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1
SILVA, Regina Cláudia Oliveira da. « A ação educacional e o legado cultural de Gustavo Barroso para a moderna museologia brasileira ». www.teses.ufc.br, 2014. http://www.repositorio.ufc.br/handle/riufc/9498.
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SILVA, Regina Cláudia Oliveira da. A ação educacional e o legado cultural de Gustavo Barroso para a moderna museologia brasileira. 2014. 310f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-10-17T17:24:18Z No. of bitstreams: 1 2014_tese_rcosilva.pdf: 4177032 bytes, checksum: 926206db391a4b3870dedba757cf77a5 (MD5)
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As discussões nessa narrativa tratam-se da ação educacional e do legado cultural de Gustavo Barroso para a Moderna Museologia Brasileira. Vincula-se ao grande tema da história e memória da educação brasileira, especialmente à história e memória das instituições escolares e culturais. A pesquisa busca a compreensão e interpretação da ação social do sujeito Gustavo Barroso, nas distintas matérias da Museologia no Brasil, por meio de sua ação educacional, a partir, nomeadamente, da tríade Museu Histórico Nacional (1922), Curso de Museus (1932) e Inspetoria de Monumentos Nacionais (1934), bem como de seu debate sobre folclore sertanejo, principalmente cearense, vinculado à sua proposta de museu ergológico (1944). Utilizamos o conceito de modernidade sustentado nas apreciações de Max Weber a respeito do tema. Na pesquisa recorreram-se a documentos institucionais, à revisão bibliográfica de outros trabalhos sobre o assunto e à entrevista de ex-alunos do Curso de Museus, em que se buscava saber sobre suas memórias (Ricoeur) no tocante ao Curso de Museus e à sua experiência de convivência e/ou trabalho no MHN. O objetivo fundamental é apresentar uma interpretação falseável (Popper) de que Gustavo Barroso, a partir da tríade retrocitada, contribuiu para a preservação da memória nacional, na medida em que iniciou uma cultura de preocupação do poder público com nossa história educacional e nosso patrimônio cultural, ou seja, instalou-se uma nova concepção de Museologia no Brasil, justificadora de sua própria visão de história e conservadorismo. A fundação do MHN foi em 1922, ano emblemático para a História do Brasil, marcado por diversos acontecimentos políticos e culturais, ano que também correspondia ao centenário da Independência do Brasil, em que se vivia grande crise de popularidade e aceitação do governo de Epitácio Pessoa. O MHN resultou em um libelo nacionalista e ufanista, necessário para clamar ao povo o amor pela nação e a salvaguarda das relíquias das elites imperiais na jovem república, já na condição de república velha. Concluiu-se que o projeto museológico de Gustavo Barroso teve imensurável contribuição para a formação de uma museologia moderna no Brasil, porque inaugurou um museu exclusivamente histórico, o primeiro curso de museus e ainda a primeira instituição de salvaguarda do patrimônio do país, de caráter nacional, ligada à administração federal.
2
Michaël, Elsa. « Le rôle du mythe dans Onistsha de Jean-Marie Gustave Le Clezio ». Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/10343.
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Vandici, Gratian Daniel. « The idea of freedom and the political theologies of Wolfhart Pannenberg and Gustavo Gutiérrez ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:49836940-1f24-419f-8587-d280b83d1f62.
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The question guiding the argument of my thesis is whether it is possible to articulate a political theology in terms of the idea of freedom. This possibility is explored through an analysis and evaluation of the political dimension of the theologies of Wolfhart Pannenberg and Gustavo Gutiérrez. For both these theologians, the idea of freedom emerges from reflection on the process of historical experience, which itself delimits the horizon of political activity. The relevance of theology for politics consists in its competence in interpreting the individual desire for liberty within the context of our created finitude, whose deepest meaning is revealed only in God’s work of salvation. In discerning the concrete possibilities of freedom, theology has therefore to consider the role of the church as the community for learning freedom, a role already identified as part of its mission in Paul’s epistle to the Galatians. In a further step, it has to consider more directly the nature of political authority and its conditioning of the actualization of human freedom through concrete practices in the life of societies and states. In this respect it is the task of theology to establish the creaturely and eschatological contexts of political life in such a way as to ground a morality of political justice. This triple structure, because it finds material justification with both theologians, creates the possibility of a fair and balanced comparison between two visions which share theoretical concerns to a surprising extent, enriching the scope of the dialogue, yet differ radically in practical orientation and commitments. This marked divergence will allow some reflection on the role of intra-theological debate in the self-definition of theological tradition against the political with regard to the competence of interpreting human freedom.
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Rodriguez, Jose. « Écfrasis y Lecturas Icono-textuales en las "Leyendas" de Gustavo Adolfo Bécquer ». FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1822.
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The relationship between literature and the visual arts is ancient and it has been studied from different conceptual frames. Scholars agree that both have a descriptive function and therefore share the common goal of portraying a fictional or nonfictional reality. Based on this correspondence between two different modes of artistic expression, the Roman poet Horace coined the well-known simile ut pictura poesis --as is painting so is in poetry-- which in turn functions as the theoretical underpinning of ekphrasis, a rhetorical device through which one medium of art tries to describe the essence and form of another medium of art, with the purpose of enhancing the original work described. Spanish post-romantic poet and writer Gustavo Adolfo Bécquer (1836-1870) mastered this rhetorical strategy by expertly weaving all of his artistic interests into his prose.
The purpose of this dissertation is to analyze how Bécquer makes his readers both see and hear through his prose. My semiotic research encompasses
the various forms of ekphrasis used by Bécquer in the “Leyendas”. It shows how both images and symbols produce in readers sensory experiences that enhance their role as active participants in the creation of meaning. Thus, Bécquer´s prose is like a painting which not only tells a story, but also reflects reality through the eyes of the reader’s imagination.
By using these ekphrastic strategies in his collection of short stories, Bécquer makes words, paintings, and music converge and collide with iconography, visual culture, and intertextuality. These components must be read, seen, heard, and understood to be more than just complementary to the text, but rather crucial elements, equal in importance to verbal expression. This analysis shows how Bécquer’s “Leyendas” not only tackle notions such as fantasy, figuration, and imagination, but also the importance of the reader´s gaze. Bécquer integrates processes such as imaginative action, iconization and visualization, into a semantic web whereby the reader creates his own particular hermeneutic image.
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Roy, Mélanie. « Le 'comique qui ne fait pas rire' dans «Bouvard et Pécuchet» de Gustave Flaubert ». Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67009.
