Дисертації з теми "Jamet (Pierre)"

En 1922, le flûtiste René Le Roy eut l'idée de créer une formation chambriste dont l'effectif instrumental atypique (flûte, harpe et trio à cordes) n'est pas sans rappeler celui de la Sonate pour flûte alto et harpe de Debussy qu'il affectionnait particulièrement. Le Quintette Instrumental de Paris poursuit une intense carrière musicale jusqu'en 1940, grâce à l'investissement et à la rigueur de ses membres originels : Marcel Grandjany puis Pierre Jamet à la harpe, René Bas au violon, Pierre Grout à l'alto et Roger Boulmé au violoncelle. Le groupe est dissous durant la guerre, à la suite du départ de René Le Roy pour l'Amérique et de la mort au combat de Roger Boulmé. Le Quintette se reforme en 1944, sous l'impulsion de son harpiste dont il portera le nom. À la séparation définitive de l'ensemble en 1958, le Quintette Pierre Jamet trouve un nouvel élan en la personne de Marie-Claire Jamet, fille de Pierre Jamet, et de son mari le flûtiste Christian Lardé. Cette thèse, qui se concentre sur la première période d'activité de l'ensemble (1922-1940), se propose d'examiner la manière dont le groupement est parvenu à s'implanter et pérenniser son activité, alors même qu'il ne correspondait à aucune tradition chambriste et qu'il ne disposait d'aucun répertoire préexistant. Les interprètes sollicitèrent les compositeurs de leur temps afin d'enrichir progressivement leur répertoire. À la lumière de documents d'archives pas ou peu exploités jusqu'à maintenant, la première partie du travail s'attache à reconstituer la trajectoire musicale de l'ensemble et à mesurer la place qu'il occupe dans la vie musicale de son époque. Il jouit d'un contexte historique favorable à la pratique de la musique de chambre et suscite l'intérêt des compositeurs, séduits par le potentiel expressif de cette nouvelle combinaison instrumentale. Une deuxième partie revient sur les stratégies de carrière mises en place par l'ensemble lui-même pour promouvoir son activité en France comme à l'étranger. L'occasion nous est donnée de revenir sur la figure de l'imprésario qui, à l'instar de Marcel de Valmalète, exerce une influence de plus en plus grandissante dans la vie musicale française. Dans une période de grands bouleversements géopolitiques, l'Association Française d'Action Artistique (A.F.A.A.), qui œuvre pour la promotion de la musique française à l'étranger, favorise grandement le déploiement de la carrière du Quintette en Europe et en Amérique. À ce titre, les deux tournées américaines réalisées en 1934 et 1935 s'érigent comme un modèle de rayonnement artistique. Proche de René Le Roy et surtout de Pierre Jamet, Nadia Boulanger facilite l'introduction du Quintette dans le milieu musical new-yorkais, en endossant un rôle d'intercesseur. La programmation de concerts, également reconstituée, repose sur le principe d'alternance de pièces d'effectifs différents, tout en s'attachant à remettre à l'honneur des pages méconnues du répertoire baroque et présenter les dernières productions de compositeurs contemporains. Afin d'en mesurer les spécificités, le répertoire interprétatif du Quintette est mis en regard d'autres formations de la même époque, en particulier le Trio Cortot-Thibaud-Casals, le Trio Pasquier et le Quatuor Calvet, qui bénéficiaient également d'une grande visibilité sur les mêmes années d'exercice. Enfin, la troisième partie aborde spécifiquement l'esthétique du répertoire en quintette progressivement constitué entre 1923 et 1938, et qui comprend près d'une trentaine d'œuvres composées à l'intention du Quintette Instrumental de Paris. Un corpus plus resserré comprenant les dix quintettes les plus représentatifs de leur répertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero et Françaix) font l'objet d'une analyse approfondie de l'écriture et de la gestion de l'effectif instrumental. Ce travail permet d'aborder les questions d'homogénéité sonore, d'explorations timbriques et de configuration instrumentale
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration

