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1
Diaz, Elvire. "Miguel Mihura (1905-1977) : de l'humoriste de presse (1923-1933) au dramaturge (1932-1968)." Bordeaux 3, 1994. http://www.theses.fr/1994BOR30053.
Анотація:
Miguel Mihura (1905-1977) a débuté comme humoriste de presse en publiant des narrations brèves humoristiques dans de nombreux périodiques dès 1923. Le corpus formé par les 150 créations mihuriennes parues dans les revues festives "Muchas gracias" (1924-1927) et "Gutierrez" (1927-1933) qui se caractérise par un humour absurde, fondé sur les paradoxes, sur la parodie, sur des personnages déshumanisés et sur un référent culturel populaire, inscrit Miguel Mihura dans une certaine avant-garde littéraire, influencé par les courants surréalistes et déshumanisants des années 1930. Ces premiers textes sont fortement théâtralisés et constituent les matériaux de base de l’œuvre dramatique postérieure de Mihura. Sa première pièce « Tres sombreros de copa », écrite en 1932, est une véritable mosaïque d'éléments empruntés à sa production journalistique de jeunesse. Trois autres pièces, "Ni pobre ni rico", "Sino todo lo contrario", "El caso del señor vestido de Violeta et Carlota", écrites entre 1939 et 1957, montrent d'importantes homologies avec le style originel de l'auteur. Les dix-neuf autres pièces de Mihura font encore des emprunts sporadiques à ses créations de jeunesse, mais divergent d'elles pour suivre le courant plus réaliste du théâtre comique espagnolMiguel Mihura (1905-1977) started his career as press humorist, publishing brief humorous narrations in a great number of periodicals between 1923 and 1933. The 150 mihurian creations published in the humorous reviews "Muchas gracias" (1924-1927) and "Gutierrez" (1927-1933) contain an absurd humour, founded on paradoxes, parody, deshumanized characters and a popular cultural referent,and place Mihura in a certain avant-garde, influenced by surrealism and dehumanization. Mihura grave a theatrical form to his works and built his later dramatic works from his youth production. His first play, tres sombreros de copa, is a real mosaic of borrowings from his journalistic works and other three plays, "Ni pobre ni rico", "Sino todo lo contrario", "El caso del senor vestido de Violeta et Carlota", written between 1939 and 1957, contain important homologies with the original mihurian style. The other nineteen plays borrow yet from the youth creations but diverge from them to follow the more realistic current of the spanish comic theatre of the time
2
Hidalgo, Arriagada Rodrigo. "Prácticas asociativas y políticas en la Unidad Popular: el caso de la población San Miguel (1970-1973)." Tesis, Universidad de Chile, 2019. http://repositorio.uchile.cl/handle/2250/169895.
3
Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Анотація:
Partant de l’inscription « populaire » de la chanson, cette thèse vise à questionner les dynamiques de représentation du peuple engendrées par sa présence dans la filmographie portugaise, du cinéma muet des années 1920 jusqu’au cinéma contemporain. A travers une diversité de séquences chantées (fado, etc.), elle fait ressortir des figures saillantes du peuple, significatives de ses différents moments politiques. Elle se penche tout autant sur la construction, souvent incomplète et contradictoire, des prétendus topos de la « portugalité », hérités du XIXe siècle et relayés par la propagande de la longue dictature, que sur les modalités de leur critique. En particulier à travers la quête de modernité du cinéma, qui, à partir des années 1950, montre le peuple du « pays réel », contre l’essentialisme de la « nation » séculaire bientôt ébranlée par la Révolution des Œillets (1974). Sur la base d’un corpus d’une trentaine de films, l’analyse - chronologique - apporte un nouvel éclairage sur la dimension sonore du cinéma portugais, et met en avant certains films contemporains de ce point de vue très significatifs, tels ceux de Miguel Gomes.Ce travail, qui s’inscrit dans le renouveau récent de l’historiographie de ce cinéma, s’appuie sur les apports des sound studies et sur certaines théories esthétiques (Rancière, Deleuze). Il vise à enrichir les outils d’une politique de la chanson au cinéma, en dépassant les approches exclusivement textuelle, esthétique ou scénaristique, qui réduisent parfois ces « moments musicaux » complexes et émancipateurs (Amy Herzog) à leur supposé conformisme divertissant, censé servir la mise en scène univoque d’un peuple sentimentaliste et dépolitiséQuestioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
4
Eid, Dagma Cibele. "Miguel Llobet: canciones catalanas para violão (1899-1927)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07052009-144108/.
Анотація:
As Canciones Catalanas para violão de Miguel Llobet pertencem ao campo do folclore musical catalão, cuja tradição é milenar. Portanto, buscamos na história da música e na etnomusicologia catalã as informações a respeito da origem de tais melodias usadas na obra do compositor catalão. Ao penetrarmos neste universo localizamos os textos inseridos nas melodias que ajudam a reconhecer o significado delas, estabelecendo assim novos elementos de interpretação para esta coleção de versões de canções tradicionais catalãs para violão. Consultamos o cancioneiro tradicional catalão e encontramos as melodias em sua forma primitiva, junto com seus textos em catalão, que foram transcritos e traduzidos para o português. A pesquisa das Canciones Catalanas enfatiza que tais transcrições representam um marco para a literatura do violão do século XX. Os procedimentos técnicos e expressivos usados nestas transcrições contribuíram para o instrumento entrar numa nova fase idiomática e influenciou outros compositores a escreverem para violão. Analisar o papel das canções tradicionais catalãs no início do século XIX possibilitou traçar a personalidade artística multifacetada de Llobet cuja biografia final ainda não se encontra publicada. Os resultados que encontramos ajudam a posicioná-lo como uma figura extremamente importante para história do violão. No entanto, sua produção foi sufocada por uma série de tragédias ocasionadas pela guerra civil espanhola e algumas obras foram esquecidas. O reconhecimento progressivo do legado deixado pelas atividades de Llobet tem gradativamente fomentado uma pesquisa que vem resgatando tais obras. Portanto, esta dissertação pretende dar sua contribuição neste processo a fim de completar um capítulo essencial na história do violão.The Canciones Catalanas for the guitar by Miguel Llobet belong to the Catalan folklore music area, whose tradition is millennial. However we search in the history of music and Catalan etnomusicology the information about the origin of such melodies used in the works of the Catalan composer. When we enter this universe, we find the texts which are inserted in the melodies that help recognise the meaning of them and establish new elements of interpretation for the collection of Catalan traditional songs for the guitar. We have consulted the Catalan traditional Cancioneros and we have found the melodies in their primitive forms with their texts in the Catalan language transcribed and translated into the Portuguese language. The research about Canciones Catalanas emphasizes the statement that they are a mark in the literature of the guitar from the twenthieth century. The technical and expressive procedures used in these transcriptions contributed towards the entrance of the instrument into a new idiomatic phase and influenced other composers to write for the guitar. To analyse the function of the traditional melodies in the beginning of the nineteenth century, propitiates the possibility to trace Llobet´s manifold artistic personality, whose final biography has not been published yet. The results helped to give him a position as an extremely important figure for the history of the guitar. However, his production was stifled by several tragedies brought about by the Spanish Civil War and some of the works fell into oblivion. The progressive recognition of the legacy left by Llobet´s activities has been gradually promoting a research and thus rescuing his works. However, the present dissertation intends to give a contribution to this process so as to complete an essential chapter in the history of the guitar.
5
Unamuno, Miguel de Sotelo Vázquez Adolfo. "Miguel de Unamuno : artículos en "Las Noticias" de Barcelona : 1899-1902 /." Barcelona : Ed. Lumen, 1993. http://catalogue.bnf.fr/ark:/12148/cb37467751s.
6
Praetorius, Batalla Iván. "Don Miguel Aylwin Gajardo. Un hombre con sentido de justicia." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/113937.
Анотація:
Memoria (licenciado en ciencias jurídicas y sociales)El presente estudio biográfico revisa, cronológicamente, las diversas etapas en la vida de don Miguel Aylwin Gajardo. Su objetivo es desnudar las principales características de la personalidad de este profesor y juez, así como también conocer, desde su perspectiva, la realidad educacional y judicial de la primera mitad del siglo XX. Para ello la investigación se centró en bibliografía diversa, como libros de historia, diarios de época, jurisprudencias y entrevistas a los señores Tomás y Patricio Aylwin Azócar. El resultado es una obra que, a partir del repaso de la vida este reconocido juez, permite evaluar comparativamente los reales avances que ha experimentado la judicatura actual y mantener así también viva su historia y la de los hombres que la han constituido.
7
Ollé, Marie-Louise. "Semiotique des tropes. Ecriture et symboles dans l'oeuvre de miguel angel sturias : ombres de maiz, mulata de tal, maladron." Toulouse 2, 2000. http://www.theses.fr/2000TOU20059.
Анотація:
Il s'agit d'une etude des strategies d'ecriture tropique et symbolique de m. A. Asturias a partir d'un corpus de trois romans (<< hombres de maiz >>, <
8
Alexander, Ryan M. "Fortunate sons of the Mexican Revolution: Miguel Aleman and his generation, 1920--1952." THE UNIVERSITY OF ARIZONA, 2012. http://pqdtopen.proquest.com/#viewpdf?dispub=3490913.
