinhentista, ações animadas pela experiência de unir ao ensino da doutrina cristã(catequese) uma escola de ler e escrever (instrução). Era a missão de propagar a fé nosextensos domínios portugueses e introduzir a escola de ler e escrever como veículo aoensino da doutrina cristã.Assim sendo, o trabalho principia com o embasamento teórico proporcionadopela História das Idéias Lingüísticas que orienta a condução do trabalho, segueconsiderando, no Segundo Capítulo, os Companheiros de Jesus e a Ordem Missionária.No Terceiro Capítulo é apresentado Manuel da Nóbrega, o Humanista e Jesuítaencarregado em empreender a obra missionária de conversão do gentio e apresenta oBrasil, a representação do Jardim do Édem. E, por fim, no Quarto Capítulo, sãoconsideradas as disposições sobre correspondências, meio de informação da Companhiade Jesus sobre o andamento da catequese e do ensino em todas as missões; o ensinopublico das sciencias e letras; e a articulação educacional no Brasil no século XVIexposta nas Cartas do Padre Manuel da Nóbrega.O resultado desta pesquisa foi o diálogo da atualidade com o passado, comocomunicação entre os indivíduos no grande tempo e Nóbrega, ao deixar seu testemunho,abriu caminho a um enfoque conjunto e abrangente dos aspectos da história em queviveu

Abstract:

Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïque
Since the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature

Abstract:

碩士
國立東華大學
民族藝術研究所
96
The Correspondence between National Center for Traditional Arts (NCTA) and Indigenous Performing ArtAbstract With better economics, rapid growth of technology and information, drastic social change in Taiwan nowadays, the most influence of all is the change of entire cultural environment, therefore Taiwan is filled with cultures from all over the world. It has great impact on traditional culture which represent the epitome of bypass civic life、also the predecessors wisdom and collective memory of foretime livings. These are all valuable cultural treasures of Taiwan and are certain for preservation. While we develop new cultures, without the foundation of traditional culture we see no uniqueness in cultural content. Performance arts deliver performing contents through visual and acoustic approaches directly from the performers can be most considerate art. We can not exclude the indigenous performance are while mentioning traditional performance art in Taiwan, though the cultural background of entire society in Taiwan is based on Chinese. Such unfavorable sustaining environment of development of indigenous performance art has restricted it under inferior status chronically. Focusing on the disadvantage of the sustaining of indigenous performance art, the thesis take National Center for Traditional Arts (NCTA) as research site and achieve fundamental understanding through relative reference comprehending. With qualitative interview we realize directly the difficulties these art performance groups encountered recently. Through observational experience as a volunteer in NCTA, we put information gained by these research methods into integration and analysis. We confer indigenous performance art acted in NCTA with an indigenous art considering view, and extend discussion the position of the indigenous people in the entire society. In the end of the thesis we set three environmental factors：Economic benefit、cultural policy、and cultural trend to analyze within the indigenous art and all in disadvantage situation. And with the three negative factors coevolved for not a short run, ignorance for a long term is inevitable. For the global concern toward ethnic culture, and conceptual enhancement of pluralism recently, indigenous art has the opportunity to improve its status gradually. Multicultural resources are precious and shall be maintained and popularized with equal consideration. Thus relative governing sections should advocate concepts of multi-populations. We should also pay more attentions to strengthen ethnic cultures and integrate resources through local governments and academies. The most value lie on extending more developing opportunities for indigenous people.

Abstract:

碩士
國立臺南大學
音樂學系碩士班
105
The study aims at using the perspective of art correspondence to analyzeThe arts and humanities textbooks of Han-Lin Edition in junior high school. It applies content analysis as the research method and is based on qualitative analysis to analyze the elements of music, visual arts and performing arts as well as the correspondence of the three. In addition, it also uses quantitative analysis and number of pages to calculate the ratio of each art element and correspondence. The researcher takes advantage of literature review, exploratory analysis, expert consulting and discussing with the instructor to research and develop the research tool. In terms of reliability control, it uses scorer reliability, expert consulting and triangulation for tests in order to improve the research reliability. The research findings are as follows: 1. The teaching contents of the arts and humanities textbooks of Han-Lin edition in junior high school include the main art elements of every subject; as for the ratio of art elements of each subject, the ratio of the elements of music and visual arts and each grade is balanced, while the ratio of the elements of performing arts and each grade seems not. In terms of the length, visual arts takes up the most, music takes up the second, and performing arts takes up the least.2. It applies art correspondence to analyze each arts and humanities textbook of Han-Lin edition in junior high school and then presents the contents and ratio of using correspondence teaching; based on grades, the 7th, 8th and 9th grades present the highest in the correspondence of music and visual arts elements, the second in visual arts and performing arts elements and the lowest in music and performing arts elements.