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The topic of this thesis is a reading of Gustave Flaubert's Bouvard et Pécuchet (1881), through the lenses of the "comic that does not make laugh". The starting point of this thesis is a question: how is it that the comic in Bouvard et Pécuchet, explicitly claimed by the novelist from the very first steps of the project, has confused many critics, as if it were not adequate to the novel? We'll see how this hesitation – is Bouvard and Pécuchet funny or not ? – is inscribed in the novel, which unfolds a space, Chavignolles, ambiguous and indocile, within which any form of the comic is put into perspective, which creates an oscillation between the probable and the improbable, the real and the unreal. Finally, our demonstration will focus on showing how this hesitation is reinforced by a complex relation of distance and proximity, that at once makes the novel a comic one and prevents the characters from seeing the world as utterly comic. We will see that confronted with the impossibility of maintaining the space aside to isolate what is meant to be funny from what is real, the comic is not exactly evacuated from the novel sphere, but stays out of sight.Ce mémoire a pour objet une lecture de Bouvard et Pécuchet (1881) de Gustave Flaubert à travers le prisme du « comique qui ne fait pas rire ». Le point de départ de ce mémoire est une question : comment expliquer que le comique de Bouvard et Pécuchet, explicitement revendiqué par le romancier dès les premiers balbutiements du projet, ait embarrassé bon nombre de critiques, comme s'il était inadéquat au roman ? Nous verrons comment cette hésitation — Bouvard et Pécuchet est-il comique ou non ? — est inscrite dans le roman, qui déploie un espace, Chavignolles, ambigu et indocile au contact duquel toute forme de comique se relativise, ce qui fait osciller le vraisemblable vers l'invraisemblable, le réel vers l'irréel. Il s'agira aussi de montrer comment l'hésitation est renforcée par un brouillage des rapports de proximité et de distance entre les personnages et le réel, brouillage qui contribue à la dimension comique de l'œuvre, mais empêche en même temps les personnages de percevoir le monde comme comédie. Nous verrons que devant l'impossibilité de tenir la scène à distance afin d'isoler ce qui relève de la blague de la réalité, le comique est non pas évacué de la sphère du roman, mais plus exactement perdu de vue.
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Dieckmann, Hubertus-Emmanuel. « Überpositives Recht als Prüfungsmassstab im Geltungsbereich des Grundgesetzes ? : eine kritische Würdigung der Rezeption der Radbruchschen Formel und des Naturrechtsgedankens in der Rechtsprechung / ». Berlin : Duncker & ; Humblot, 2006. http://www.bsz-bw.de/rekla/show.php?mode=source&eid=UNI_0_257443576inh.
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Montes, Vargas Pablo. « La ontología materialista de Schopenhauer. Interpretación de la ontología schopenhaueriana desde las coordenadas del materialismo filosófico de Gustavo Bueno ». Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/133908.
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Tesis para optar al grado de Magíster en FilosofíaAutor no autoriza el acceso a texto completo de su documento.
Para llevar a cabo la interpretación de la ontología schopenhaueriana a partir de las coordenadas del materialismo filosófico, primero nos ocuparemos (capítulo I) de exponer grosso modo los elementos conceptuales necesarios, para esta tesis, del materialismo filosófico. Para cumplir nuestro propósito hemos explicitado la distinción entre ontología general y especial, esto es, la Idea de Materia y la Doctrina de los Tres Géneros de Materialidad, así como la noción de simploké. Seguido de ello, se han desarrollado sucintamente algunos elementos de la teoría de la historia de la filosofía del materialismo filosófico como también la recepción de la doctrina de Kant por parte del materialismo antes mencionado. Por último, se desarrollaran algunas ideas relativas a la interpretación fraccionaria que aparece en algunas de las obras del materialismo filosófico y, por último, las orientaciones conceptuales que nos ha hecho el mismo Gustavo Bueno para nuestra tesis. En el segundo y tercer capítulo hemos desarrollado nuestra interpretación: el desarrollo puede exponerse primero, a partir de la noción de cuerpo en Schopenhauer, porque pensamos que es el primer elemento materialista que se encuentra presente en el sistema ontológico del filósofo alemán, continuamos con la presencia de los Tres Géneros de Materialidad presentes en la ontología de Schopenhauer, para luego corresponder cada Género con una de las cuatro clase de objetos para el sujeto (cuádruple raíz de principio de razón suficiente). Además, leeremos la voluntad metafísica (la cosa en sí kantiana) a partir de la Idea de Materia del materialismo filosófico. Para concluir, nuestras ultimas estrategias consistirán en, a partir de algunos supuestos de la historia de la filosofía del materialismo filosófico, ofrecer una lectura de la sistematización de los elementos esenciales de la ontología de Schopenhauer a partir de nociones materialistas (materialismo filosófico), también ofreceremos algunas consideraciones sobre el rol de la representación y la materia determinada e indeterminada.
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Miller, Hannah Elizabeth. « A Partner in Their Suffering : Gustav Klimt's Empowered Figure in Hope II ». BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6429.
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Although much of Gustav Klimt's work is well recognized, his painting Hope II (1907-1908) has received little attention in academic studies. Rejected by his peers on its initial exhibition, this work was found offensive by even his staunchest supporters. Second wave feminists have also been critical of his painting, finding in it an objectification of women. This is likely due in part to the central subject of the piece involving pregnancy. Klimt was unafraid to paint images that shocked and diverged from traditional aesthetic styles. During a time of rapid social change and development of the feminist movement, Klimt offered fin-de-siècle Vienna an image that invited conversations about female sexuality, identity, and fertility. This paper constitutes a rereading of Klimt as empathetic to the female experience by way of a close analysis of Hope II. The artist's closeness to many women indicates his awareness of their plight. His portrayal of fertility in this painting offered a new perspective of womanhood in art with a depiction of woman as autonomous and empowered. Criticism from second-wave feminists often follows Klimt's work. However, his continued representation of the female body should be read as a glorification of the body rather than objectification of it.