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A Psicologia francesa do final do século XIX, recentemente separada da Filosofia, utilizava como um de seus principais métodos o estudo dos estados alterados de consciência e das doenças mentais no intuito de compreender melhor o funcionamento normal da mente humana. Dentre os pioneiros desta Psicologia, destacou-se Pierre Janet. Seu estudo sobre as alterações mentais, principalmente o hipnotismo e a histeria, deram origem às suas concepções sobre força e fraqueza psicológica, dissociação e atividade subconsciente, ideias estas que abriram margem para um novo entendimento da atividade mental fora da consciência, contribuíram para o desenvolvimento da psiquiatria dinâmica e, principalmente, apresentaram à sua época um caráter conciliador entre as novas tendências da psicologia e a antiga psicologia. Contudo, embora tenha sido um autor relevante, seus trabalhos são pouco conhecidos na atualidade e, em língua portuguesa, a bibliografia sobre ele é escassa. Nosso objetivo foi, portanto: (i) analisar o surgimento do conceito de dissociação na obra inicial de Pierre Janet, assim como as suas principais acepções; (ii) apresentar como Janet chegou à formulação deste conceito e como esse se desenvolveu ao longo de sua obra; (iii) explicar o mecanismo da dissociação segundo o autor; (iv) esclarecer o que ocorre com os elementos dissociados da consciência; (v) apresentar a relação da dissociação com outros conceitos fundamentais da obra de Janet, tais como vontade, fraqueza de síntese e automatismo e; (vi) expor as explicações de Janet para a histeria, hipnotismo e duplas personalidades com base na sua teoria da dissociação. Para tanto, realizamos uma leitura analítica da segunda fase de suas obras, que vai desde 1885 a 1894 (contendo 3 livros e 17 artigos), na qual este autor se dedicou a estudar profundamente este tema, buscando estabelecer a definição dos principais conceitos desta fase de suas obras, com ênfase na dissociação, e também as relações existentes entre eles. Como resultados obtivemos que conceito dissociação apareceu pela primeira vez nas obras de Janet em 1887 no artigo L'anesthésie systématisée et la dissociation des phénomènes psychologiques. Nele Janet coloca que a dissociação ocorre quando um item, seja uma memória, uma sensação ou um movimento, não se liga à ideia de eu do sujeito, sendo, portanto, removido da consciência normal. Porém, a partir de 1889, da obra L’automatisme psychologique, não vemos mais aparecer o termo dissociação, mas sim um novo termo, o termo desagregação (désagrégation), o qual acreditamos ser, contudo, seu sinônimo. O mecanismo da dissociação é apresentado por Janet, principalmente, quando ele explica a formação dos sintomas histéricos. Para ele estes sintomas histéricos, ou seja, as anestesias, as abulias, as amnésias e os problemas do movimento são todos causados por uma fraqueza de síntese psicológica que leva, por sua vez à desagregação psicológica. Nestes quadros, devido à fraqueza de síntese, certos grupos de sensações, memórias, emoções ou informações sobre o ambiente deixam de ser sintetizados à ideia de eu (fator fundamental, segundo Janet, para que um fenômeno possa fazer parte da consciência) e, portanto, permanecem dissociados da consciência normal, gerando, respectivamente: as anestesias, as amnésias, as modificações do caráter e as abulias. Estes elementos não sintetizados continuam, contudo, a existir podendo “ficar isolados e desaparecer ou podem se associar com outros fatos igualmente separados de toda a consciência e formar uma segunda personalidade” (Janet, 1887 p.402). A ação destes cada um deles sobre a consciência da histérica, por sua vez, é a raiz do que Janet chamou de acidentes histéricos dentre os quais estão incluídos as contraturas, a catalepsia parcial, o sonambulismo, os ataques, alguns delírios e os atos subconscientes. É possível concluir que a dissociação é de fundamental importância para a compreensão da histeria sob o ponto de vista de Janet e que é também um conceito chave da fase inicial de suas obras.
The French psychologists of the XIX century used, as one of its main methods, the exploration of the altered states of consciousness and mental illness to achieve a better understanding of the normal human mind. Among this French psychologists, Pierre Janet is a central figure. His studies on hysteria and hypnotism gave birth to his conceptions about psychological weakness, dissociation and unconscious activity. His theories held to a new understanding of mental activity occurring outside of conscious awareness, contributed to the development of the dynamic psychiatry and, specially, seemed to conciliate the two divided trends of the XIX century French psychology (the medical and the philosophical one). Even though Pierre Janet be an important French psychologist, in Brazil, there is a lack of studies about him. Because of it, our aim was to: (i) find out when Janet started to use the concept “dissociation”, its definition, and its changes; (ii) show how did Janet conclude about the existence of dissociation of consciousness, (iii) point out the relationship between the dissociation and the mental weakness, (iv) explain the mechanism of dissociation according to Janet, (v) describe what happens to the elements dissociated to normal consciousness and (vi) show the role of dissociation on hysteria, hypnotism and double personality according him. To achieve our goal we analyzed Pierre Janet’s works between 1885 and 1894 (3 books and 17 articles). As a result we noticed that the concept dissociation appeared for the first time in the article of 1887 L'anesthésie systématisée et la dissociation des phénomènes psychologiques. In this article, Janet explains that dissociation happens when an element, a memory or a sensation, is not synthesized to self, being, consequently, removed to the normal consciousness. However, from 1889 and beyond Janet substituted the term dissociation for another one, desegregation, keeping for both the same meaning. The mechanism of dissociation is described by Janet while he is explaining the hysterical symptoms. According to him, its symptoms (anesthesia, amnesia and movement disturbances) are due to a problem to synthesize sensations, memories and information about the environment (respectively) to self. This elements which were not synthesized can continue existing outside the normal consciousness, isolated or grouped, in a more or less complex system, being able to originate a secondary personality. These elements can affect the hysterical psychism giving birth to the hysterical accidents as contractures, the hysterical crises, the delirium, the catalepsies, the somnambulism and the unconscious acts. To sum up, it is possible to conclude that dissociation in a fundamental concept of the initial works of Pierre Janet and it is an essential concept to understand his views of hypnotism, hysteria and double personality.