9
Silva, Alexsandro de Sousa e. "A filmografia de Miguel Littín entre o exílio e a clandestinidade (1973-1990)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-13112015-155507/.
Анотація:
Esta pesquisa tem como objetivo analisar as representações políticas sobre o Chile na obra fílmica do cineasta Miguel Littín realizada em seu exílio político, entre 1973 e 1990. Engajado politicamente, o diretor produziu filmes no Chile e, devido à sua identificação com o governo de Salvador Allende (1970-1973), foi obrigado a exilar-se após o golpe de Estado, ocorrido em 1973. Em sua trajetória no exílio, Miguel Littín transitou por diversos países europeus e americanos dirigindo películas, participando de debates e construindo redes de solidariedades. Procuramos mostrar que essa forma de resistência a partir do exílio foi permeada por diversas tensões e divergências entre estrangeiros e exilados chilenos. Dentre as obras selecionadas para a pesquisa, analisaremos de forma privilegiada Actas de Marusia e Acta general de Chile, porque abordam a realidade chilena. A primeira foi produzida no México em 1975 e retrata um massacre de trabalhadores do salitre ocorrido no norte do Chile, no início do século XX. A segunda constitui uma série de documentários exibida pela Televisión Española em 1986 e exibe a luta social contra a ditadura de Augusto Pinochet. Procuraremos mostrar que a filmografia de Miguel Littín e sua atuação no exterior contribuem para a compreensão das lutas contra a ditadura chilena a partir de um novo ângulo, o audiovisual.This research aims to analyze the political representations of Chile in the film work of the filmmaker Miguel Littin made in his political exile from 1973 to 1990. Politically engaged, the director made films in Chile and, because of its identification with the government of Salvador Allende (1970-1973), was forced to go into exile, after the coup d\'état in 1973. During his career in exile, Miguel Littin moved between European and American countries directing films, participating in debates and extending solidarity networks. We tried to show that this form of \"resistance\" from the exile was permeated by various tensions and disagreements with foreigners and Chilean exiles. Among the works selected for the research, we will analyze in a privileged way the films Actas de Marusia and Acta General de Chile, because they represented the Chilean reality. The first was produced in Mexico in 1975 and portrait a massacre of saltpetre workers that occurred in northern Chile, in the early twentieth century. The second is a documentary series aired by Televisión Española in 1986, and displays the social struggle against the dictatorship of Augusto Pinochet. We seek to show that the filmography of Miguel Littin and its activities abroad contribute to the understanding of the struggles against the Chilean dictatorship from a new angle, the audiovisual.
10
Paula, Maria Fernanda Batista Faraco Werneck de. "Escola nova em manuais didáticos de Alfredo Miguel Aguayo (Santa Catarina 1942-1949)." Universidade do Estado de Santa Catarina, 2015. http://tede.udesc.br/handle/handle/1020.
Анотація:
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Education provided by schools presents itself as a privileged field surrounded by pedagogical ideals that promise to transform society and life by educational institutions. Towards this direction, the questioning movement by New School, which takes form in the second quarter of the 20th century, becomes the main tool for the comprehension of the opposite speech between old and new in different moments of history, so that it wouldn t restrict, in the present, the teaching/learning techniques to the past mimicry or to illusions of a total renovation of school cultures. There are, in this time/space of remainings and changes defined by the Brazilian New School Movement, many statements and actions to be still reflected. Therefore, this research promoted the documental analysis of the New School movement practice representations, from two manuals whose author is Alfredo Miguel Aguayo: Didática da Escola Nova e Pedagogia Científica because it comprises the established connections between the book and the reading in this timing as projected spaces for the remeaning of school chores. Sustained by the manual field, this research consists in a historical reading of two books written for the formation of elementary school teachers from the theorical foundation by Michel de Certeau and Roger Chartier. It s important to emphasize that Aguayo s texts under analysis, witch were created to turn the school routines scientific, safeguard purposes and a specific group of people, and are representations of reading/reflections of a professor/writer who was a part of a place where saying New School was much more than proposing a new school. Therefore, observing these representations of practice inside his manuals provided with texts - COMUNICADOS written by elementary school teachers from Santa Catarina - in an ongoing formation process in the 1940 s along with other official documents from the Department of Education in SC, made possible to learn the reverberation and the recurrence of some ideas that represented the pedagogical renovation for that time. By questioning these statement productions which pointed the triad of learning process, motivation/interest/attention, and the main themes from discipline-body/moral/hygiene and discipline-knowledge (National Language/Arithmetics/Geography/Arts), it became clear that the new schools from last century didn t point to one solution only nor to an only end, and didn t define common goals to the society. On the contrary, they embodied different interpretations and experiences. Thereby, it was possible to recognize facets of a Escola Nova in SC that, even though entitled as renewing by the school authorities and designed by the scientific discoveries, it preserved antidemocratic social relationships to the elementary school teachers continuing formation process, as well as to the models of reading and writing that belong to that school named at a certain time/space as traditional.
A educação escolarizada configura-se como um campo privilegiado em que circulam ideários pedagógicos que prometem transformar a sociedade e a vida por meio de instituições de ensino. Nessa direção, a problematização do movimento pela Escola Nova, que toma corpo no segundo quartel do século XX, torna-se ferramenta fundamental para a apreensão da oposição discursiva entre o novo e o velho em diferentes momentos da história, a fim de não reduzirmos, no presente, as práticas de ensino/aprendizagem a mimetismos do passado ou a ilusões de total renovação das culturas escolares. Há, nesse tempo/espaço de permanências e mudanças configuradas pelo movimento escolanovista brasileiro, muitos enunciados e ações a serem ainda refletidos. Sendo assim, esta pesquisa promoveu a análise documental de representações de práticas escolanovistas a partir de dois manuais didáticos de autoria de Alfredo Miguel Aguayo: Didática da Escola Nova e Pedagogia Científica porque compreende as relações estabelecidas entre o livro e a leitura nessa temporalidade como espaços projetados para a ressignificação dos fazeres escolares. Ancorado no campo da manualística este estudo compõe uma leitura histórica de dois livros fabricados para a formação de professores/professoras primários/primárias a partir do aporte teórico de Michel de Certeau e Roger Chartier. Cumpre salientar que os textos de Aguayo em análise, produzidos com o intuito de tornar científico o cotidiano escolar, salvaguardam finalidades e destinatários particulares e constituem-se como representações de leituras/reflexões de um professor/escritor inserido num lugar em que dizer Escola Nova era construir um discurso bastante complexo. Dessa maneira, ao cotejar essas representações de práticas presentes em seus manuais com textos - Comunicados - escritos por docentes do ensino primário catarinense - em processos de formação continuada na década de 1940 - e outros documentos oficiais do Departamento de Educação de Santa Catarina foi possível apreender a reverberação e a recorrência de algumas ideias que configuraram a renovação pedagógica para o período. Por meio da problematização dessas produções discursivas que apontam a tríade da aprendizagem, motivação/interesse/atenção, e as principais temáticas do ensino disciplina-corpo/moral/higiene e disciplina-saber (Língua Nacional/Aritmética/História/Geografia/Desenho) como basilares aclarou-se o entendimento de que as Escolas Novas do século passado não apontaram para uma única direção, não conjugaram um único fim, não projetaram objetivos comuns a toda uma sociedade. Ao contrário, essas configuraram diferentes interpretações e experiências. Nesse sentido, foi possível perceber facetas de uma Escola Nova catarinense que, mesmo enunciada como renovadora pelas autoridades escolares e prescrita a partir das novas descobertas científicas, conservou na formação continuada do professorado primário relações sociais antidemocráticas e modelos de leitura e escrita pertencentes à escola nomeada naquele tempo/espaço como tradicional.
11
Alexander, Ryan M. "FORTUNATE SONS OF THE MEXICAN REVOLUTION: MIGUEL ALEMÁN AND HIS GENERATION, 1920-1952." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/216972.
Анотація:
Miguel Alemán, who in 1946 became the first civilian president to represent Mexico's official revolutionary party, ushered into national office a new generation of university-educated professional politicians. Nicknamed the "cachorros (puppies) of the revolution," these leaders were dismissed as slick college boys by their opponents. Despite this objection, the rise to power of this new cadre represented a major turning point in the nation's political history. The prior ruling generation, composed of military officers who had faced calamitous violence during the Revolution, had carried out a decades-long social program that sought to address social-economic inequalities, redistribute resources, and draw previously marginalized groups into a politically, culturally, and ethnically unified nation. The members of the Alemán administration, by contrast, dedicated federal resources to promoting industrial development by implementing protectionist measures and constructing massive public works. Powerful hydroelectric dams and expansive irrigation networks supported large-scale commercial agriculture, while ambitious urban projects, including modernist housing complexes, planned suburbs, and the sprawling University City, symbolized the government's middle-class orientation. Despite these advances, their program came with high social costs: suspended redistributive policies and suppressed political liberties led many to accuse them of abandoning the legacy of social revolution they had inherited, an accusation bolstered by rampant corruption. While their policies fomented impressive economic growth over the next three decades, their focus on urban industry ultimately contributed to a debt crisis and a capital city overburdened by rapid inward migration. This controversial policy agenda and ambivalent legacy reflected their collective social formation. Their experiences as politically active students and as career politicians inculcated a sense of pragmatism that set them apart from their military predecessors. Once in office, Alemán and his colleagues exploited the geopolitical circumstances of the early Cold War period to solicit foreign loans as well as private investment, especially from the United States. These leaders fashioned a new image of the ruling Institutional Revolutionary Party (PRI). Carlos Denegri, a journalist during the Alemán years, captured the essence of this transformation best: "The Revolution," he lamented, "has gotten off its horse and into a Cadillac."