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Vacari, Priscila Duarte Baldini. « Uma leitura da problemática da heroína em Madame Bovary, de Gustave Flaubert ». Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/153305.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho teve por objetivo fazer uma leitura analítica da personagem central da obra Madame Bovary, a senhora Emma Bovary, discorrendo sobre três eixos fundamentais: os desacordos de Emma com o outro, consigo mesma e o conflito com o mundo. Nossa interpretação, tendo por base o ensaio de Vargas Llosa (2015) e a crítica de James Wood (2014), a observou como a personagem da consciência infeliz e do constante tédio e insatisfação pessoal. Dentre alguns aspectos, ela fugiria das figuras de tipo idealizado de conduta feminina que seriam conhecidas por intermédio das mulheres da sociedade burguesa europeia do século XIX, pois seus gestos e comportamentos, durante todo o romance, seriam marcados por uma ideia de “virilidade” (Vargas Llosa), que foge aos padrões românticos e bem comportados de figuração feminina. Tendo em vista tratarmos de um romance considerado uma “narrativa moderna de ficção” (James Wood), abordamos alguns apontamentos acerca da noção de modernidade e modernidade literária. Adentramos, também, em uma breve discussão acerca das teorias sobre o romance, enquanto gênero inacabado e realista, que representou a sociedade burguesa e fez emergir a figura do herói romanesco, um indivíduo problemático. Nesse sentido, a partir dos três desacordos analisados, apuramos a estratégia de Gustave Flaubert em utilizar uma mulher como precursora do que se configurou como herói problemático. Observamos, assim, como um dos grandes romances realistas do século XIX foi construído a partir de uma personagem com toda a complexidade de seus anseios, maneiras de agir e vontades, que acabou por se converter em uma das mais emblemáticas heroínas dos romances modernos.
The purpose of the present work was to do an analytical reading of the central character of Madame Bovary, Mrs. Emma Bovary, on three fundamental lines: Emma's disagreements with others, with herself and the conflict with the world. Our interpretation, based on Vargas Llosa's essay (2015) and James Wood's critique (2012), saw her as the character of unhappy consciousness, constant boredom and personal dissatisfaction. In some aspects, she would run away from idealized feminine-type characters that would be known through the women from the nineteenth-century European bourgeois society, because her gestures and behavior, throughout the novel, would be marked by an idea of "virility" (Vargas Llosa), which escapes the romantic and well-behaved patterns of feminine figuration. Knowing that the novel is considered a "modern narrative of fiction" (James Wood), we have approached some notes about the notion of modernity and literary modernity. We have also searched about a brief discussion of the theories of a romance, as an unfinished and realistic genre, that represented bourgeois society and came up with the image of the romantic hero, a problematic individual. That way, based on the three disagreements analyzed, we found out the great strategy of Gustave Flaubert in using a woman as a precursor of what was set as a problematic hero. Thus we can see how one of the great realist novels of the nineteenth-century was built up from a character with all the complexity of her yearnings, ways of acting and wills, which became one of the most emblematic heroines of modern novels.
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Caporello, Marta <1995>. « Giardini Inglesi, la geografia del gusto in un secolo : Inghilterra 1630-1730 ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16795.
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Nel 1780 Horace Walpole scrisse: “We have discovered the point of perfection. We have given the true model of gardening to the world... original in it’s elegant semplicity” in questa frase l’autore mostra tutto l’orgoglio degli inglesi per aver creato un'arte dal sapore britannico che non copiava quello di altre nazioni. Infatti dalla metà del XVII secolo fino ai primi decenni del XVIII secolo lo stile dei giardini inglesi, ebbe una lenta evoluzione che portò alla nascita del Landscape Garden. Questo stile, tipicamente inglese, nacque dall’incontro di nuove idee maturate, nell’arco di un secolo, tra filosofi, poeti, artisti e scienziati, che portò alla progettazione di giardini il cui principale obiettivo era mettere al primo posto la “Natura” e di conseguenza liberarli dalle restrizioni imposte dal giardino formale del periodo Stuart e dalle forme architettoniche barocche.
Questo studio ha esaminato la genesi del design dei giardini tra il 1630 e il 1730 in Gran Bretagna, in particolar modo le origini del Landscape Garden. Per capire come mai il gusto nel design dei giardini è mutato, nell’arco di cent’anni, mi sono soffermata ad analizzare alcuni argomenti: i cambiamenti politici, i comportamenti sociali, gli orientamenti culturali, i principali personaggi e la produzione artistica dell’epoca. Nell’analisi del cambiamento ho cercato inoltre di valutare quanto ha contribuito la conoscenza dell’architettura e dei più importanti giardini italiani.
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Bellettini, Lorenzo. « Models, advisers and anti-models in Jung Wien : a study of Arthur Schnitzler's relationship to Felix Salten, Gustav Schwarzkopf and Jakob Wassermann ». Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611760.
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Kweon, Christie. « Obscenity in Gustave Flaubert's Madame Bovary and James Joyce's Ulysses : A Postmodern Literary, Legal, and Cultural Analysis ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/607.
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In this paper. I attempt to prove that obscenity as a legal concept is actually a moral judgment made by patriarchal powers and a political tool used to police female sexuality. I analyze James Joyce’s Ulysses as a case study, using Gustave Flaubert’s Madame Bovary as a precedent. While I believe that literature can transfer and inspire ideas, I don’t believe that transferring or inspiring perversity was the intent or effect of these novels. I argue not only that the trials’ prosecutions incorrectly claim that the novels sexually arouse the average or reasonable reader, but also that they do the opposite, or fail to meet expectations to do so. In the case of Madame Bovary, I further argue that the defense incorrectly claims that the novel has and enforces a set of morals, as the novel neither punishes nor lauds its protagonist, or any of its characters for the matter.
These so-called obscene novels don’t convert the everyman into a pervert. However, Ulysses and Madame Bovary do reflect and thus reveal a reality that is inconsistent with the censors’ imagined utopia: the characters in the novels’ world as well as the readers in the real word are all sexual beings, women included. I argue that censors banned novels such as Ulysses and Madame Bovary because they wished to police female sexuality under the guise of protecting the public from obscenity. Specifically, they prevented the publishing and distribution of these and other Modernist texts in an attempt to erase realistic representations of female sexuality, thus illegitimating it. Nevertheless, the perseverance of these texts proves that moral values, particularly those regarding sexuality, cannot be enforced by the law (and neither should they be).