Décor de l'oeuvre de fiction et métaphore du projet littéraire, l'architecture constitue l'un des thèmes majeurs des romans de James. Son importance est liée à l'intérêt de l'auteur pour les arts plastiques et au respect d'une tradition qui, par le biais de l'analogie, a depuis longtemps rapproché l'art des mots de celui de la pierre. Cette étude se propose de dégager les fondements d'une telle attirance pour l'esthétique architecturale et d'en apprécier l'application dans le roman, ces deux aspects soulignant, à leur tour, le caractère "spatial" de l'écriture jamesienne. En l'absence d'essais spécifiques consacrés à l'architecture, l'étude débute par l'analyse des carnets de voyage de James et son autobiographie. Dans ces textes s'exprime une sincère admiration pour l'ouvrage architectural, par le biais de multiples "impressions" dont le souvenir se retrouvera à la base même de la création littéraire. Une réflexion phénoménologique inspirée des travaux de Norberg-Schulz et de Heidegger permet de rattacher ce sentiment à un profond besoin de détermination spatiale. Or l'espace devient porteur de sens grâce à l'architecture qui en fait un phénomène concret, un "lieu" dans lequel l'homme trouve ses marques et y établit sa "demeure". L'architecture assume ce rôle dans l'espace physique mais aussi textuel comme le montre l'étude de "The other House". Erigée en modèle de l'entreprise littéraire dans les préfaces de l'édition new-yorkaise, l'architecture permet aussi de formuler un projet ambitieux mettant en exergue la supériorité de l'artiste et le rôle du lecteur dans la création du texte. Cependant, à l'instar de l'écriture qu'elles se proposent d'illustrer, les métaphores du discours critique présentent des ambigüités et des paradoxes. Aussi l'architecture littéraire jamessienne se pare-t-elle parfois d'un trompe-l'oeil qui, pour autant, ne remet pas en cause la qualité "monumentale" d'oeuvres telles que "The Portrait of a Lady" ou bien "The Wings of the Dove"
Used as a setting in the work of fiction and a metaphor for creative writing, architecture is a major theme in Henry James's novels. Its importance stems from the writer's interest in the visual arts and from an analogical tradition which has for a long time established connections between the art of writing and that of building. This essay aims at examining the foundations of such fondness for architectural aesthetics and assessing its application in the novel, both of these aspects highlighting, in turn, the "spatiality" of James's writing. As no specific essay was ever written by James on architecture, the study starts with an analysis of his travel essays and autobiography. In these texts the author expresses a profound admiration for architectural achievements, through numerous "impressions" whose later remembrance lies at the very core of his literary creation. A phenomenological reading based on works by Norberg-Schulz and Heidegger enables to link that feeling to a deep-rooted need for spatial determination. Now space becomes meaningful thanks to architecture which converts it into a concrete phenomenon, that is to say a "place" where man can orientate himself and "dwell". Architecture plays such a role in physical but also textual space as is shown in the analysis of the other house. Presented as an art analogue for literature in the prefaces to the New York edition, architecture also helps shape an ambitious project which asserts the superiority of the artist and the role of the reader in the creation of the text. Yet, like the writing they purport to illustrate, the metaphors in the critical discourse are ambiguous and paradoxical. Indeed, James's literary architecture sometimes resorts to a trompe-l'oeil technique that nevertheless does not challenge the "monumentality" of works such as the Portrait of a Lady or the Wings of the Dove