Abstract:

The purpose of this research is to use semiotic and narrative theory tounpack the layered meanings related to postage stamps and handwrittenletters and explore their similarities. The theories of Peirce on icon, indexand symbol, provide a systematic framework from which to explore theparallel narratives in a personal collection of postage stamps and lettersreceived between 1996 and 1999.Postage stamps and letters are sent as a unit, allowing their public andprivate narratives to arrive in parallel. Both the practical and theoreticalcomponents of this research explore these narratives, treating letters andpostage stamps as both personal and impersonal objects ofcommunication. They are archival objects of national and personal historyand of an era that is slowly fading. This research does not reinforce thedifferent modes of communication offered by postage stamps and letters,but rather unpacks and compares, from a personal perspective, their manylayers of meaning.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)

Abstract:

Praca stanowi próbę ujęcia muzyczno-literackich związków w odniesieniu do twórczości Tadeusza Micińskiego. Pisarstwo artysty wzbudzało i nadal wzbudza zainteresowanie wśród wielu kompozytorów. Kontekst muzyki, w którym jest ono rozpatrywane, otwiera szerokie możliwości poznawcze. Z jednej bowiem strony obejmuje badanie muzycznych cech, walorów tkwiących w samej materii dzieła literackiego (kwestia muzyczności samej literatury), z drugiej zaś – odnosi się do recepcji określonych dzieł literackich w twórczości muzycznej. Recepcja w tym przypadku oznacza nie tylko zaadaptowanie danego tekstu na potrzeby określonej kompozycji wokalnej, lecz również dotyka problemu inspiracji literackiej. Innymi słowy, chodzi tu o problem korespondencji sztuk, jak również ideę muzyki programowej. Co więcej, w przypadku utworów wokalno-instrumentalnych istotne wydaje się zbadanie charakteru relacji słowno-muzycznych. Praca zasadniczo dzieli się na trzy części. Punktem wyjścia jest twórczość dramatyczna Micińskiego z zarysowanym tłem jego artystycznych, muzyczno-teatralnych inspiracji (rozdział I). Dalej następuje przejście do jądra problemu: muzyczno-literackiej przyjaźni Tadeusza Micińskiego i Karola Szymanowskiego, znajdującej swój wyraz w twórczości obu artystów (rozdział II). Rozdział III zawiera omówienie „muzycznych odczytań” tekstów poetyckich Micińskiego przez kompozytorów jemu współczesnych: Ludomira Różyckiego, Apolinarego Szelutę, Karola Szymanowskiego, kompozytorów młodszego pokolenia – Artura Malawskiego i Tadeusza Zygfryda Kasserna, i wreszcie na koniec – kompozytorów teraźniejszości – Sławomira Kaczorowskiego, Michała Jakuba Papary i Krzysztofa Pendereckiego. Uzupełnieniem analitycznej części pracy jest Aneks, który prezentuje zestawienie kompozycji powstałych w kontekście twórczości autora Bazilissy Teofanu, wskazuje najczęściej eksplorowane przez kompozytorów teksty poetyckie Micińskiego oraz przedstawia teksty przywołanych w dramatach pisarza pieśni.
The thesis tries to show music-literary relations with reference to Tadeusz Miciński’s writing. This literature got and is still getting a lot of composers interested in it. The context of music, in which Miciński’s writing is being examined, opens the wide cognitive possibilities. On the one hand, it involves looking for music features hidden in the literary work (the problem to what extent the literature is musical), on the other hand – it refers to the reception of literary works in music. The reception in this case does not only mean the problem of the literary text adaptation to the needs of vocal composition, but it also touches the problem of literary inspiration. In other words, it concerns the problem of correspondence of arts and the idea of program music as well. Moreover, in case of vocal-instrumental pieces it is vital to examine the character of word-music relations. The dissertation divides into three parts. It starts with the analysis of Miciński’s dramas due to their music features, including artistic, music-theater inspiration of the poet (Chapter I). Then, the main problem: music-literary friendship between Tadeusz Miciński and Karol Szymanowski, which found its expression in their works, is presented (Chapter II). Chapter III discusses “music reading” of Miciński’s poetry by his contemporaries: Ludomir Różycki, Apolinary Szeluto, Karol Szymanowski, afterwards – by younger generation composers – Artur Malawski, Tadeusz Zygfryd Kassern and finally – by todays’ composers: Sławomir Kaczorowski, Michał Jakub Papara and Krzysztof Penderecki. The supplement of analytic part of the thesis is Appendix, which presents the compositions written in the context of Miciński’s writing. It also shows poetic texts by Miciński used the most frequently and finally, it presents texts of songs quoted by Miciński in his dramas.