12
Camargo, Valdemir B. "São Miguel : política e arte em um bairro da periferia paulistana (1978-1985) /." Assis, 2017. http://hdl.handle.net/11449/151470.
Анотація:
Orientadora: Lúcia Helena Oliveira SilvaCoorientador: António Celso Ferreira
Banca: Cristiano Gustavo Biazzo Simon
Banca: Jozimar Paes de Almeida
Resumo: Contar a história de um fragmento é contar a história do todo, e, inevitavelmente, foi necessário fazer um preâmbulo maior e isso nos levou a discutir várias possibilidades, entre elas, a inevitável necessidade de situar historicamente a cidade de São Paulo dentro dos marcos do capitalismo e, ainda, no interior do capitalismo monopolista-financeiro e de suas políticas neoliberais; da evolução industrial urbana brasileira, seus compassos e contradições envolvidos nas teias político-ideológicas do nacional-desenvolvimentismo de base popular e do desenvolvimentismo associado ao capital transnacional de base civil-militar, e de tudo que isso envolveu em termos de movimentos populacionais e suas consequências sociais. E, ainda, como se teria dado a evolução do pensamento, da produção e da linguagem artística, envolvendo o debate entre as diferentes formas de se entender a finalidade da arte.Tudo isso sem incorrer em excessos formalísticos, procurando utilizar uma escrita e uma disposição de conteúdos didaticamente objetivas e concisas, sem perder de mira a necessidade de contar a história de uma sociedade por meio de algumas de suas maneiras de expressão cultural artística, a partir de uma dada realidade espaço-temporal. A opção pela arte engajada, objeto de denúncia e luta em prol de uma sociedade mais justa e igualitária, pareceu-nos a única possível quando se tratava desses objetivos e, nesse sentido, a descoberta do MPA, sua história e sua produção, nos possibilitou traçar ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Telling the story of a fragment is telling the story of the whole, and inevitably it was necessary to make a greater preamble and this led us to discuss various possibilities, among them, the inevitable need to situate the city of São Paulo historically within The limits of capitalism and, still, within the monopoly-financial capitalism and its neoliberal policies; Of the Brazilian urban industrial evolution, its compasses and contradictions involved in the politico-ideological webs of the popular-based national-developmentalism and the developmentalism associated with transnational civil-military capital, and all that this involved in terms of population movements and their consequences Social rights. And yet, as the evolution of thought, production and artistic language would have occurred, involving the debate between the different ways of understanding the purpose of art.All this without incurring formalistic excesses, seeking to use a writing and a disposition of content objectively and concisely, without losing sight of the need to tell the history of a society through some of its ways of artistic cultural expression, from A given space-time reality. The option for engaged art, the object of denunciation and struggle for a more just and egalitarian society, seemed to us to be the only one possible when it came to these objectives and, in this sense, the discovery of the MPA, its history and its production, enabled us To draw this line of social history through culture ... (Complete abstract click electronic access below)
Mestre
13
Barascud, Jean-Michel. "Le romancier miguel angel asturias et les religions precolombiennes." Toulouse 2, 1986. http://www.theses.fr/1986TOU20034.
Анотація:
Cet examen synchronique de l'oeuvre romanesque de l'ecrivain guatemalteque miguel angel asturias met en evidence ses rapports avec les religions et les mythes precolombiens. Elle eclaire de quelle facon et en vertu de quels criteres les mythes et les rituels precolombiens sont integres a son oeuvre romanesque, comment il en selectionne et reactualise certains, et comment ils peuvent lui servir a la creation de nouveaux mythes. L'auteur est a la recherche d'une societe et d'un monde harmonieux perdus, detruits, representes par la communaute tribale agricole indienne, reposant sur des valeurs exprimees par le mythe du mais et les rituels s'y rattachant, et recrees litterairement a partir des textes precolombiens. Le plus souvent, la rupture de cette harmonie est le fait de l'intrusion du monde occidental, de ses valeurs et de ses formes de pensee, traduites par des archetypes puises dans la tradition occidentale ou recrees a partir de celle-ci: judas, maladron, le tentateur vert. . . Cette rupture est assimilee a la chute, apres le peche originel, dans un monde infernal,sterile, domine par les forces du mal, dont les archetypes pourraient etre le dieu maya tohil ou le diable metis candanga. Dans le meme temps, asturias poursuit la recherche de la societe harmonieuse disparue, a travers des experiences pouvant provenir du monde occidental, restituees dans le contexte mesoamericain grace au langage et a la reactualisation du mythe de quetzalcoatl. Ceci permet de degager la double provenance de l'inspiration de cet auteur, le langage et les formes expressives du monde precolombien servant a integrer au monde mesoamericain des experiences occidentales (procede litteraire parfois quelque peu artificiel), et exprimant une revendication metisse qui cherche a s'affirmer et a retrouver ses racines. Et par le choix des moyens expressifs employes, l'oeuvre d'asturias depasse le monde mesoamericain pour pretendre a l'universelA synchronic examination of the fiction of the guatemalan novelist miguel angel asturias emphasizes its close relatioship with pre-columbian mythe and religions and draws light on the criteria which led the novelist to merge pre-columbian myths and rituals into his own works of fiction and on the way in which he singles out some of them and brings them up to date, so as to create from them fresh myths of his own. The writer is in search of a society, a world of harmony, which has long since been distroyed and forsaken, a world represented by the way of life of agricultural indian tribal communities. This way of life is based on the myth of indian corn and the rites it entails are recreated by the novelist in his fiction, using pre-columbian texts as a point of departure. More often than not, where this harmony breaks down is with the intrusion of western civilization, its values and its modes of thought, expressed in the form of archetypes drived from western traditions or developed from them: judas, maladron, the green tempter. . . This breakdown is connected with the fall, following the original sin in an infernal barren world dominated by the forces of evil typically embodied in the maya god tohil or the half-cast devil candaga. Similarly, asturias pursues his quest for the bygone harmonibus society through experiences met with in the western world and reinserted into the central american context through language and a modernization of the quetzalcoatl myth. The dual origin of the novelist's inspiration thus becomes evident through his choice of language and form of expression, which serve to integrate western experiences into the central american world (occasionally a somewhat artificial literary process), as if the half-cast was eagerly demanding recognition and wanted to rediscover his roots. Thus by virtue of asturias's choice of sources and masterly handling of language, his works transcend the central american world and attain a more universal meaning
14
Stello, Vladimir Fernando. "Sítio arqueológico de São Miguel Arcanjo : avaliação conceitual das intervenções 1925-1927 e 1938-1940." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/7964.
Анотація:
Os remanescentes das reduções Jesuíticas dos Guarani dos séculos XVII e XVIII, formam um importante Patrimônio Cultural comum à Argentina, Brasil, Paraguai e Uruguai. Representam uma das etapas de maior influência na formação histórica das sociedades aí existentes. A Redução de São Miguel Arcanjo foi um dos trinta povos missioneiros da Província Jesuítica do Paraguai e teve sua instalação no sítio atual em 1687. Seus remanescentes hoje fazem parte do Patrimônio Nacional, através do tombamento federal efetuado em 1938, e foram declarados como Patrimônio da Humanidade pela UNESCO em 1983. No Brasil, o processo de reconhecimento da importância do legado missioneiro data de muitas décadas. Inicialmente, foi feita uma ação de preservação dos remanescentes do antigo povo de São Miguel Arcanjo pelo Governo do Estado do Rio Grande do Sul em 1925-1927, obra que garantiu a preservação deste monumento. Em 1938 o Serviço do Patrimônio Histórico e Artístico Nacional (SPHAN) iniciou a sua primeira grande obra de restauração. Na mesma época, foi construído o Museu das Missões, projetado pelo arquiteto Lucio Costa, para abrigar a coleção de arte sacra barroco-missioneira existente. Este trabalho objetiva avaliar as primeiras ações de salvaguarda realizadas nos remanescentes de São Miguel, à luz da evolução dos critérios internacionais de preservação do patrimônio cultural - anteriores, contemporâneos e posteriores às intervenções, demonstrando a correção e a atualidade conceitual das mesmas. A partir da contextualização histórica do monumento e da sistematização das informações sobre as obras nele empreendidas, procurou-se averiguar a consonância com os preceitos de restauração da época em que foram realizadas bem como o seu avanço em relação às modernas teorias de preservação. A análise empreendida demonstrou que, embora tecnicamente possa haver críticas, os conceitos utilizados foram coerentes e podem ser considerados atuais. Em função destas ações precursoras é possível se ter a possibilidade de apreciar um monumento desta representatividade e importância para a história da arquitetura e da restauração.The remainders of the Jesuit reductions of the Guarani in the XVII and XVIII centuries, form an important Cultural Patrimony common to Argentina, Brazil, Paraguay and Uruguay. Representing one of the larger influence stages there in the historical formation of the existent societies. The Reduction of São Miguel Arcanjo was one of the thirty missioneiros people of the Jesuit Province of Paraguay and had installation in the current site in 1687. Their remainders today are part of the National Patrimony, through the federal land registration made in 1938, and declared as Patrimony of the Humanity by UNESCO in 1983. In Brazil, the recognition process of the missioneiro legacy importance dates from a lot of decades. Initially, it was made a preservation action for old remainders from São Miguel Arcanjo by the Government of the Rio Grande do Sul State in 1925-1927, work that guaranteed the preservation of this monument. In 1938 the Service of the National Historical Artistic and Patrimony (SNHAP) began its first great restoration work. In the same time, the Missions Museum was built, projected by the architect Lucio Costa, to shelter the collection of sacred art Baroque-missioneira existent. This paper aims at to evaluate the first safeguard actions accomplished in São Miguel's remainders, to the light of the international evolution criteria of the cultural patrimony preservation - previous, contemporary and subsequent for the interventions, demonstrating the correction and the conceptual present time of the same ones. Starting from the historical monument contextualization and systematization of the works in its undertaken, it was tried to discover the consonance with the precepts of restoration of the period in that it was accomplished as well as its progress in relation to the modern preservation theories. The undertaken analysis demonstrated that, although technically it can have critics, the used concepts were coherent and they can be considered current. In function of these precursory actions we have the possibility to appreciate a monument of this representative and importance for the architecture history and restoration.