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Silveira, Ermelinda Ganem Fernandes. « Contribuições da psicologia profunda de Carl Gustav Jung para um modelo de gestão do conhecimento nas organizações ». Florianópolis, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/99479.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia e Gestão do ConhecimentoMade available in DSpace on 2013-03-04T20:50:15Z (GMT). No. of bitstreams: 1 305131.pdf: 117223006 bytes, checksum: 7e0f2ab0574badc233701a20ee2ef1e8 (MD5)
O tema e objetivo desta tese é a construção de um modelo de gestão do conhecimento nas organizações utilizando a psicologia analítica do psiquiatra suiço Carl Gustav Jung. Este estudo, investindo na busca pela transformação do relacionamento do homem com as organizações, está fundamentado numa abordagem de ser humano multidimensional, que constroe e transforma conhecimento nas organizações vivas compreendidas como "redes psíquicas de conversações arquetípicas". Encontra-se em sua base conceitual a metatriangulação entre os paradigmas interpretativista e humanista radical de Burrell e Morgan, sustentada no modelo qualitativo de pesquisa científica. O modelo proposto descreve as etapas do processo de individuação junguiano, relacionando-as ao processo de criação e representação do conhecimento nas organizações, mais precisamente em ambientes de construção e representação de conhecimento arquetípico compartilhado. No momento do experimento a pesquisa utiliza a hermenêutica simbólica como forma de leitura da realidade social. Em sua base metodológica, o modelo propõe a macro e a microestrutura de grupos vivenciais junguianos, em um formato de psicoterapia breve, trabalhando conteúdos tácitos (inconscientes), nas suas articulações com o conhecimento explícitável (consciente) através da utilização de entrevistas e métodos não verbais. A validação conceitual do modelo deu-se por um estudo de caso onde, por meio das percepções e vivências dos sujeitos da pesquisa (participantes e facilitadores), buscou-se a testagem e avaliação do modelo. Numa avaliação geral, durante as entrevistas coletivas, o método foi considerado satisfatório para a criação/representação do conhecimento organizacional. A utilização da observação participante, como técnica de levantamento de dados, também trouxe subsídios para a validação e consequentemente para o refinamento do modelo.
The theme and purpose of this thesis is to build a model of knowledge management in organizations using the analytical psychology of the swiss psychiatrist Carl Gustav Jung. This study, investing in the search of transformation of man's relationship with the organizations, is based on a multidimensional approach to human beings, which builds knowledge and changes in living organizations understood as "psychic networks of archetypal conversations". Lies in its conceptual base to metatriangulation between interpretive and radical humanist paradigms from Burrell and Morgan#s, supported the qualitative model of scientific research. The proposed model describes the stages of jungian individuation, relating them to the process of creation and representation of knowledge in organizations, specifically in construction environments and archetypal representation of shared knowledge. At the time of the experiment, the research used symbolic hermeneutics as a mean of reading the social reality. In its methodological basis, the model proposes the macro and microstructure of experiential Jungian groups in a format of brief psychotherapy, working contents tacit (unconscious), in their joints with the knowledge explicitation (conscious) through the use of interviews and non-verbal methods. The conceptual model validation was performed by a case study where, through the perceptions and experiences of research subjects (participants and facilitators), we sought to test and evaluate the model. Upon the whole, during the interviews, the method was satisfactory for the creation / representation of organizational knowledge. The use of participant observation as a technique for data collection, also brought benefits for the validation and consequently for the refinement of the model.
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Lochmann, Klaus [Verfasser], Manfred [Akademischer Betreuer] Broy et Gustav [Akademischer Betreuer] Pomberger. « Defining and Assessing Software Quality by Quality Models / Klaus Lochmann. Gutachter : Manfred Broy ; Gustav Pomberger. Betreuer : Manfred Broy ». München : Universitätsbibliothek der TU München, 2014. http://d-nb.info/1048175995/34.
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Lochmann, Klaus Verfasser], Manfred [Akademischer Betreuer] Broy et Gustav [Akademischer Betreuer] [Pomberger. « Defining and Assessing Software Quality by Quality Models / Klaus Lochmann. Gutachter : Manfred Broy ; Gustav Pomberger. Betreuer : Manfred Broy ». München : Universitätsbibliothek der TU München, 2014. http://d-nb.info/1048175995/34.
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Sacchetto, Federica <1986>. « Gusto e collezionismo dei merletti a Venezia nella prima metà del Novecento. Una ricognizione nel fondo Correr ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3521.
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Attraverso un'indagine di tipo documentario si analizza la formazione della collezione storica di merletti Correr appartenente alla Fondazione Musei Civici di Venezia. Acquisti, donazioni e legati permettono di ricostruire un quadro del gusto e del collezionismo nella Venezia della prima metà del Novecento.
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Maestrelli, Rafael. « Funções ortonormais em tempo contínuo com seleção ótima das dinâmicas do modelo na identificação de sistemas no domínio da frequência / Rafael Maestrelli ; orientador, Gustavo Hentique da Costa Oliveira ». reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2010. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2731.
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Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010Bibliografia: f. 112-118
A busca de modelos matemáticos que representem a dinâmica de sistemas é de grande utilidade, sendo foco de muitos estudos, tanto nas universidades quanto na indústria. Porém, na prática, não é simples obter um modelo deste, pois a modelagem de sistemas
The search for mathematical models that represent the system dynamics is of great use, as also the focus of many studies in the university and industry. However, in practice, is not simple to get one of this model as the modeling of systems involving ph
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Silva, Maldonado Brian. « El inconsciente colectivo en la pintura moderna. La exaltación del "objeto" y la animalidad : aportes desde la psicología de Jung ». Bachelor's thesis, Pontificia Universidad Católica del Perú, 2012. http://tesis.pucp.edu.pe/repositorio/handle/123456789/4576.
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Filipponi, Fernando <1978>. « La maiolica istoriata castellana. Modelli a stampa, evoluzione del gusto e delle richieste di mercato, dinamiche comerciali, fonti e documenti : aggiornamenti e nuove proposte di interpretazione ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5112/1/filipponi_fernando_tesi.pdf.
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La maiolica di Castelli d’Abruzzo si distingue per aspetti di forte originalità e per l’alta qualità dei manufatti realizzati. Le ricerche che qui vengono presentate sono state condotte su differenti aspetti della produzione ceramica di Castelli e sono rivolte a completare le conoscenze su alcuni aspetti specifici, cercando di superare la visione settoriale che ha caratterizzato talvolta gli studi sull’argomento.
L’indagine è orientata a far emergere alcuni tratti distintivi della produzione in maiolica istoriata, un genere in cui le manifatture castellane guadagnarono un primato assoluto in Italia nel corso dei secoli XVII e XVIII.The maiolica of Castelli d’Abruzzo stands out because of a great originality and a high quality of her objects. This research was lead about different features of ceramic production of Castelli and is directed to increase the knowledge, trying to overcome the sectoral vision of some studies on the subject. The research is aimed to bring out some particulars features of production in istoriato maiolica, a product with which the factories of Castelli obtained the absolute primacy in Italy during XVII and XVIII centuries, thanks to originality of working’s techniques and to the continue search of new decoratives solutions and updates types.
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Filipponi, Fernando <1978>. « La maiolica istoriata castellana. Modelli a stampa, evoluzione del gusto e delle richieste di mercato, dinamiche comerciali, fonti e documenti : aggiornamenti e nuove proposte di interpretazione ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5112/.