Abstract:

Abstract The originality and significance of this research is to use a?cross-modal? perspective to experience the ?multi-dimensional? nature of the arts, specifically in the area of music and the visual arts. This research will focus on investigating common cross-disciplinary attributes and apply them in the realm of ?appreciation? in aesthetic education in music and visual art. The three major research problems and issues in this dissertation are as follows: (1) What are the common elements in music and the visual arts? (2) Do people make correspondences between music and painting by using the work of painters and musicians? (3) How do we define the role of music and its adaptability in linking with other expressive forms in contemporary education? Ultimately, the entire dissertation serves to redefine the ?value? and uniqueness of the arts (music and visual art) in the holistic development of an individual, in particularly in moulding and enhancing the skills of personal and cultural expression. The aims in this research are taken from various angles which correspond with the questions about ?interdisciplinary study? and the ideas of ?changing teaching and learning? in the 21st century. Interdisciplinary Studies has been a term which has provoked a great deal of controversy in current educational development, particularly in Asian countries, and especially in music education. The originality of this research lies in three areas. First, a cross-modal perspective is used to explore the common elements in music and visual art, especially in the dimensions of ?brightness?, ?intensity? and ?line?. Second, a cross-modal perspective in music will be adopted. Instead of focusing on the melody, harmony and form of music repertoire, sensory qualities, such as ?brightness?, ?intensity? and ?line? will be used as musical vocabulary to interpret cross-modal perception in experiencing the arts. Third, this dissertation will investigate the art experience, especially the thinking and cognitive appraisal in viewing the arts, of the creators and the spectators.

Abstract:

Believing that one thing was real only if it corresponded with others, Ray Johnson highlighted the connections between himself and famous artists such as Marcel Duchamp. The ways the two artists thought and how they shaped their lives corresponded like two elements in Johnson's collages. My study of Johnson through the lens of Duchamp allows me to discuss two highly intellectual and creative artists. I address the few direct interactions between Johnson and Duchamp as well as their mutual acquaintances who served as conduits of information, particularly in Johnson's direction. This dissertation focuses on Johnson's creative engagement with Duchamp and begins to explicate the depth and richness of that interchange. Each chapter focuses on several key works by Johnson, ranging from some of his earliest collages to what was perhaps the last work he completed. Through these works I explore the correspondences between the two artists outside of their individual works, with each chapter looking at one major theme including language, the viewer, performance, and identity. I outline the relationship between Duchamp and Johnson, using the selected collages to demonstrate how the synergy of the two artists is manifested in Johnson's work. My work sheds light on the enigmatic Johnson who has only very recently come under critical and historical investigation. By looking at Duchamp from this unique perspective I am also contributing to our understanding of one of the most influential artists of the twentieth century. Most artists after Duchamp felt that they worked in his shadow but Johnson's relationship to the elder artist was different. He seems to have understood Duchamp better than almost anyone and therefore was able to selectively choose his inheritance--defining himself alongside and against Duchamp.
text

Abstract:

La presente investigación explica que algunas composiciones actuales -obras instrumentales solistas y de cámara- no siempre consiguen ser caracterizadas o entendidas de manera acabada. Esto se debe a que las mismas se construyen con una materia acústica diferente -por ejemplo, el ruido-. Al ser esto así, se tiene que numerosos conceptos y categorías musicales del pasado -melodía, ritmo, forma, armonía, etc.- han quedado fuera de contexto: es decir, ya casi ninguno de ellos sirve para explicar y caracterizar a muchas de las experiencias sonoro-musicales recientes. Tal cosa tuvo -y aún tiene- repercusiones sobre dos cuestiones: 1) la notación musical -téngase en cuenta que la notación es la herramienta principal para modelar y codificar lo que el compositor experimenta con el sonido-; 2) las maneras de razonar e imaginar el sonido al momento de crear música. Ahora bien, lo recién apuntado es parte de un proceso histórico que implicó una transformación técnico-musical y cultural considerable -principalmente a lo largo del siglo XX y lo que va del XXI-. Así pues, este es el problema central del que parte la tesis y que comprende al capítulo primero. Pero, ¿Cómo es que los compositores razonan e imaginan la música hoy en día? O mejor ¿Mediante qué mecanismos lo hacen? Pues bien, nuestro enfoque propone a lo metafórico y lo analógico. Esto significa que para explicar el comportamiento extraño -en comparación a la tradición- que la música adquiere, resulta necesario establecer comparaciones y parecidos con diferentes estados de la materia -similar a un sistema físico- (esto es parte ya del capítulo segundo). De todas maneras, y para ser más precisos, las similitudes con diferentes estados de la materia en realidad deben entenderse como una semejanza (metafórico-analógica) con el concepto de sistemas complejos proveniente del campo de las ciencias exactas. Por ello, el capítulo tercero se aboca al estudio de la complejidad y los sistemas complejos. Continuadamente, el capítulo cuarto procurará mostrar, en términos técnico-musicales, la metáfora-analogía entre las obras de Julio Estrada, Luciano Azzigotti, Samuel Cedillo y RaúlDávila y la noción de sistemas complejos. Finalmente, como parte de las conclusiones y consideraciones finales, se buscará poner a prueba a toda la metáfora-analogía que la tesis propone.
Fil: Araya, Pablo Federico. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Música; Argentina.