15
Andjouomo, Rosalie. "La foi chrétienne de Miguel Hernandez à travers son oeuvre." Perpignan, 2009. http://www.theses.fr/2009PERP1278.
Анотація:
Auteur espagnol, Miguel Hernandez doit sa foi chrétienne à l'éducation basée sur les principes catholiques inculqués dès son jeune âge à la fois par ses parents et les Jésuites. Cette éducation lui a permis de forger sa personnalité et elle est devenue sa principale source d'inspiration. Toutefois, même si sa rencontre avec des poètes rassemblés autour de Pablo Neruda à Madrid l'a amené à changer d'idéologie, sa foi demeure intacteThe spanish author, Miguel Hernandez owes his christian faith to his education. In fact, in his ounger days, the author's parents and the Jesuits taught him catholic principles. Hernandez's catholic education allows him not only to mould his character, but it also becomes a main source of inspiration for him. And even though his encounter with the poets gathered around Pablo Neruda in Madrid leads him to change his ideology, his faith remains unchanged
16
Figueroa, Gallardo Natalia. "Eduardo Anguita, Braulio Arenas y Miguel Serrano: tres escritores a contracorriente." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/140652.
17
Cisneros, Luis Jaime. "MIGUEL CRIADO DE VAL. Síntesis de morfología española, Consejo de Investigaciones científicas. Madrid. 1952. 186 pps." Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/113930.
18
Leite, Loely Mára Gonçalves Chaves. "Um resgate histórico do ensino da arte nas escolas municipais em Curitiba (1963-1996) / Loely Mára Gonçalves Chaves Leite ; orientadora, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2008. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1450.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2008Bibliografia: p. 93-101
O presente trabalho descreve a trajetória da educação nas escolas da Rede Municipal de Curitiba no período de 1963 a 1996, enfatizando o início do ensino de Arte na Rede Municipal de Ensino. Para tanto, fizeram-se necessárias consultas bibliográficas e pe
The present work describes the path of the education in the schools of the Municipality Network of Curityba in period between 1963 and 1996, emphasizing the beginning of teaching Art in the Municipality Network of Teaching. For this were necessary look in
19
Ramos, Alexandre Pinheiro. "O Integralismo entre a Família e o Estado: uma análise dos integralismos de Plínio Salgado e Miguel Reale (1932-1937)." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1179.
Анотація:
Considerado o primeiro partido político de massas do Brasil, a Ação Integralista Brasileira (AIB), fundada em 1932 pelo escritor paulista Plínio Salgado, foi um movimento de feições políticas e culturais de intensa atuação (legal) até 1937, quando foi colocado na ilegalidade pelo Estado Novo de Getúlio Vargas. Organização hierárquica, possuidora de toda uma ritualística elaborada (contava com uniforme, milícia, bandeira, hino, datas comemorativas e toda uma sorte de rituais para diversas ocasiões), a Ação Integralista Brasileira serviu de pólo aglutinador de uma série de idéias contrárias ao liberalismo e ao comunismo e que propunham uma nova forma de estrutura política, social e econômica para o País. Diversos intelectuais congregaram-se sob a AIB, concedendo-lhe, assim, outra característica marcante: a existência de variadas propostas no interior do Integralismo as quais propiciaram a elaboração de integralismos, isto é, proposições que, por vezes, distinguiam-se de outras, conferindo considerável heterogeneidade ao movimento. Assim, este trabalho tem por objetivo analisar e compreender os integralismos de dois de seus principais intelectuais, Plínio Salgado e Miguel Reale, que produziram propostas não só de visível abrangência
(trazendo diversos elementos para suas reflexões) como bastante distintas entre si. De um lado Plínio Salgado elaboraria um integralismo de feições totalitárias, enquanto do outro, Miguel Reale ocupar-se-ia com um caracteristicamente conservador, dotado de traços autoritários. Por meio de uma análise isolada de cada proposta, procurar-se-á, em um primeiro momento, demonstrar quais elementos no pensamento de cada autor viabilizam sua aproximação do totalitarismo, do conservadorismo e do autoritarismo, para em seguida destacar onde residem algumas das principais diferenças entre eles.Considered Brazils first mass party, the Ação Integralista Brasileira (AIB), founded in 1932 by the paulista writer Plínio Salgado, was a political and cultural movement with intensive (legal) activity until 1937, when it was put on illegality by Getúlio Vargas Estado Novo. Hierarchical organization with an elaborated ritualistic (it counted with an uniform, a militia, a flag, an anthem, celebrations dates and all sort of rituals for different occasions), the Ação Integralista Brasileira worked as an attraction pole for a series of ideas which were against liberalism and communism and, therefore, proposed a new form of political, social and economic structure for the country. Several intellectuals joined the AIB, giving it another important characteristic: the existence of various proposals inside the Integralismo which allowed the creations of integralismos, i.e., propositions that were different from the others, conferring a great heterogeneity to the movement. Thus, the objective of this work is to analyse and to understand the integralismos of two of its main intellectuals, Plínio Salgado e Miguel Reale, whom elaborated proposals that were quite different, almost the opposite from each other. Plínio Salgado created an integralismo with totalitarian characteristics, and Miguel Reale, with conservative and authoritarian ones. By analysing each proposal, one isolated from the other, this work is going to, first, try to demonstrate which elements in the thought of each author allows its approach to the totalitarianism, the conservatism and the authoritarianism; and then, put in relief the main differences between them.
20
Ngolo, Michel. "Essai d'interprétation idéologique du problème indien dans l'œuvre de Miguel Angel Asturias." Paris 4, 1987. http://www.theses.fr/1987PA040238.
Анотація:
Cette étude est une approche idéologique de la question indienne en Amérique latine, en général, et au Guatemala, en particulier, du point de vue de l'auteur qui aborde la question selon une conception matérialiste de l'histoire. L'auteur, en effet, part d'une analyse profonde de la structure socio-économique du Guatemala, mettant en évidence les contradictions fondamentales qui la caractérisent sur le double plan national et international. Celles-ci se définissent en termes de colonialismes interne et externe qui supposent des relations de domination et d'exploitation qui constituent, en définitive, la problématique essentielle de la société guatémaltèque. En posant au centre de celle-ci le problème économique qui affecte toute la nation par-dessus ses composantes ethniques, Asturias analyse principalement les causes du malaise social guatémaltèque, ce qui l'amène naturellement à dénoncer l'exploitation féroce des monopoles étrangers opérant sur le territoire national et, partant, à démystifier la nature des relations qui lient les différents groupes sociaux dans cette structure particulièrement complexe. Ainsi il arrive à démontrer objectivement la source du mal ou les causes fondamentales du problème indien intimement lié à la problématique sociale guatémaltèque. Ce diagnostic rigoureux de la problématique sociale guatémaltèque l'amène conséquemment à proposer une thérapeutique adéquate aux maux qui accablent la société toute entière et principalement les classes défavorisées. De la toute son œuvre- les romans de la trilogie bananière particulièrement - se révèle comme un véritable réquisitoire anti-impérialiste, réclamant vivement la souveraineté nationale bafouée et l'indépendance économique réelle de laquelle dépend inconditionnellement la solution du problème national et, par conséquent, celle de l'éternel problème indien. Mais l'intérêt du discours asturien et son originalité également résident fondamentalement dans le fait que s'inspirant de la réalité socio-économique du Guatemala, il arrive à démystifier le problème indien, en démontrant par des faits concrets que le problème de l'indien n'est pas de race ou de culture comme on l'a si souvent prétendu, mais simplement de classe, et donc économique.
21
Hochscherf, Tobias. "German-speaking eÌmigreÌs in British cinema, 1927-1945." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479059.