Texte intégralRésumé :
La maiolica di Castelli d’Abruzzo si distingue per aspetti di forte originalità e per l’alta qualità dei manufatti realizzati. Le ricerche che qui vengono presentate sono state condotte su differenti aspetti della produzione ceramica di Castelli e sono rivolte a completare le conoscenze su alcuni aspetti specifici, cercando di superare la visione settoriale che ha caratterizzato talvolta gli studi sull’argomento.
L’indagine è orientata a far emergere alcuni tratti distintivi della produzione in maiolica istoriata, un genere in cui le manifatture castellane guadagnarono un primato assoluto in Italia nel corso dei secoli XVII e XVIII.The maiolica of Castelli d’Abruzzo stands out because of a great originality and a high quality of her objects. This research was lead about different features of ceramic production of Castelli and is directed to increase the knowledge, trying to overcome the sectoral vision of some studies on the subject. The research is aimed to bring out some particulars features of production in istoriato maiolica, a product with which the factories of Castelli obtained the absolute primacy in Italy during XVII and XVIII centuries, thanks to originality of working’s techniques and to the continue search of new decoratives solutions and updates types.
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Rechdan, Luís Henrique Junqueira de Almeida. « Moderno dentre modernos : a escolha do projeto do edifício-sede do Ministério da Educação e Saúde Pública (1935-1937) ». Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13129.
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In this work we propose to reflect on the material means of cultural production, among other aspects of the social process of cultural production, that enabled a group of young Brazilian architects, coordinated by Lucio Costa and with the consultancy of Le Corbusier, to plan and construct a ministerial building in accordance with the principles of modern European architecture inspired by Corbusier as they existed in the 1930s. Based on a historiography of architecture oriented toward the technical and aesthetic aspects of architectural debate during those years, we intend to historicize this stimulating debate in both its architectural and political dimensions at a moment in which the government was proposing a project for the (re)construction of the Brazilian nation-state. To reconstruct the political-architectural drama that unfolded during the selection process for the headquarters building of the Ministry of Education and Public Health (MESP) between March 1935 and April 1937, we have reconstituted not only the political and professional careers of the various actors in the mid-1930s but also the relations among them and the political and intellectual events that had taken place in Brazil since the preceding decade. Our analysis of the competition to select the project for MESP, as well its subsequent developments, emerges from a reflection on what was revolutionary, modern and Brazilian about a government that styled itself revolutionary, even after the promulgation of a new constitutional document in 1934. Lucio Costa and Gustavo Capanema, the architect and the visionary minister, did not act alone, but were the active proponents of a scheme that involved politicians and intellectuals both Brazilian and foreign. These years, called the heroic years, were years of intense debate between Art and Politics in Brazil. From this perspective, the process of selecting a project for MESP represent an exceptional moment not only for purpooses of reevaluating the landmarks of modern architecture in Brazil but also in order to reflect on the policies of the constitutional government of President Getulio Vargas, and more specifically on the political and intellectual maneuverings that made possible the coup of November 10, 1937, which gave birth to the Estado Novo
Neste trabalho propomos uma reflexão sobre os meios materiais de produção cultural, dentre outros aspectos presentes nos processos sociais de produção cultural, que possibilitaram a um grupo de jovens arquitetos brasileiros, sob a coordenação de Lucio Costa e a consultoria de Le Corbusier, projetarem e construírem um edifício ministerial de acordo com os preceitos da arquitetura moderna européia de inspiração corbusiana, tal como ela se apresentava nos anos 1930. Frente a uma historiografia da arquitetura voltada aos aspectos técnico-estéticos do debate arquitetônico travado naqueles anos, visamos historicizar esse debate mobilizador tanto do campo arquitetônico quanto do político, em um momento no qual o governo dispunha de um projeto de (re)construção do Estado-nação brasileiro. Para tecermos a trama político-arquitetônica desenrolada ao longo do processo de escolha do projeto do edifício-sede do Ministério da Educação e Saúde Pública (MESP), desde março de 1935 até abril de 1937, recuperamos não apenas a trajetória político-profissional dos diversos atores em cena, em meados dos anos 1930, como também as relações existentes entre eles e os acontecimentos políticos e os intelectuais ocorridos no Brasil desde a década anterior. A análise do concurso para a escolha do projeto do edifício-sede do MESP, bem como seus desdobramentos posteriores, emerge após refletirmos sobre o que era ser revolucionário, moderno e brasileiro num governo que se autodenominava revolucionário, mesmo após a promulgação de uma nova carta constitucional em 1934. Lúcio Costa e Gustavo Capanema, o arquiteto e o ministro clarividente, não agiram sozinhos, mas foram os hábeis articuladores de uma trama que envolveu políticos e intelectuais, brasileiros e estrangeiros. Os anos, ditos heróicos, foram anos nos quais houve um intenso debate entre a Arte e a Política no Brasil. Nessa perspectiva, o processo de escolha do projeto do edifício-sede do MESP representa um momento excepcional não apenas para reavaliarmos os marcos balizadores da arquitetura moderna no Brasil, como também para refletirmos sobre a política do governo constitucional do presidente Getúlio Vargas e, em especial, as articulações político-intelectuais que possibilitaram o golpe de 10 de novembro de 1937, dando início ao Estado-Novo
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Carlos, Raoul Christian. « ‘One Dress – One Nation!’ : The societal implications of King Gustav III’s National Costume in late eighteenth-century Swedish Court Society ». Thesis, Stockholms universitet, Modevetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194805.
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This thesis explores the societal implications of Gustav III’s national costume in the context of Swedish court society during the late eighteenth century. With the aims of uncovering King Gustav III’s view of the National Costume and its role in Swedish court society, as well as how we can understand the National Costume’s meaning for the aristocracy in late eighteenth-century Sweden, this thesis presents a post-structural textual analysis of Gustav III’s (1806) REFLEXIONER, angående en ny nationel klädedrägt (Reflections concerning a new national costume) in order to uncover King Gustav III’s perception of and ideology behind the national costume. This is then juxtaposed with a similar analysis of a chapter from Hedvig Elisabeth Charlotta’s (1902) journal, representing an aristocratic counter-perspective. This thesis presents a previously unexplored sociological perspective in studying Gustav III’s National Costume. Departing from Norbert Elias’ work around the court society, arguments are made for the interpretation of the National Costume as an instrument in court ceremonial, at the king’s disposal, holding the potential to create a distance in power between the Swedish court nobility and the monarchy. Furthermore, it is argued that the National Costume represents an oppressive force to the Swedish court nobility as a social class.