Abstract:

Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility.
Art History, Visual Arts & Music
M.A. (Visual Arts)

Abstract:

Propomo-nos com a presente dissertação – intitulada “João de Brito Câmara: Poeta e Promotor cultural” – estudar o espólio deste escritor, de perfil multifacetado, que se encontra à guarda do Arquivo Regional e Biblioteca Pública da Madeira. Numa pesquisa preliminar, aferiu-se que este escritor e cidadão madeirense tem ficado um pouco à margem dos estudos sobre a vida social, política e cultural daquela que é a época do “meio século de oiro da Cultura da Madeira” (Pestana, 1985). Assim, a partir do estudo exploratório e documental da correspondência e outras fontes presentes no seu espólio, descortinam-se episódios marcantes do percurso de vida de JBC que enfatizam o seu envolvimento, o seu dinamismo e criatividade enquanto poeta e cidadão ativo no seu tempo, num arco temporal situado entre os anos 40 e 60. Não deixar esmorecer a memória de um escritor madeirense que marcou o panorama histórico-cultural nacional e regional em meados do século XX foi o grande objetivo do nosso estudo. Adquiridos que temos os conhecimentos necessários à gestão de âmbito cultural e científico, pretende-se, aqui, dar visibilidade e reconhecimento a JBC, demonstrando como o Património Arquivístico nacional e regional assume um papel perentório na preservação e valorização da informação e construção da identidade e memória coletivas.
We propose with this dissertation - entitled “João de Brito Câmara: Poet and Cultural Promoter” - to study the booty of this writer, with a multifaceted profile, who is in charge of the Regional Archive and Public Library of Madeira.In a preliminary survey, it was found that this writer and Madeiran citizen has been somewhat marginalized from the studies on social, political and cultural life of what is the time of the “half century of gold of Madeira Culture” (Pestana, 1985). Thus, from the exploratory and documentary study of correspondence and other sources present in his estate, important episodes of JBC's life path are revealed that emphasize his involvement, his dynamism and creativity as a poet and active citizen in his time, in a time span between the 40s and 60s. The main objective of our study was not to let the memory of a Madeiran writer who marked the national and regional historical-cultural panorama in the middle of the 20th century fade. Once we have the necessary knowledge to manage the cultural and scientific scope, the intention here is to give visibility and recognition to JBC, demonstrating how the national and regional Archival Heritage assumes a perpetual role in the preservation and enhancement of information and construction of identity and collective memory.

Abstract:

As it is obvious from the title of the graduate work "Antonín Markus, the archivist of the town of Třeboň, and Zdeněk Wirth, the arthistorian - analysis and selective edition of the common correspondence, the authoress primary intended to prepare the analysis and elaboration of the edition of the unique epistular collection, which covers almost a half of century of the mutual friendship and cooperation of the two important representatives of the Czech cultural scene of the first and the beginning of the second half of the 20th century. The editated correspondence is a part of the personal inheritances of the both mentioned men which is saved in the State region archive in Třeboň (Antonín Markus) and in the Institute of the history of art of the Academy of sciences of the Czech republic (Zdeněk Wirth).The first part of the diploma work brings the general essay on the correspondence as an object of the scientist´s interest and the survey of the authors of the certain works on the edition analysis of correspondence of the various personalities. Next chapter introduces the used sources and special literature which the authoress used. The life stories of Antonín Markus, the longtime archivist of the Třeboň Schwarzenberg´s archive, and Zdeněk Wirth, our eminent arthistorian and organizator of the monument preservation, are presented in the individual biographies. Next part of the work shows the analysis of the correspondence from the view of the condition and amount, kind of communication, frequence of answering and the outer look of the individual documents, which is ensembled with the topic analysis of it´s content. The commented selected edition is followed by the editing notice and the name index. Other part brings of course the list of sources and used literature. The end of the diploma work includes the visual enclosures which suitably enrich the written part.