22
Robilliard, Marie-Amélie. "Le répertoire du « Teatro da Cornucopia » [1969-1979]. Miroir d'une oeuvre théâtrale en période révolutionnaire." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030162.
Анотація:
Entre 1969 et 1979, les metteurs en scène lisboètes Luis Miguel Cintra et Jorge Silva Melo façonnent un répertoire qui est d’abord une réponse au contexte où s’inscrit leur action. Malgré des conditions matérielles contraignantes, leur compagnie parvient à proposer une programmation cohérente qui reflète l’évolution de la société portugaise : contournement de la censure (par les classiques) jusqu’en 1974, euphorie révolutionnaire entre 1974 et 1975 (Brecht, Gorki) puis, jusqu’à la fin des années soixante-dix, ouverture à l’Europe, à travers l’écriture dramatique allemande et française (Chartreux et Jourdheuil, Théâtre du Quotidien, Horváth, Büchner et Karl Valentin). Leur répertoire est surtout le fer de lance d’un projet novateur qui concilie l’engagement dans le monde, l’exigence artistique et le souci d’éduquer le spectateur. Il repose, dans la lignée du théâtre d’art, sur le renouvellement du répertoire et la mise en place d’une programmation dynamique. Il est, enfin, le miroir de leur œuvre théâtrale, reflétée à la fois dans les textes et le discorso (Strehler) qu’ils engendrent. Leur quête artistique s’articule autour de trois axes incessamment reformulés : la critique de la société, la représentation de la période révolutionnaire et un langage qui privilégie le détour et les croisements interculturels pour dire le mondeFrom 1969 to 1979, Lisbon’s directors’ theater Luis Miguel Cintra and Jorge Silva Melo shape a repertory that, first of all, is a response to the context in which their action takes place. In spite of their binding material conditions, their theater group is able to put forward a coherent programming which reflects the evolution of Portuguese society: bypassing censorship with classic authors until 1974, revolutionary euphoria between 1974 and 1975 (Brecht, Gorki) then, until the late seventies, an opening to Europe, through German and French playwriting (Chartreux and Jourdheuil, Théâtre du Quotidien, Horváth, Büchner and Karl Valentin). Their repertory combines engagement in the world, artistic exigency and the desire to educate the spectator. Just like Théâtre d’art, it is based on the renewal of repertory and on a dynamic programming. It is also the mirror of their theatrical work, reflected both in the texts chosen and in th! eir discorso (Strehler). Their artistic quest revolves three constantly reformulated aspects: criticism of society, representation of the revolutionary period and a language that emphasizes the detour and intercultural crosses to say the world
23
Delgado, Richet Aurora. "Les voix de la narration dans l'oeuvre romanesque de miguel delibes la production des annees 1973 a 1991." Paris 4, 1997. http://www.theses.fr/1997PA040271.
Анотація:
Dans l'oeuvre romanesque de miguel delibes, les deux instances du recit que sont le narrateur et le personnage s'instaurent par leur nature de voix. La voix narrative construit toujours un discours, cependant elle se designe selon diverses strategies. Les textes a la premiere personne elaborent une situation de locution dans laquelle l'interlocuteur se trouve engage. Les signes de l'expressivite du langage du narrateur-personnage, qui se manifestent notamment par des commentaires, dessinent les contours d'une parole. L'apparition de certains de ces signes dans les romans heterodiegetiques permet alors de preciser la notion de "l'implication" de la voix narrative dans le recit, alors que leur absence revele une strategie differente dans laquelle la "distanciation" de la voix narrative se remarque notamment quand les paroles du personnage ne sont pas narrativisees. En effet, la maniere dont s'articulent la voix du narrateur et celle du personnage participe de la creation d'un effet de voix dans l'ensemble du texte : par l'emergence de la voix de celui-ci grace a des procedes qui soulignent sa perspective sensorielle, puis sa perspective verbale en integrant son activite nominative et son imaginaire dans le recit ; et d'autre part, par la representation de sa parole, en utilisant les signes distinctifs du discours direct dans l'ensemble du recit, et en citant ponctuellement des propos du personnage, de maniere dispersee. Ces procedes soulignent l'expressivite et le pouvoir de la parole. Aussi le texte resonne-t-il de l'ensemble des voix de la narration dans un mouvement d'echos et de confrontationIn the fiction of miguel delibes the two narrative poles namely the narrator and the character are established primaryly as voices. The narrative voice always elaborates a discourse, yet it reveals itself through various strategies. In first person novels a speach situation is created in which the addressee cannot but be involved. The signs of the expressivity of the narrator-character's language, notably perceptible in commentaries, serves to drawn the outliners of a speech. While the occurrence of some of these signs in heterodiegetiques narratives throws light on the notion of the narrative voice's implication in the narrative, their absence points to an altogether different strategy whereby the distance introduced between the voice and the narrative is particularly noticiable when the character's speech is not mediated. Indeed the way in wich the narrator's and the character's voices interelate is part and parcel of creating the effect of voice pervading the text : through the emerging voice of the character thanks to devices that enhance first his sensory then his verbal perspective by making his naming and imaginative power an integral part of the narrative; also through the representation of his speech by using the distinct marks of direct speech throughout the narrative and by occasionally and unexpectedly kuoting the character's own words here and there. Such devices bring out into relief the expressiveness and the weight of his speech. Thus the text resounds with all the voices at work in the narration, echoing and confronting one another in an ongoing mouvement
24
Santos, Cláudia Penha dos. "As comissões científicas da Inspetoria de Obras contra as secas na gestão de Miguel Arrojado Ribeiro Lisboa (1909-1912)." reponame:Repositório Institucional da FIOCRUZ, 2003. https://www.arca.fiocruz.br/handle/icict/6129.
Анотація:
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Previous issue date: 2003Analisa o caráter científico das expedições governamentais montadas entre os anos de 1909 e 1912 para estudar as consequências dos efeitos da seca na região nordeste do Brasil. Tem por objetivo enfocar a produçäo científica da Inspetoria de Obras Contra as Secas tendo como base alguns dos relatórios publicados na gestão de Arrojado Lisboa, além dos relatórios das expedições de Arthur Neiva e Belisário Penna e de Adolfo Lutz e Astrogildo Machado, resultado de uma parceria entre a IOCS e o Instituto Oswaldo Cruz.
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De, Casabianca Foata Lelia. "Jean Giono et Miguel Delibes, romanciers de la terre." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030019.
Анотація:
Dans leurs œuvres respectives, où ils mettent en scène la Provence intérieure, pour l’un, et la Castille rurale, pour l’autre, Jean Giono (1895-1970) et Miguel Delibes (1920-2010) font la part belle à la « terre ». Forte de ce constat, cette étude est prioritairement dédiée à leurs productions romanesques où, par-delà des différences esthétiques certaines, émergent de forts points communs thématiques et des figures récurrentes, dans la nuance ou dans l’accord. Après nous être interrogé sur la qualification du genre romanesque (des romans « de terroir », « rustiques » ou « de la terre » ?), nous nous sommes attaché aux relations particulières que les hommes ici mis en scène entretiennent avec leur territoire : les paysans, dans leur travail, et tous ceux qui, de fait, vivent au sein de la nature, sans négliger les citadins qui y retrouvent leurs racines, ni les ruraux transplantés en ville mais dont l’ancrage et l’attachement subsistent. Dans ces œuvres de fiction, la terre se présente sous de multiples caractères. Dans un premier temps, elle entretient des rapports harmonieux avec ses créatures, humaines ou animales, qui vivent toutes en liens étroits. Cet ensemble est chargé de mythes qui renvoient aux origines de l’humanité. Mais la modernité introduit une rupture qui brise l’union primitive, avec les cycles de ses rythmes et l’ordre de ses harmonies. Rétive à un tel joug, la terre se révolte et s’en prend aux hommes qu’elle menace de détruire. Dès lors, ils tentent d’établir une relation rénovée où pourrait se réinstaurer un équilibre disparuThe works of Jean Giono (1895-1970) and Miguel Delibes (1920-2010) are respectively set against the backdrop of hinterland Provence and rural Castile, laying the emphasis on the land. This PhD thesis mainly dwells on their novelistic productions, which share numerous recurring themes and figures, despite some aesthetic differences and nuances. After addressing the question of how to characterize these novels – are they novels of the “soil”, “rustic” novels or novels of the “land”? –, this study concentrates on the specific relationships between male characters and their land: peasants at work, all those who live among nature, without forgetting town-dwellers in search of their roots or rural people transplanted to city life, but whose sense of belonging endures.In these works of fiction, the land theme is dealt with in various ways; the emphasis is first placed on the harmonious relationship and close bonds that unite the land with its creatures, whether human or animal. This organic whole is imbued with myths that refer to the origins of mankind. But modernity ruptures this primeval unity, the cycles of its rhythms and the order of its harmonies. Resisting such oppression, the earth rebels, turns against men and threatens them with destruction. From then on, men try to create a restored relationship with the land so that a lost balance might be re-established
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Christ, Flaviane Mônica. "Memórias, projetos e lutas na formação histórica do Sindicato dos Trabalhadores Rurais de São Miguel do Iguaçu/PR (1970-2009)." Universidade Estadual do Oeste do Paraná, 2010. http://tede.unioeste.br:8080/tede/handle/tede/1767.