L’objet de ce travail est l’analyse des travaux théoriques de Pierre Duhem dans le domaine du magnétisme et de l’électromagnétisme, très peu étudiés jusqu’ici et souvent éclipsés par ses contributions à la philosophie et à l’histoire des sciences. Ces travaux correspondent toutefois à une production scientifique abondante (plus de 3500 pages), s’étalant sur toute sa carrière. Mon travail permet de mettre en évidence la richesse de son œuvre en sciences physiques, ainsi que les tâtonnements accompagnant l’élaboration de sa thermodynamique générale, un programme ambitieux et original dans le contexte scientifique de l’époque. De sa thèse sur la théorie de l’aimantation par influence fondée sur la thermodynamique (1888) à son article Sur le diamagnétisme (1913), en passant par ses Leçons sur l’électricité et le magnétisme (1892), ses idées théoriques sont en constante évolution. Concernant le problème du diamagnétisme, mon travail permet de mettre en évidence plusieurs facteurs décisifs dans le processus de construction de sa théorie (un article de Parker sur le principe de Carnot (1889), une lettre envoyée par Curie (1902) ou encore les réflexions de Duhem sur la stabilité de l’équilibre électrique menées à partir de 1896). La thèse aborde également l’approche originale de Duhem dans l’étude des systèmes renfermant des courants électriques, étude qui le conduit à considérer l’électromagnétisme comme une branche se détachant très tôt du tronc commun formé par l’essentiel de l’énergétique, tout en prolongeant la théorie de Helmholtz. Duhem échouera dans sa tentative de convaincre ses contemporains de la supériorité de cette théorie logique par rapport à celle de Maxwell
The object of this work is the analysis of Pierre Duhem's theoretical works in the field of magnetism and electromagnetism, very little studied up to now and often overshadowed by his contributions to philosophy and history of science. These works, however, correspond to an abundant scientific production (over 3500 pages), spread out over his whole career. My work allows to highlight the richness of his work in physics, as well as the trial-and-error process accompanying the development of his general thermodynamics, an ambitious and original program in the scientific context of time. From his thesis on the theory of magnetization by induction based on thermodynamics (1888) through his Lessons on electricity and magnetism (1892) to his article On diamagnetism (1913), his theoretical ideas are in constant evolution. Concerning the problem of diamagnetism, my work can highlight several decisive factors in the process of elaborating his theory (an article by Parker on the principle of Carnot (1889), a letter sent by Curie (1902) or Duhem’s thoughts on the stability of electrical equilibrium (1896, 1903)). The thesis also discusses Duhem's original approach to the study of systems containing electric currents, study that led to consider electromagnetism as a branch breaking away very early from the common core formed by the bulk of his energetics, while extending the theory of Helmholtz. Duhem will fail in his attempt to convince his contemporaries of the superiority of this logical theory compared to that of Maxwell

L’objet de ce travail est l’analyse des travaux théoriques de Pierre Duhem dans le domaine du magnétisme et de l’électromagnétisme, très peu étudiés jusqu’ici et souvent éclipsés par ses contributions à la philosophie et à l’histoire des sciences. Ces travaux correspondent toutefois à une production scientifique abondante (plus de 3500 pages), s’étalant sur toute sa carrière. Mon travail permet de mettre en évidence la richesse de son œuvre en sciences physiques, ainsi que les tâtonnements accompagnant l’élaboration de sa thermodynamique générale, un programme ambitieux et original dans le contexte scientifique de l’époque. De sa thèse sur la théorie de l’aimantation par influence fondée sur la thermodynamique (1888) à son article Sur le diamagnétisme (1913), en passant par ses Leçons sur l’électricité et le magnétisme (1892), ses idées théoriques sont en constante évolution. Concernant le problème du diamagnétisme, mon travail permet de mettre en évidence plusieurs facteurs décisifs dans le processus de construction de sa théorie (un article de Parker sur le principe de Carnot (1889), une lettre envoyée par Curie (1902) ou encore les réflexions de Duhem sur la stabilité de l’équilibre électrique menées à partir de 1896). La thèse aborde également l’approche originale de Duhem dans l’étude des systèmes renfermant des courants électriques, étude qui le conduit à considérer l’électromagnétisme comme une branche se détachant très tôt du tronc commun formé par l’essentiel de l’énergétique, tout en prolongeant la théorie de Helmholtz. Duhem échouera dans sa tentative de convaincre ses contemporains de la supériorité de cette théorie logique par rapport à celle de Maxwell
The object of this work is the analysis of Pierre Duhem's theoretical works in the field of magnetism and electromagnetism, very little studied up to now and often overshadowed by his contributions to philosophy and history of science. These works, however, correspond to an abundant scientific production (over 3500 pages), spread out over his whole career. My work allows to highlight the richness of his work in physics, as well as the trial-and-error process accompanying the development of his general thermodynamics, an ambitious and original program in the scientific context of time. From his thesis on the theory of magnetization by induction based on thermodynamics (1888) through his Lessons on electricity and magnetism (1892) to his article On diamagnetism (1913), his theoretical ideas are in constant evolution. Concerning the problem of diamagnetism, my work can highlight several decisive factors in the process of elaborating his theory (an article by Parker on the principle of Carnot (1889), a letter sent by Curie (1902) or Duhem’s thoughts on the stability of electrical equilibrium (1896, 1903)). The thesis also discusses Duhem's original approach to the study of systems containing electric currents, study that led to consider electromagnetism as a branch breaking away very early from the common core formed by the bulk of his energetics, while extending the theory of Helmholtz. Duhem will fail in his attempt to convince his contemporaries of the superiority of this logical theory compared to that of Maxwell