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Wiesse, Rebagliati Jorge Raúl. « SIEBENMANN, Gustav, Los estilos poéticos en Espalia desde 1900. Madrid, Editorial Gredos, 1973, 582 pp. Traductor : Angel San Miguel ; Título original : Die moderna Lyrik in Spanien : ein Beitrag zu ihrer Stilgeschichte ». Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/113720.
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Frambach, Lídia Bantim. « As mulheres sob o véu da Melancolia ». Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1879.
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Esta dissertação tem como objetivo principal analisar três personagens femininas na ficção de Eça de Queirós e Gustave Flaubert: Amélia, Luísa e Emma Bovary, relacionando as suas mortes ao conceito de melancolia na psicanálise. Através de pesquisa bibliográfica, estudamos os conceitos de Realismo e Naturalismo e suas características, bem como, a situação da mulher no século XIX. Utilizamos como suporte teórico a psicanálise de Sigmund Freud e Jacques Lacan, para, finalmente, analisarmos a estrutura melancólica presente nas três mulheresThis dissertation has the main goal to analyse three female personages in Eça de Queiróss and Gustave Flauberts fiction: Amélia, Luísa and Emma Bovary, reporting their deceasing to the concept of Melancholy in Psychoanalysis. Through bibliographic inquiries we studied Realism and Naturalism thoughts and their characteristics, as well as the woman position in the XIX th century. We utiulized as a theoretician support Sigmund Freud and Jacques Lacan Psychoanalysis in order to explain the melancholic frame in those mentioned women
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Buescher, Gustav [Verfasser], Michael [Gutachter] Bauer, Ralf [Gutachter] Claus et Klaus [Gutachter] Benndorf. « Der Einfluss von Proteinkinase-C-Isoformen auf die Lokalisation und Funktion des ABCC2/MRP2 Transporters in einem Modell der septischen Cholestase / Gustav Luis Basil Buescher ; Gutachter : Michael Bauer, Ralf A. Claus, Klaus Benndorf ». Jena : Friedrich-Schiller-Universität Jena, 2018. http://d-nb.info/1170399142/34.
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Pitillo, Giovanni Ferreira [UNESP]. « Le Clézio e a aventura do narrar : um estudo de La Quarantaine ». Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/102375.
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Na contemporaneidade, o gênero romance se constitui em uma das formas narrativas que melhor se presta à representação do mundo. A sociedade moderna tem nessa forma literária sua expressão maior. Em sua natureza vê-se a crise do homem que por ser essencialmente ambígüo, por errar entre a razão e a sensação, se permite, então, conceber, sem estranhamento, a linguagem poética do romance contemporâneo. Nesse sentido, o romance moderno apresenta-se mais receptivo para acolher as inquietudes do sujeito da modernidade. Por meio de uma narrativa fragmentada, na maioria das vezes, esse novo romance põe em cena um narrador-autor expondo vivências individuais, que incitam o leitor moderno a buscar a experiência do conhecimento de si mesmo, enquanto indivíduo, em um primeiro momento. Posteriormente, leva esse mesmo leitor a estabelecer com o mundo objetivo, nas suas relações com o outro, reflexões sobre a sua condição humana por vezes absurda e insensata. Essa é a condição do romance La quarantaine, de Le Clézio. Esse escritor francês materializa, em sua extensa obra, o desejo do homem moderno de continuar a ser indefinidamente. Nessa narrativa poética, percebe-se, por meio da observação dos comportamentos existenciais de seu sujeito, a estreita relação com o tempo e o espaço sacralizáveis, promotores de uma estabilidade em meio a um mundo fragmentado e controverso.
De notre temps, le genre roman se constitue dans l’une des formes de récit qui mieux se prêtent à représenter le monde. La société moderne trouve dans cette forme littéraire son expression majeure. Dans sa nature, on y voit la crise de l’homme qui pour être essentiellement ambigu, pour errer entre la raison et la sensation, se permet donc de concevoir, sans étrangeté, le langage poétique du roman contemporain. Dans ce sens, le roman moderne se présente plus réceptif à acueillir les inquiétudes du sujet de la modernité. À travers une narrative fragmentée, dans la plupart des fois, ce nouveau roman met en scène un narrateur-auteur qui expose des expériences individuelles, qui incitent, d’abord, le lecteur à aller chercher l’expérience de connaissance de soi, en tant qu’individu et, plus tard, à établir avec ce monde objectif, dans ses rapports avec autrui, des réflexions sur sa condition humaine, parfois absurde et insensée. C’est la condition du roman La quarantaine, de Le Clézio. Cet écrivain français matérialise, dans sa vaste oeuvre, le désir de l’homme moderne de continuer à être indéfiniment. Dans ce récit poétique, on se rend compte, à travers l’observation des comportements existentiels de ce sujet, de l’étroite relation avec le temps et l’espace sacralisés, promoteurs d’une stabilité dans un monde fragmenté et controversé.
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Forssberg, Anna Maria. « Att hålla folket på gott humör : Informationsspridning, krigspropaganda och mobilisering i Sverige 1655-1680 ». Doctoral thesis, Stockholms universitet, Historiska institutionen, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-481.
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Starting around 1500 a period of state formation changed the European map. The scattered medieval principalities were replaced with more centralised and better organised states with permanent armies. Sweden was quite successful in competing with these states and experienced a period of expansion. The means for warfare were drawn, to a large extent, from the peasantry, which meant that a great number of Swedes were sent to the front line and were never to return. This thesis investigates the dissemination of information, war propaganda and mobilisation in Sweden, 1655–1680. This period is interesting since it includes both offensive wars (under the reign of Karl X Gustav), a period of peace (under the regency) and defensive warfare(under Karl XI). A basic assumption has been that information is an important power resource. In the study both the dissemination and the content of the propaganda are examined. The most important sources have been the minutes and correspondence of the kings, the regency and the council of the realm, along with the sources from the diet and the provincial meetings. In particular, the prayer days and thanksgiving days, in both manuscript and printed sources, have been studied. To investigate the actual dissemination of information, the sources in the regional archives of the counties of Uppsala and Kopparberg and the archives of several episcopates have been examined. There existed developed media for the dissemination of information, namely, “the system of information”. Information was disseminated from the pulpits, at the diet and provincial meetings, by county governors and bailiffs, and by printed texts. In this thesis it is shown that the rulers were anxious to explain and justify the wars to the people and that they deliberately used the dissemination of information as a power tool. To keep the people in a good mood was vital for the war effort. War propaganda was spread both in times of war and peace, and its main messages remained the same during Sweden’s Age of Greatness. The main message of the long-term propaganda was that the wars were a divine punishment: it was because of the sinful people that wars broke out. According to the propaganda, the world was populated with evil enemies that were striving to destroy Sweden. The best protection against the enemies (next to God) was a good regent. It was also stated that, in the event of war, it was the duty of the subjects to contribute. The direct propaganda was conducted in four different phases. The first phase was about explaining the outbreak of war, the second phase was about mobilisation, the third phase was about disseminating information in order to uphold the morals and the fourth and last phase was about explaining the peace. The messages of the long-term propaganda had their equivalents in the direct propaganda. These arguments, however, were not always sufficient. The state representatives also highlighted the great perils threatening the country and used a patriotic rhetoric. The war propaganda depoliticised the wars, and made it possible to mobilise great resources from the population in times of war. The frequently used picture of threatening wars contributed to the legitimacy not only of a permanent army and offensive warfare, but also of the power of the king and the social order at large.