Анотація:
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Previous issue date: 2010-11-25This work argues the foundation process and organization of the Union of the Agricultural Workers of Is Miguel of the Iguaçu/PR. The main objective is to understand which the conceptions that to guide the performance of diverse groups since a foundation of that organization. For the constitution of this inquiry one prioritized express positions in the narratives of workers and members of other institutions, as the Church Catholic, operating in this process, constituting diverse memories before this lived. In this process, and during a decade of 1980, the work searched to establish the syndical disputes, for different projects, that if placed in the center of the debate, from which a syndical opposition arrives at the leadership of the movement, at a moment of participation of the without-land, and proposals of agrarian reform, constructed for workers in the union, as well as claims for better medical atendimentos, agricultural politics, working laws and better conditions of work. In the last few decades (1990 and 2000), the prominence was for the retirement of the buoy-colds and the public politics of development of familiar agriculture
Este trabalho discute o processo de fundação e organização do Sindicato dos Trabalhadores Rurais de São Miguel do Iguaçu/PR. O objetivo principal é entender quais as concepções que nortearem a atuação de diversos grupos desde a fundação daquela organização. Para a constituição desta investigação, priorizou-se posições expressas nas narrativas de trabalhadores e membros de outras instituições, como a Igreja Católica, atuantes nesse processo, constituindo diversas memórias perante esse vivido. Neste processo, e durante a década de 1980, o trabalho buscou estabelecer as disputas sindicais, por projetos diferentes, que se colocavam no centro do debate, a partir do qual uma oposição sindical chega à liderança do movimento, num momento de participação dos sem-terra, e de propostas de reforma agrária, construídas por trabalhadores no sindicato, bem como reivindicações por melhores atendimentos médicos, por políticas agrícolas, por leis trabalhistas e melhores condições de trabalho. Nas últimas décadas (1990 e 2000), o destaque ficou para a aposentadoria dos boias-frias e para as políticas públicas de desenvolvimento da agricultura familiar.
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Aguilar, Patricia Michelini. "A flauta doce no Brasil - da chegada dos jesuítas à década de 1970." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-31102017-151628/.
Анотація:
Esta tese propõe uma reconstituição da história da flauta doce no Brasil entre 1550 e 1970. Na primeira parte averiguamos a presença da flauta doce no período colonial, sobretudo no âmbito das missões jesuítas. Demonstramos que a flauta foi usada principalmente por crianças indígenas, como complemento à catequese e preparação para a prática musical da liturgia. Foram abordados aspectos como metodologia de educação, repertório provável e origem dos instrumentos utilizados. Enumeramos também algumas possibilidades de uso da flauta doce em ambientes não jesuítas entre os séculos XVI e XVIII. Na segunda parte discorremos sobre a flauta doce baixo que faz parte do acervo da Escola de Música da UFRJ, doada em 1896 por Leopoldo Miguez. Para concluir, apresentamos um abrangente panorama do retorno da flauta doce ao cenário musical brasileiro no século XX. Através de entrevistas e consultas com várias personalidades que se destacaram em ações pró-instrumento, elaboramos um percurso da flauta doce pelos estados do Rio Grande do Sul, Santa Catarina, Paraná, São Paulo, Rio de Janeiro, Minas Gerais, Bahia, Pernambuco, Ceará e Rio Grande do Norte. Observamos que os pioneiros da flauta doce no século XX eram, em sua maioria, imigrantes europeus ou alunos destes imigrantes, sem formação específica no instrumento. Apontamos os ambientes onde a flauta doce circulou entre as décadas de 1950 e 70, reiterando sua vocação de instrumento musicalizador e conquistando espaço como instrumento artístico.This dissertation proposes a reconstitution of the recorder history in Brazil between 1550 and 1970. At first, we have investigated the presence of the recorder in the colonial period, especially in Jesuit missions. We have shown that the recorder was used mainly by indigenous children as a complement to catechesis and preparation for the practice of the liturgy. We have discussed aspects such as education methodology, probable repertoire and origins of the instruments used there. We also enumerated some possibilities of recorder practice in non-Jesuit environments in the 16th and 18th centuries. In the second part we talk about the bass recorder that belongs to the Music School of UFRJ, donated in 1896 by the composer Leopoldo Miguez. At the end, we present a comprehensive overview about the return of the recorder to the Brazilian music scene in the 20th century. Through interviews and consultations with several personalities who excelled in pro-instrument actions, we have developed a recorder tour through the states of Rio Grande do Sul, Santa Catarina, Paraná, São Paulo, Rio de Janeiro, Minas Gerais, Bahia, Pernambuco, Ceará and Rio Grande do Norte. We observed that the pioneers of the recorder in the twentieth century were mostly European immigrants or students of these immigrants, with no specific instrumental training. We point out the spaces where the recorder circulated between 1950s and 70s, reiterating its vocation as first instrument and gaining prestige as an artistic instrument.
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Chirol, To Anouk. "Ouka Lele, Alberto García Alix, Miguel Trillo et Pablo Pérez Mínguez : Trajectoires de quatre photographes issus de la movida (1975-2000)." Saint-Etienne, 2003. http://www.theses.fr/2003STET2080.
Анотація:
La movida (1979-1985) a engendré une culture urbaine et populaire où la photographie a occupé une place de premier ordre. S'il est indéniable que les carrières des quatre photographes (Ouka Lele, Alberto García Alix, Miguel Trillo et Pablo Pérez Mínguez) sont liées à la movida, il est difficile de trouver des caractéristiques communes, tant esthétiques que thématiques, dans leurs créations. Après avoir replacé ces quatre artistes dans différents contextes, nous avons étudié les techniques utilisées et la conception du médium chez chacun d'eux puis la façon de traiter un même genre : le portrait. Appliquer l'étiquette de "photographes de la movida" à Ouka Lele, A. García Alix, M. Trillo et P. Pérez Mínguez introduit un rapport de dépendance que ces artistes ont dépassé. L'expression "photographes issus de la movida" tient compte de la spécificité de chacun et de la survie de leurs oeuvres après la disparition de la movidaThe Movida (1979-1985) created a popular and urban culture in which photography had a great importance. Even if it is impossible to deny that the careers of Ouka Lele, Alberto García Alix, Miguel Trillo and Pablo Perez Mínguez are bound to the Movida, it is difficult to find common features in the aesthetic as in the thematic parts of their works. After situating these four artists in different contexts, the techniques and the way of using the camera were studied separately for each photographer. Then it was possible to compare the different approaches of a same gender : the portrait. The conclusion of this work is that it is impossible to call Ouka Lele, A. García alix, M. Trillo and P. Pérez Mínguez "photographers of the Movida" because it would means that they depend on it. The expression "photographers from the Movida" takes into account each one's specificity and the survival of their works after the Movida's death
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Remer, Maisa Milènne Zarur. "O ensino secundário público paranaense : o Ginásio Regente Feijó, Ponta Grossa (1927-1961) / Maisa Milènne Zarur Remer ; orientadora, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2013. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2517.
Анотація:
Tese (doutorado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2013Bibliografia: f. 205-223
Esta tese se insere na área de investigação da História da Educação, especificamente, no campo da História das Instituições Escolares, e traz como objetivo analisar o processo de implantação e consolidação do ensino secundário, no Ginásio regente Feijó, n
This thesis is part of the research area of History of Education, specifically in the field of History of School Institutions, and is intended to analyze the establishment and consolidation process of secondary education in the Gymnasium Regente Feijó in
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González, Montes Antonio. "Miguel Angel Rodriguez Rea. El Perú y su literatura; guía bibliográfica. Lima, Fondo Editorial de la Pontificia Universidad Católica del Perú, 1992 251 p." Pontificia Universidad Católica del Perú, 2013. http://repositorio.pucp.edu.pe/index/handle/123456789/100391.
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Ngoueranga, Mounanga Bob. "L'image du dictateur dans la littérature hispano-américaine contemporaine à travers trois romans : "El senor presidente" de Miguel Angel Asturias, "El recurso del metodo" d'Alejo Carpentier, "El otono del patriarca" de Gabriel Garcia Marquez : du dictateur de fiction au dictateur historique." Perpignan, 1994. http://www.theses.fr/1994PERP0175.