Le pragmatisme, en tant que courant philosophique, et l'anarchisme, en tant que courant politique, semblent être reliés par deux approches d'apparence complémentaire : le premier est souvent considéré comme politiquement neutre alors que le second comme philosophiquement indifférent. Notre étude consiste à examiner cette double neutralité et, suivant notre interrogation, à savoir « le pragmatisme, est-il une philosophie anarchiste ? », valoriser et évaluer la possibilité d'une réponse positive, car les conséquences politiques de l'un et les conséquences philosophiques de l'autre, ainsi que les causes de leur prétendue indifférence complémentaire, nous inspirent l'idée d'une architecture commune. Dans un premier temps, nous tentons de situer cette architecture dans la philosophie de James et de Dewey se focalisant sur le rapport du pragmatisme à la démocratie. Nous dégageons ainsi les traits principaux d'une philosophie de l'expérience conforme aux exigences que les philosophes pragmatistes prêtent à la démocratie, car c'est l'expérience qui permet à la démocratie de voir sa dimension éthique, très présente chez les pragmatistes, devenir politique. Dans un deuxième temps, nous examinons l'articulation de ce que l'on peut appeler doxa anarchiste avec les thèses philosophiques que James et Dewey voient composer la philosophie de l'expérience. Nous nous focalisons notamment sur la pensée de Proudhon et de Bakounine, dont la filiation nous semble porteuse du même esprit anti-absolutiste qui correspond à la dimension critique de la philosophie de l'expérience
Pragmatism, as a philosophical movement, and anarchism, as a political one, seem to be connected by two seemingly complementary approaches: pragmatism is often considered as politically neutral, while anarchism as philosophically indifferent. The aim of our study is to examine this double neutrality and, following our interrogation, namely « is pragmatism an anarchist philosophy? », to evaluate the possibility of a positive answer, the political consequences of the one and the philosophical consequences of the other, and also the causes of their alleged complementary indifference, inspiring us the idea of a commun architecture. First, we try to locate this architecture in the philosophy of James and Dewey, focusing on the relationship of pragmatism to democracy. Thus, we point out the main features of a philosophy of experience fitting the demands - in a pragmatic perspective - of democracy. For it is only experience that allows democracy to see its ethical dimension - very present among pragmatists - become political. Second, we examine the articulation of what we can call anarchist doxa with the philosophical assertions that form, according to James and Dewey, the philosophy of experience. We focus, in particular, on the thought of Proudhon and Bakunin, whose kinship seems to carry the same anti-absolutist spirit that forms the critical dimension of the philosophy of experience

A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece

This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century. Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole. It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation. The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it. The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed. A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures. A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.

La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavélique
The figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple

Master of Music
Department of Music
Frank C. Tracz
The following report details the research and analysis required for completion of the degree, Master of Music from Kansas State University. This project was culminated in the conducting performance by Candace Bailey of four pieces during the 2009-2010 school year. The symphonic, concert and combined bands of Shawnee Mission North High School in Overland Park, KS contributed time, skills and feedback for the successful performance of Hands Across the Sea by John Philip Sousa, Michigan’s Motors by Thomas Duffy, Yorkshire Ballad by James Barnes and In the Forest of the King by Pierre LaPlante. Documentation of processes are detailed in lesson plans and critical evaluations of rehearsals. Analysis models were provided by the Unit Teacher Resource Guide, developed by Richard Miles, and the Macro-Micro-Macro score analysis form created by Dr. Frank Tracz.

A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances
From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece

This thesis considers a theoretical tradition which is concerned with how adult literacies education might not always serve to socialise students into existing society, instead encouraging possibilities for desirable alternatives to it. Without this possibility, adult literacies education might only be understood as a socialising machine that slots students into society as it stands and where the role of research is to describe its operation. My research describes a long-standing refusal by educators, researchers and students to accept this possibility and my thesis continues this tradition. Through the analysis and interplay of the work of Pierre Bourdieu, James Paul Gee, Paulo Freire, Jacques Rancière, I distinguish between empowerment and emancipation in the context of literacies education. I set out the assumptions that Bourdieu and Gee make, how they understand power, identity, discourse and oppression, and what this means for the practice of an empowering adult literacies education. I also present assumptions made by Freire and Rancière, how they understand equality and oppression, and how an emancipatory literacies education might be understood and practiced. In particular, I describe how education for ‘empowerment’ encourages practices underpinned by the assumption that ideological processes prevent students from understanding how oppression is manifested. In contrast, I describe how an emancipatory education implies enacting educational relationships that are not reliant on this assumption, whilst exerting a social response to societal oppression. I make three claims. Firstly, that the idea of an emancipatory literacies education has come to be neglected or conflated with the idea that literacies education might empower, which has come to hold great sway. In so doing, I critique Freire’s work whilst reclaiming it as an emancipatory project. Secondly, that the educational practices associated with adult literacies for empowerment can be understood to encourage the socialisation of students into society as it stands. This emphasises the importance of distinguishing between empowerment and emancipation in the context of adult literacies education. Finally, that emancipation is a notion that must continue to be questioned and explored if educators, students and academics are to take responsibility for the practice of adult literacies education and its consequences. An emancipatory literacies education cannot be reliant upon the assumption that discourse is inherently ideological. Instead, it is predicated upon teachers and students assuming that emancipation is possible and acting on that assumption.