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Beauloye, Jennifer. « Arts décoratifs et Art nouveau ». Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209414.
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Au XIXe siècle, la France s'érige comme un modèle de référence culturel et artistique omniprésent, voire écrasant. Or, la Belgique souffre d’une position doublement déficitaire par rapport à sa voisine :le jeune pays apparaît privé d’un passé historique et en retrait sur le plan géographique. Que ce soit dans le champ des arts plastiques ou dans celui des lettres francophones de Belgique, Paris apparaît comme le centre hégémonique dont Bruxelles cherche à s’émanciper. Il en sera de même pour les arts décoratifs. Si un phénomène d’autonomisation équivalent a déjà été observé dans les autres domaines de la création, l’affranchissement de la scène décorative belge à l’égard du modèle français reste méconnu. Pourtant, les arts décoratifs belges devront se dégager du lourd héritage français. Les styles de cours de l’Ancien Régime ont contribué à accorder à la France une place de choix dans le monopole du goût. Place qu’elle entend bien conserver dans la nouvelle configuration de l’échiquier européen, désormais industrialisé. Dans ce nouvel ordre, qui jette un voile définitif sur les conceptions et les pratiques de l’Ancien Régime, la Belgique suivra une voie tout autre que celle choisie par le Second Empire. Cette voie lui permettra de s’en affranchir et d’imposer, avant la fin d’un siècle considéré comme « sans style propre », une expression stylistique débarrassée des éternels Louis XIV, Louis XV, Empire, etc. Les arts décoratifs belges formuleront un style original qui permettra enfin à Bruxelles de sortir de l’ombre de la Ville lumière. Cette distanciation, en germe tout au long du XIXe siècle, s’opèrera véritablement au terme de celui-ci et au seuil du siècle suivant, à travers l’Art nouveau. Première forme stylistique internationale depuis l’introduction de la machine dans les modes de production, l’Art nouveau apparaît, en Belgique, comme la volonté d’affirmer une identité nationale, une « originalité belge », qui entend se démarquer de Paris, capitale incontestée du luxe et du goût.Au point de convergence de deux traditions historiographiques (celle du rapport Art – Industrie et celle de l’Art nouveau), la présente thèse s’attache à démontrer ce phénomène d’autonomisation selon une approche comparée systématique des situations française et belge. Le cadre chronologique débute à l’extrême fin du XVIIIe siècle et s’achève au tout début du XXe siècle, avant que les avant-gardes successives consacrent l’ère machiniste. Au XIXe siècle, dans un équilibre encore délicat entre art, artisanat et industrie, les enjeux économiques, politiques et esthétiques seront successivement débattus par les politiques, les revues d’art et les artistes. La présente thèse s’attache à décrypter, tour à tour, les politiques économiques, les offensives de séduction et les principes esthétiques déployés et mis en œuvre par l’ensemble de ces acteurs de la régénérescence décorative. Pour vérifier leur impact, les discours seront à l’épreuve de la création moderne à travers les exemples de la galerie parisienne de Siegfried Bing et du parcours de l’artiste liégeois Gustave Serrurier. Dans le même élan, sera mis en exergue le processus d’autonomisation qui permettra aux arts décoratifs belges de s’affranchir du modèle français et propulsera Bruxelles en scène décorative moderne qui rivalisera avec Paris.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Court, Sarah Kathleen Mary. « Death and Transformation in Romantic Song Cycles : Journeys in Interpretation ». Thesis, Griffith University, 2015. http://hdl.handle.net/10072/365450.
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The Romantic period gave rise to the genre of the song cycle – a collection of songs grouped by poetic theme or narrative arc - through which composers align their musical inspiration with the works of poets and delve into the human experience. Profound themes, such as death and transformation, appear often in song cycle works as the genre provides a vehicle within which they are carefully examined and expanded upon. The form of the song cycle gives performers an opportunity to explore a long narrative, a particular set of emotions, a philosophical perspective, or a defining set of circumstances in more depth than is possible in individual songs. The question of how a performer approaches this absorbing process, lives and grows within the musical and poetic world each cycle offers, and prepares to perform the resulting interpretation is not often documented, and is the focus of this research.
I have chosen three case study programs of Romantic song cycles through which to examine my process as a singer preparing and performing works that focus on the themes of death and transformation – Schubert’s Winterreise; Mahler’s Kindertotenlieder and Mussorgsky’s Songs and Dances of Death; Butterworth’s Bredon Hill and A Shropshire Lad and Vaughan-Williams’ Songs of Travel. I draw on a number of methodologies to do justice to the dynamic and evolving nature of the art of performance.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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af, Klinteberg Kristina. « Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010 ». Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-438793.
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The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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TARDITI, SPAGNOLI GIORGIO. « Nurture becomes nature : the evolving place of psychology in the theory of evolution ». Doctoral thesis, Università degli Studi di Milano-Bicocca, 2014. http://hdl.handle.net/10281/80377.
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The thesis here presented establishes a triple parallelism between biology and psychology. First, through Haeckel's recapitulation theory as the source of freudian and jungian psychology. Second, from the reductionist view of science to the new phenomenology of evolutionary developmental biology. Third, by overcoming the reductionist paradigm in biology through the Extended Synthesis and in psychology though the revisited archetype theory. By establishing these parallelisms, the thesis faces the nature vs. nurture debate on three epistemological levels, in which the external and internal levels are being mediatied by a middle one. This turns the dualistic debate into a heuristic paradigm aimed to resolve any irreducible dualism inherent in the reductionist view
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BETTINELLI, CHIARA. « Drammaturgie in viaggio. Adattamenti e riscritture nell'Italia pre-unitaria ». Doctoral thesis, 2013. http://hdl.handle.net/2158/928131.
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Valčuhová, Jaroslava. « Vídeňská moderna v kontextu společenských a estetických změn na přelomu 19. a 20. století ». Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-349042.