Анотація:
Cette these a pour but d'etudier l'image du dictateur latino-americain a travers trois romans : el senor presidente (1946) de m. A. Asturias, el recurso del metodo (1974) d'a. Carpentieret el otono del patriarca (1975) de g. Garcia marquez. Son introduction revele que le personnage du dictateur latino-americain a connu une evolution esthetique remarquable quand on considere le nombre de romans publies bien avant 1975. Chacun des trois premiers chapitres, correspondant aux trois romans, porte non seulement sur les portraits physiques et psychologiques mais aussi sur les traits mythiques ou culturels du dictateur considere (monsieur le president, le premier magistrat et la patriarche). Les deux chapitres qui suivent montrent, d'une part, que les rapports du dictateur avec ses concitoyens sont ambivalents, et avec le peuple, ils tiennent beaucoup olus du mythique, du religieux que du politique. D'autre part, ils montrent que la nature meme du pouvoir du dictateur, qui tend au divin, le condamne a vivre dans la solitude la plus totale. Le sixieme chapitre est un "resume" des similitudes et divergences entre les trois drictateurs. Enfin, le septieme et dernier chapitre vise a montrer que derriere le dictateur de fiction se cachent des dictateurs reelsThis thesis aims to study the image of the latin americain dictator through three novels : el senor presidente (1946) by m. A. Asturias, el recurso del metodo (1974) by a. Carpentier and el otono del patriarca (1975) by g. Garcia marquez. Its introduction reveals that the image of the latin american dictator has knowna notable aesthetic evolution when one considers the number of novels published before 1975. One of the three chapters corres ponding to the three novels truns not only on the physical and psychological characters but also on the mythical or cultural characters of the considered dictator (mr. President, prime magistrate, patriarch). The two following chapters, show, on the one hand, that the relations of the dictator with his follow-citizens are ambivalent, and with people, these relations are due much more to the myth, religion than to politics. On the other hand, they show that nature itself of dictatorial power, which tends to sacred power, condemns the dictator to live in the most complete solitude. The sixth chapter summarizes the similitudes and divergences between the three dictators. Finally, ther seventh and last chapter aims to showing that true dictators hide behing the dictator of fiction
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Moreira, Débora Maria. "Um estudo da disciplina História da Arte na formação do professor da Faculdade de Artes do Paraná : 1970-1990 / Débora Maria Moreira ; orientadora, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2007. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1319.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2007Inclui bibliografia
Este trabalho tem a intenção de contribuir para a História da Educação no Paraná. Investiga a disciplina História da Arte, tal como foi desenvolvida na Faculdade de Artes do Paraná entre os anos de 1970 a 1990. Através desse espaço de tempo, pretende demo
abstract intends to contribute to the History of Education in the State of Paraná. It investigates the History of Art, such as its development in the College of Arts of Paraná between 1970 and 1990. Through this time, it intends to demonstrate the fundame
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Orso, Ana Paula Grochocki. "As políticas educacionais de formação de professores dos cursos técnicos em nível médio : cursos profissionalizantes no Paraná (1971-2008) / Ana Paula Grochocki Orso ; Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2011. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2047.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2011Bibliografia: f. 152-164
A dissertação intitulada As Políticas Educacionais de Formação de Professores dos Cursos Técnicos em Nível Médio: Cursos Profissionalizantes no Paraná (1971-2008) foi desenvolvida junto ao Programa de Pós-Graduação em Educação - Stricto Sensu, na linha de
The dissertation entitled Educational Politics of Technical Studies for teacher in Middle Level: Technician-vocational in Paraná (1971-2008) was developed the Program of Masters degree close to in Education - Stricto Sensu, at line of research entitled Hi
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Ramírez, Fuentes Fernando Luis. "REALISMO SOCIAL A TRAVÉS DEL TEMA CARCELARIO EN EL CHACAL DE NAHUELTORO DE MIGUEL LITTÍN, (CHILE, 1968) Y CARANDIRÚ DE HÉCTOR BABENCO (BRASIL, 2003)." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109056.
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Aksenen, Elisângela Zarpelon. "Os exames de admissão ao ginásio, seu significado e função na educação paranaense : análise dos conteúdos matemáticos (1930 a 1971) / Elisângela Zarpelon Aksenen ; orientadora, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2013. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2403.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2013Bibliografia: f. 115-128
O estudo aqui apresentado pretende compreender como funcionaram os exames de admissão ao ginásio na realidade educacional paranaense. Em nível nacional, os exames de admissão foram oficializados para o ingresso no Colégio Pedro II através do Decreto nº 4.
The study presented here aims to understand how the entrance examinations to the elementary school worked in the reality of Paraná education. The national level entrance examinations for admission were made official in Pedro II school through Decree No. 4
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Fleming, Shannon E. "Primo de Rivera and Abd-el-Krim the struggle in Spanish Morocco, 1923-1927 /." New York : Garland Pub, 1991. http://catalog.hathitrust.org/api/volumes/oclc/23357548.html.
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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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Léonard-Roques, Véronique. "Réécritures du mythe de Caïn au XXe siècle : Le compagnon secret (Joseph Conrad), Abel Sanchez (Miguel de Unamuno), Demian (Hermann Hesse), A l'Est d'Eden (John Steinbeck), L'emploi du temps (Michel Butor), Le roi des Aulnes (Michel Tournier)." Clermont-Ferrand 2, 1999. http://www.theses.fr/1999CLF20013.
Анотація:
La spécificité et l'originalité des réécritures du mythe de Caïn dans les romans étudiés seront mieux saisies à l'issue d'un panorama diachronique qui, partant du récit biblique (Genèse IV), s'arrêtera sur ses principales lectures exégétiques, puis sur les grandes articulations de son histoire littéraire. Le Caïn du 20e est inséparable de la crise du sujet et des valeurs, des fractures historiques à l'oeuvre dans la modernité. La bipartition traditionnelle qui opposait Caïn et Abel selon un système axiologique radical, mais susceptible de se retourner, est frappée d'hybridité, vouée à l'ouverture et à la mobilité. L'équivocité que partagent les avatars des deux frères bibliques s'accompagne de l'exploration de la richesse d'un parcours caïnique tendu entre meurtre et création. L'ambiguïté de cet inténaire est idéale pour figurer le travail du négatif, la fécondité des déchirures, le processus de séparation et d'individuation autant d'éléments formulés par les penseurs de la modernité. Homo Faber, Caïn le civilisateur épouse la crise de la raison, ses risques de dérive vers la barbarie technicienne. Mais, père des artistes, il révèle aussi l'opposition entre monde hétéroclite de la vie et monde harmonieux de l'art, et la fonction d'antidote dévolue à celui-ci par une modernité qui cherche à unifier ses multiples fractures. Figure tragique mais porteuse d'espoir, le nouveau Caïn est placé au centre du processus dialectique de la création littéraire
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Zem, Maria Lúcia Bassa. "As políticas educacionais no período de 1956 a 1979, no município de São José dos Pinhais : a Escola Normal Colegial Estadual Henrique Pestalozzi / Maria Lúcia Bassa Zem ; orientação, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2004. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=907.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2004Inclui bibliografia
Este trabalho tem como tema #As políticas educacionais no período de 1956 a 1979, no município de São José dos Pinhais: a Escola Normal Colegial Estadual Henrique Pestalozzi#. Essa Escola foi criada em 1954 e iniciou seu funcionamento em 1956 encerrando s
Este trabajo tiene como asunto Las políticas educacionales en el periodo de 1956 hasta 1979, en el municipio de São José dos Pinhais: la Escuela Normal Colegial Estadual Enrique Pestalozzi. La escuela estudiada fue creada en 1954 y instalada en 1956, y fu
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Amaral, Veiga Leitão Madalena. "Repères pour une esthétique de la mise en scène au Portugal : le parcours de quatre metteurs en scène: João Mota, Luis Miguel Cintra, João Brites et Rogério de Carvalho." Paris 3, 1998. http://www.theses.fr/1998PA030121.
Анотація:
Le sujet de cette recherche concerne l'analyse esthétique de la mise en scène portugaise dans la période comprise entre 1970 et 1995, par l'étude de quatre des metteurs en scène les plus représentatifs des années 70 (Joao Mota, Luis Miguel Cintra, Joao Brites et Rogerio de Carvalho). Nous envisageons non seulement à appréhender le rapport entre le contexte historico-culturel alors vécu et le parcours de ces metteurs en scène, mais aussi de savoir si les projets théâtraux nés dans les années 70 correspondaient à des paramètres esthétiques identiques. Nous avons donc constaté que, malgré les caractéristiques esthétiques distinctes qui les définissent d'un mode particulier, ils sont toutefois unis par une même façon d'envisager le théâtre, ce qui nous permet de conclure qu'ils obéissent à une même conception esthétique globale. Nous avons par ailleurs essayé de comprendre dans quelle mesure les metteurs en scène et les troupes des années 70 représentaient un changement effectif par rapport à la conception du théâtre antérieur et comment ils ont influencé le théâtre des générations suivantes. Sur le premier point, nous avons conclu que les troupes des années 70 ont constitué un clivage fondamental par rapport aux pratiques théâtrales précédentes, tandis que sur le second point, on peut affirmer qu'elles ont exercé une influence déterminante sur le théâtre crée par les nouvelles générations des années 80 et 90, malgré les multiples transformations imprimées sur la société civile portugaise et le théâtre au long de ces vingt-cinq années. Etant donné que les metteurs en scène et troupes des années 70 ont introduit au Portugal le théâtre contemporain dans leur mise en valeur de la dimension esthétique, de l'expérimentation artistique, de la lecture dramaturgique en tant que garant d'une cohérence interne du spectacle théâtral et de sa communicabilité par rapport au présent, nous reconnaissons le rôle important qu'ils ont joué dans le contexte théâtral portugais du XXème siècleThe aim of this study was to analyse staging in portugal between the period of 1970 and 1995 by studyng four of the most representative directors of the 70's (Joao Mota, luis Miguel Ccintra, Joao Brites and Rogerio de Carvalho). It tried not only to explore the existing relationship between the historical and cultural background, experienced during that decade, but also to know whether the theatrical projects implemented by those directors correspond to the dominant aesthetic conception. We realised that they are all united by the same perspective of facing theatre, in spite of having distinctive aesthetic characteristics which define them in a particular way. Therefore we came to the conclusion that they follow the same global aesthetic conception. We also tried to understand in what way the directors and groups of the 70's represented an effective change in relation to the previous conception of theatre and in what way they influenced the theatre of the generations that emerged afterwards. As far as the first topic is concerned, we conclused that the groups of the 70's meant a fundamental cleavage in what concerned the previous theatrical experience. Considering the second topic we can assert that they had a decisive influence on the theatre developed by the new generations in the 80's and the 90's in spite of all the multiple transformations carried out within the portuguese society and within the theatre throughout these twenty- five years. We acknowlegde the important role that the directors and groups of the 70's performed in the portuguese theatrical context of the twentieth century, taking into account the fact that they introduced contemporary theatre in portugal, by stressing the aesthetic dimension, artistic experimentation, drama reading as a guarantee of an internal coherence in theatrical production and its communicability with today's public
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Bonato, Elaine Maria. "A formação de professores para a séries/anos iniciais fundamental e a avaliação de seu desempenho no município de Dois Vizinhos no período de 1971 a 2008 / Elaine Maria Bonato ; orientadora, Maria Elisabeth Blanck Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2011. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2049.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2011Bibliografia: f. 174-183
Esta pesquisa investiga a formação de professores para as séries/anos iniciais do Ensino Fundamental e a avaliação de seu desempenho, no município de Dois Vizinhos, partindo-se da seguinte problemática: Como, historicamente foram construídas as relações e
This research investigates the formation of teachers for early elementary school years and evaluates their performance in Dois Vizinhos, starting from the following problem: How historically have been constructed relations between teachers of early years
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Medeiros, Ana Clara Magalhães de. "Poética socrática, tanatografia e a invenção do desassossego." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/31676.