Cette recherche porte sur les missions de Français dans le domaine de la psychologie au Brésil entre 1908 et 1947. L'étude a permis l'établissement d'une chronologie séparant ces missions en trois moments. On assiste d'abord à la légitimation de la discipline en tant que discours scientifique issu de recherches expérimentales et capable de réintégrer les faits jugés avérés dans le domaine de l'intelligible, grâce aux cours de Georges Dumas (qui s'y rend la première fois en 1908), et de Pierre Janet (qui y séjourna en 1922 et en 1933). Puis on identifie l'application de la psychologie au projet de développement du Brésil, tout spécialement avec l'application de tests d'intelligence dans l'organisation de l'éducation de masse et dans l'industrie - technique apportées par Henri Piéron (en 1923, 1926 et 1947), Théodore Simon (en 1929) et Henri Wallon (en 1935). Enfin, la formation en psychologie se met en place dans les nouvelles universités du pays avec les missions de Jean Maugié qui va enseigner à l'Université de Sâo Paulo de 1935 à 1944, et d'André Ombredane qui restera à l'Université du Brésil (à Rio de Janeiro), de 1939 à 1945. Il est aussi montré dans la thèse que les relations scientifiques ont été le résultat d'une volonté réciproque et qu'elles ont largement dépassé la sphère académique. Le Brésil acquiert un support pour son entreprise de modernisation ainsi qu'un allié qui va lui ouvrir les portes de l'Europe et l'aider à améliorer son image à l'étranger, alors que la France, en retour, envoie chez son partenaire ses chercheurs les plus prestigieux, afin d'étendre son influence scientifique, culturelle, économique et diplomatique
This research focuses on the French missions in Brazil in the field of psychology from 1908 to 1947. The study allowed the establishment of a timeline that separates these missions into three distinct periods. First, the study tackles the legitimacy of the discipline as a scientific discourse originated from experimental researches capable of incorporating facts deemed proven in the realm of the intelligible, using the lessons gleaned from the lectures of Georges Dumas (who went there the first time in 1908) and Pierre Janet (who went there in 1922 and in 1933). Then it identifies the application of psychology in Brazil's development project, most especially in the administration of intelligence tests in the structure of public educational System and in the industry, techniques elucidated in the lectures of Henri Piéron (in 1923, 1926 and 1947), Theodore Simon (1929) and Henri Wallon (in 1935). Finally, this research discusses how psychology training firmly took its roots in higher education in the new universities of the country with the mission of Jean Maugüé who taught at the University of São Paulo from 1935 to 1944, and André Ombredane who stayed at the University of Brazil (in Rio de Janeiro) from 1939 to 1945. This thesis also shows that scientific relationships are the result of a murual will and that they have far exceeded the academic sphere. Brazil has acquired support for its modernization and a partner to open Europe's doors and to help the country improve its image abroad, whereas France, in turn, sends to its partner its associate its most prestigious researchers, in order to expand its scientific, cultural, economie and diplomatie influences

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

Through creative and theoretical research, this practice-led PhD project investigates the conditions that facilitate embodied sensory awareness within digital inter-media installation. Central to this exploration are questions concerning ‘immersion.’ The research uses this term to describe a transformation in perception that allows us to shake off representational and symbolic meaning in favour of embodied, sensory and intuitive awareness within an installation space. Drawing from embodied memories of immersion in natural and spiritual environments, I consider the elements that contributed to these experiences and ask whether it is possible to create this sense of immersion in art. I then consider the elements that produce immersive, inter-media environments including space, sound, light, and projected moving images. Drawing on theoretical and artistic precedents, I propose a set of principles for producing a sense of embodied sensory immersion. The practical outcomes of the research - three digital inter-media installations included in the exhibition, in an other light - incorporate different combinations and treatments of these material elements to investigate and test the proposed principles.