Texte intégralRésumé :
This thesis will introduce the Viennese Modernism from the background of social and aesthetic changes at the turn of the 20th century. First will be outlined the social situation around 1900 and a position of bourgeois class in this society, because this class is where the culture of Viennese Modernism came from. From this social status as well as numerous scandals of modern art in this conservative society will be explained the organization of the cultural life of the young generation of artists. Furthermore there will also be introduced the Modernism in painting, architecture and music by their major artists. Similarly, in literature will be presented Hermann Bahr as an organizer of the literary group Young Vienna and his biggest opponent Karl Kraus, the satirist of his time. Thematically, the work of the authors of Young Vienna is divided into three areas, namely into the image of the society, which is mainly reflected in the work of Arthur Schnitzler and Peter Altenberg, aestheticism, which is also the subject of the most important works by Leopold Andrian, Richard Beer-Hofmann and the early dramas of Hugo von Hofmannsthal. The last theme is Chandos-Brief, written by Hugo von Hofmannsthal, which is a document of the language crisis in this time.
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Anzola, Jürgenson Gustavo A. [Verfasser]. « Linking structural and process-oriented models of plant growth : development and test of the software NEXUS as a multiple interface for functional-structural models / vorgelegt von Gustavo A. Anzola Jürgenson ». 2003. http://d-nb.info/968907083/34.
Texte intégral
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Pressault, David. « Éros et pouvoir : regard jungien sur les situations d'abus de pouvoir entre chorégraphes et danseurs contemporains ». Mémoire, 2011. http://www.archipel.uqam.ca/3822/1/M11912.pdf.
Texte intégralRésumé :
Cette étude de type qualitatif a pour but de mieux comprendre, selon une perspective jungienne, les abus de pouvoir dans les relations entre chorégraphes et interprètes ainsi que la relation entretenue par les danseurs avec leur propre pouvoir. Un examen des écrits a ciblé le harcèlement psychologique de même que la culture du travail et de la formation professionnelle en danse contemporaine. Afin d'examiner les mécanismes inconscients agissant dans la relation entre danseurs et chorégraphes, le cadre théorique s'inspire principalement des écrits de C. G. Jung, fondateur de la psychologie analytique. Des entrevues individuelles semi-dirigées ont été menées de juin à septembre 2008 avec trois danseuses professionnelles ayant entre dix et vingt-cinq années d'expérience et œuvrant dans le domaine de la danse contemporaine. Chaque participante a été rencontrée à deux reprises.
Les résultats obtenus nous permettent d'affirmer que des situations d'abus de pouvoir sont présentes entre chorégraphes et danseurs et que l'exercice du pouvoir est réprimé chez ces derniers. La relation presque «amoureuse» entre chorégraphe et danseur est inéquitable, teintée de désir de plaire et d'idéalisation. Dans une perspective jungienne, le pouvoir réprimé chez les danseurs a des effets sur la relation que ces derniers entretiennent avec le chorégraphe et tout le milieu de la danse. À cet égard, ils contribuent eux-mêmes de manière inconsciente au déséquilibre de pouvoir du milieu. Par ailleurs, les résultats de cette étude rejoignent ceux d'études antérieures qui identifient trois facteurs importants pour le développement de situations d'abus de pouvoir et de harcèlement psychologique. D'abord, il existe un important déséquilibre de pouvoir entre les danseurs, pour qui cette notion est ambiguë, et les chorégraphes - ces derniers n'ont pas les outils pour exercer leur pouvoir de façon saine. Ensuite, le faible risque ou l'absence de risque de réprimande prévaut dans ce milieu car aucune des situations de harcèlement n'a été dénoncée; en outre, peu de moyens organisationnels sont mis en place pour aider les danseurs victimes d'abus. Enfin, une culture du silence, un stress élevé et une communication déficiente entraînent des rapports humains souvent émotifs. Ce mémoire souhaite participer à l'ouverture d'une conscience plus éclairée des rapports de pouvoir entre chorégraphes et interprètes car les problématiques de déséquilibre de pouvoir existant dans le milieu de la danse sont la responsabilité de tous ses acteurs. Il est souhaitable que la communauté de la danse définisse ce qui constitue un abus de pouvoir en danse et qu'elle développe des moyens pour mieux encadrer les relations de travail.
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MOTS-CLÉS DE L’AUTEUR : Pouvoir, Éros, Danseur, Chorégraphe, Abus, Harcèlement psychologique, C. G. Jung, Danse.
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Gatti, Laura, et Marambio Martina Faux. « La mirada invisible de los medios ». Bachelor's thesis, 2013. http://hdl.handle.net/11086/15595.
Texte intégralRésumé :
A lo largo de nuestros estudios de grado sobre comunicación audiovisual en la carrera Licenciatura en Cine y Tv, no se han cuestionado profundamente las problemáticas existentes acerca de los diferentes tipos de recepción y comprensión de los mensajes en la multiplicidad de personas a las que estos llegan. Generalizando en esas percepciones a un prototipo de espectador masivo. Nos planteamos la reflexión acerca de cómo se receptan los mensajes en cada persona en particular. Nuestro lenguaje se expresa exclusivamente mediante imágenes y sonidos; la inquietud surge entonces en investigar cómo llegan los mensajes a personas que carecen de alguno de esos sentidos, especialmente el de la vista.
¿Cómo la disminución o falta de un sentido puede modificar el significado del mensaje? La interpretación de un signo sucede en cada sujeto de forma diferente según lo que culturalmente le fue inculcado para interpretar, y según de lo que ese sujeto se haya apropiado en su cotidianeidad contextual. ¿Cuán grande es el valor de la imagen hoy en día? “Dodwell ha estimado que el noventa porciento de la información de un hombre normal procede de sus canales ópticos”.
Curiosamente Córdoba tiene 60.346 personas con discapacidades visuales, es una de las tasas más altas del mundo. Llegando a la finalización de nuestra carrera surge la necesidad de abocarnos y vincularnos con un proyecto social. Reflexionando nos repensamos como comunicadores sociales audiovisuales en tiempos donde la imagen tiene un papel preponderante como discurso en los medios. Cobrando un rol fundamental como creador de opiniones en la sociedad. El género documental nos permite reflexionar sobre la investigación de una forma más profunda, considerando éste, el medio más apropiado para reflejar la realidad de un tema que nos moviliza y brindándonos la posibilidad de ser y hacer partícipes a las personas, involucradas directa o indirectamente con esta realización.Fil: Gatti, Laura. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Cine y Televisión; Argentina.
Fil: Faux Marambio, Martina. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Cine y Televisión; Argentina.