This thesis focuses on a transformational but disregarded period in New Zealand’s twentieth century history, the era from the arrival of the Marines in 1942 to the arrival of Rock Around the Clock in 1956. It examines one of the chief agents in this metamorphosis: the impact of American culture. During this era the crucial conduits of that culture were movies, music and comics. The aims of my thesis are threefold: to explore how New Zealanders responded to this cultural trinity, determine the key features of their reactions and assess their significance. The perceived modernity and alterity of Hollywood movies, musical genres such as swing, and the content and presentation of American comics and ‘pulps’, became the sources of heated debate during the midcentury. Many New Zealanders admired what they perceived as the exuberance, variety and style of such American media. They also applauded the willingness of the cultural triptych to appropriate visual, textual and musical forms and styles without respect for the traditional classifications of cultural merit. Such perceived standards were based on the privileged judgements of cultural arbiters drawn from members of New Zealand’s educational and civic elites. Key figures within these elites insisted that American culture was ‘low’, inferior and commodified, threatening the dominance of a sacrosanct, traditional ‘high’culture. Many of them also maintained that these American cultural imports endangered both the traditionally British nature of our cultural heritage, and New Zealand’s distinctively ‘British’ identity. Many of these complaints enfolded deeper objections to American movies, music and literary forms exemplified by comics and pulps. Significant intellectual and civic figures portrayed these cultural modes as pernicious and malignant, because they were allegedly the product of malignant African-American, Jewish and capitalist sources, which threatened to poison the cultural and social values of New Zealanders, especially the young. In order to justify such attitudes, these influential cultural guardians portrayed the general public as an essentially immature, susceptible, unthinking and puritanical mass. Accordingly, this public, supposedly ignorant of the dangers posed by American culture, required the intervention and protection of members of this elite. Responses to these potent expressions of American culture provide focal points which both illuminate and reflect wider social, political and ideological controversies within midcentury New Zealand. Not only were these reactions part of a process of comprehension and negotiation of new aesthetic styles and media modes. They also represent an arena of public and intellectual contention whose significance has been neglected or under-valued. New Zealanders’ attitudes towards the new cinematic, literary and musical elements of American culture occurred within a rich and revealing socio-political and ideological context. When we comment on that culture we reveal significant features of our own national and cultural selves.

Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.

In dieser Dissertation werden die Begriffe Hysterie und Psychasthenie aus der Hinsicht Pierre Janet, französischen Arztes des 19. Jahrhundert, anhand zahlreicher Fallbeispiele beschrieben
In this dissertation will be hysteria and psychasthenia discussed in the sense of Pierre Janet, a french physician from the 19th century, through many case studies

La somme romanesque que représente À la recherche du temps perdu se constitue au prix d’une « recherche » qui est à prendre au pied de la lettre, et qui instaure le sujet connaissant en savant-chercheur face à son objet de savoir. Proust fait en effet du « savoir » la condition même du talent, et fait entreprendre à son héros une exploration qui se présente en priorité comme étant une quête de savoirs. Ce travail se situe dans le sillage de l’épistémocritique qui étudie l’inscription dans le texte littéraire des savoirs en général, tout en insistant sur les savoirs qui relèvent de la science. Notre but est de dégager la posture épistémique qui caractérise le narrateur de la Recherche face aux divers savoirs qu’il récolte au cours de ses observations. Le parcours cognitif du narrateur est examiné suivant les quatre grandes étapes de sa recherche, que nous redéfinissons en termes de paradigmes : le paradigme de l’Exploration, qui définit une « épistémologie de l’observateur » ; le paradigme de la Communication, qui définit une « épistémologie de l’homme social » et une « épistémologie de l’homme moderne » ; le paradigme de l’Introspection, qui prépare à l’élaboration d’une « épistémologie du personnage intérieur » ; et enfin, le paradigme de la Vocation, qui rassemble les réponses trouvées par le narrateur à la plupart des questionnements qui auront jalonné son parcours cognitif. Ce dernier paradigme se présente sous la forme d’une « épistémologie de la création », d’une « épistémologie du réel » et d’une « épistémologie du hasard ». Car en dépit d’une démarche qui apparaît soumise aux médiations culturelles, la recherche du héros proustien se présente comme une « pensée de l’imprévisible » : fortement déterminée par la recherche cognitive du protagoniste, elle demeure pourtant irréductible à cette seule recherche. Nous dégageons, pour terminer, le statut réservé à la science et aux savoirs positifs en regard de la découverte de la vocation, mais aussi par rapport à l’élaboration d’une théorie de la création littéraire : ces deux grands domaines du savoir sont-ils considérés par Proust comme inconciliables avec une priorité évidente de l’un sur l’autre ou, au contraire, participent-ils tous deux d’une manière égale à la connaissance et à la création artistique ?
The comprehensive novelistic survey presented by À la recherche du temps perdu is worth a research to be taken literally and establishes the knowledgeable subject as a scholar-researcher against his object of knowledge. Proust makes of “knowledge” the condition of talent and engages his hero in an exploration that presents itself as a priority for being a quest for knowledge. The present essay follows in the wake of Epistemocritique, a discipline that studies the inscription of knowledge in the literary text in general, with a specific focus on knowledge related to science. Our aim is to bring forward the epistemic position that characterizes the narrator of À la recherche du temps perdu as he acquires various forms of knowledge in the course of his observations. The narrator’s cognitive path is examined with regard to the four main pillars of his quest, which we redefine in terms of paradigms: the paradigm of exploration, which defines an “epistemology of the observer”; the paradigm of communication, which defines an “epistemology of the social being”; the paradigm of Introspection which prepares for the elaboration of an “epistemology of the internal character”; and finally, the paradigm of vocation, which combines the answers to most of the questions that have marked the narrator’s cognitive path. This last paradigm presents itself as an “epistemology of creation”, an “epistemology of reality”, and an “epistemology of chance”. For, in spite of an approach that appears to be subject to cultural interventions, the quest by Proust’s main character appears as a thought of the unpredictable. Although strongly determined by the cognitive quest of the protagonist, it nevertheless remains irreducible to this sole quest. In conclusion, we emphasize the status reserved to science and to positive knowledge from the perspective of the discovery of vocation, but also in view of the elaboration of a theory of literary creation: does Proust consider these two areas of knowledge as irreconcilable, with one having an evident priority over the other, or, to the contrary, does he considers them as equal factors in knowledge and artistic creation?

Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2014
The objective of this report was the construction of an Ecological Guide to the Monteiro-Mor Park in Lisbon, making use of scientific drawing of identification for describing ten botanical species. Was completed all the stages of production of this type of publication, including planning, research and creation of their graphics and written content, design and layout, and the construction of two maps that also feature in the Guide, but can function as well whit independent units. All materials resulting from the dissertation will be utilized by the Museum of Traje, the entity responsible for management of Monteiro-Mor Park, to promote and guidance of the space the visitors in the Park which through the Ecological Guide they can meet part of its heritage and his natural history. As theoretical basis of this labor it is analyzed the life and work of three historical authors which excelled in the area of scientific drawing - Albrecht Dürer (1471-1528), renowned German engraver, drawer, painter and mathematician, Pierre-Joseph Redouté (1759 - 1840), illustrious Belgian artist and botanist, who distinguished himself with the works Les Liliacées and Les Roses, and John James Audubon (1785-1851), American artist who produced the monumental work the Birds of America. It was done a critical analysis of some ecological guides available in the Portuguese market in order to better understand the structure and characteristics of this type of publications. Was took into account the positive and negative aspects of each one to better informing the construction of the Ecological Guide
Possui um DVD com Anexos,com a cota: CDA 158, apenas consultável na Biblioteca da FBAUL

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2013
Esta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.

Why has the resurrection once again become the centre point of a new storm brewing in both popular and academic culture? Because of the combination of a realisation of death, and of human beings’ need to interpret its (death’s) mysteries; a question innate to the human experience. In a fear-filled world where war, terrorism, and economic collapse bring the question of death (and the afterlife) to the fore, people are asking – perhaps more than ever – what happens after we die. This popular fascination with the end, with death, and with what (if anything) lies beyond it, has also influenced the theme and the direction of academic work in the theological field. For this reason an informed analysis of the resurrection debate has become necessary – a process of analysing the different strata of understanding as it relates to current resurrection research. Any consideration given to gender or power, birth or burial, money or food is made in an effort to situate the debates being studied. Could a reason for these still varied conclusions on the subject be that those writing on it are not equipped for the task of analysing and interpreting history and historical method? In order to be able to begin answering this question, one of this study's main objectives is to learn and apply the approach of historians – outside of the community of Biblical scholars – to the question of whether Jesus of Nazareth rose from the dead; thus providing interaction with philosophers of history related to hermeneutical and methodological considerations. The method proposed here is a combination of historiography and an ethics of understanding, with the use of Correspondence theory (in which history is described as knowable, and some hypotheses as truer than others in a correspondence sense). This study wants to address both the different questions and analyses of the debate by asking: What if we see things differently? What if we were to ask a different set of questions? In order for this to be possible, we need to develop an ethics of interpretation – instead of asking the expected questions, this study aims to ask: What interests and frameworks inform the questions we ask and the way in which we interpret our sources? How does scholarship echo (and even participate in) contemporary public discourses about Christian identity? These questions will be attended to through three intersecting practices – critical reflexivity, complemented by the use of the two related practices of textual re-reading and public debate. However, these are not methodical steps in a linear progression, they are mutually interacting practices that draw on each other; raising new possibilities for the way in which we historically reconstruct the Jesus movement, allowing us to enter into the public debate about Jesus and eschatology in a way that takes the ethical possibilities and consequences of our reconstructions of Christian origins and identity seriously. For, though fragmentary and broken human words may be, they nevertheless possess a capacity to function as the medium through which God is able to disclose himself. Copyright
Dissertation (MTh)--University of Pretoria, 2010.
New Testament Studies
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