Анотація:
Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-04-11T17:08:18Z No. of bitstreams: 1 2017_AnaClaraMagalhãesdeMedeiros.pdf: 4586466 bytes, checksum: 474dad4a536727a86487e90d8de1414e (MD5)
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A escrita de morte, denominada tanatografia, conduz esta tese. O conceito funda-se no dialogismo ensejado por Mikhail Bakhtin, cujas preconizações orientam também a metodologia investigativa (polifônica) aqui arrolada. O fenômeno Hamlet, de Shakespeare, despontado no momento de ascensão do individualismo e de enclausuramento da loucura, emerge como cerne irradiador do desassossego a ser espraiado em três obras do breve século XX, a saber: Esaú e Jacó, de Machado de Assis, O Outro, de Miguel de Unamuno, e O ano da morte de Ricardo Reis, de José Saramago. Apresentamos como o veio trágico (Nietzsche), a ironia (Kierkegaard) e o ímpeto sepulcral (Augusto Silva Junior) de Hamlet aproximam o mal-estar moderno do desassossego latente desde o grego Sócrates. As lições por este legadas, via diálogos platônicos e sátiras menipeias, orientam nossa proposição de uma poética socrática – por que carnavalizada, gestada na práxis dialogal. O discurso sobre o trespasse ganha amplo desenvolvimento a partir das noções de catábase – viagens aos infernos pelo literário, conforme Eudoro de Sousa – e a tragicarnavalização – tipologia híbrida, a um só tempo cômica e séria, por nós flagrada nas quatro principais publicações analisadas. Disposta em dois grandes capítulos teórico-analíticos, seguidos de um ensaio final, esta tese é palco para discussão sobre uma teoria do literário. O daimon poético Fernando Pessoa e suas pessoas redimensionam a dúvida filosófica propulsora do fazer artístico. Multiplicidade e inacabamento manifestam-se, enfim, como modos possíveis de transcender a comum experiência humana pela palavra e revelar, via plenitude, sentidos para o existir.
The writing of death, called thanatography, conducts this thesis. The concept is based upon the dialogism designed by Mikhail Bakhtin, whose recommendations also guide the investigative (polyphonic) methodology engaged in this thesis. Shakespeare’s Hamlet phenomenon, dawned during the ascension of individualism and enclosure of madness, emerges as a core that irradiates unrest to be sprawled along three works of the brief twentieth century: Machado de Assis’ Esaú e Jacó, Miguel de Unamuno’s El Otro, and José Saramago’s O ano da morte de Ricardo Reis. We present how Hamlet’s tragic tone (Nietzsche), irony (Kierkegaard), and sepulchral impetus (Augusto Silva Junior) bring together the modern malaise and the unrest latent since the Greek Socrates. The lessons bequeathed by the latter, through platonic dialogues and Menippean satires, guide our proposition of a Socratic poetry – which is carnavalized, gestated in the dialogal praxis. The discourse about the trespass acquires broad development starting from the notions of katabasis – travels to the hells through literariness, according to the understanding of Eudoro de Sousa – and the tragicarnavalization – hybrid typology, at once comic and serious, caught by us in the four publications mainly analyzed. Displayed in two extensive theoretical-analytical chapters, followed by a final essay, this thesis is the stage for a discussion about the theory of the literariness. Fernando Pessoa’s poetic daimon and his personas resize the philosophical doubt that propels the making of art. Multiplicity and unfinishedness manifest, at last, as possible wais to transcend the common human experience through the word and reveal, through plenitude, meanings of the existing.
La escrita de muerte, denominada tanatografía, conduce esta tesis. El concepto se funda en el diálogo enseñado por Mikhail Bakhtin, cuyas preconizaciones orientan también la metodología investigativa (polifónica) aquí arrollada. El fenómeno Hamlet, de Shakespeare, surgido en el momento de ascensión del individualismo y de clausura de la locura, emerge como núcleo irradiador del desasosiego a ser propagado en tres obras del breve siglo XX, a saber: Esaú y Jacob, de Machado de Assis, El Otro, de Miguel de Unamuno, y El año de la muerte de Ricardo Reis, de José Saramago. Presentamos como el influjo trágico (Nietzsche), la ironía (Kierkegaard) y el ímpeto sepulcral (Augusto Silva Junior) de Hamlet acercan el mal-estar moderno del desasosiego latente desde el greco Sócrates. Las lecciones por él dejadas, vía diálogos platónicos y sátiras menipeas, orientan nuestra proposición de una poética socrática – por que carnavalizada, gestada en la praxis dialogal. El discurso sobre el traspaso gana amplio desarrollo a partir de las nociones de catábase – viajes a los infiernos por el literario, según Eudoro de Sousa – y la tragicarnavalización – tipología híbrida, a un solo tiempo cómico y seria, por nosotros flagrada en las cuatro principales publicaciones analizadas. Organizada en dos grandes capítulos teórico-analíticos, seguidos de un ensayo final, esta tesis es escenario para discusión sobre una teoría del literario. El daimón poético Fernando Pessoa y sus personas redimensionan la duda filosófica propulsora del hacer artístico. Multiplicidad e inacabamiento se manifiestan, en fin, como modos posibles de trascender la común experiencia humana por la palabra y revelar, vía plenitud, sentidos para el existir.
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Villa, Vivian 1983-2009. "Educação de jovens e adultos no Estado do Paraná : um estudo sobre a relação entre as políticas e as práticas de sala de aula na história da educação recente (1971-1996) / Vivian Villa ; orientadora, Maria Elizabeth Blank Miguel." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2009. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1605.
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009Bibliografia: f. 154-162
O presente estudo problematiza a relação entre as políticas públicas da educação de jovens e adultos no Paraná e as práticas de sala de aula na história da educação recente (1971 - 1996). A escolha deste período deveu-se ao fato de ocorrer no início da dé
El estudio reflexiona sobre la relación entre las políticas públicas de la educación de jóvenes y adultos en Paraná y las prácticas de sala de clase en la historia de la educación reciente (1971 - 1996). Se eligió este periodo por el hecho de ocurrir en e
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Arruda, Michele Fonseca de. "Das trincheiras da guerra civil às interseções literárias – leitura de Réquiem por un campesino espanõl, de Ramón J. Sender e Cinco horas con Mario, de Miguel Delibes." Niterói, 2017. https://app.uff.br/riuff/handle/1/3679.
Анотація:
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Fundação de Apoio à Escola Técnica, FAETEC, Armação dos Búzios, RJ
A Guerra Civil, que devastou a Espanha entre os anos de 1936 e 1939, e a posterior implantação do regime autoritário que dominou o país por quase quatro décadas, figuram entre os eventos mais catastróficos do século XX e que mais representações ganharam no âmbito das artes. Muitas dessas expressões artísticas foram produzidas no calor da guerra ou nos imediatos anos que a sucederam, mas, ao longo das oito décadas que nos separam do início do conflito, foram e continuam sendo produzidas cada vez mais obras que retratam os embates ideológicos entre las dos Españas. Da ampla gama de textos que versam sobre o conflito, destacamos duas narrativas produzidas em momentos específicos da vida cultural hispânica: Réquiem por un campesino español (1952), de Ramón J. Sender, publicada no México, durante o exílio de seu autor, e Cinco horas con Mario (1966), de Miguel Delibes, publicada na Espanha, em plena vigência da ditadura franquista. Essas narrativas, elaboradas em função dos mesmos motivos, mas em conjunturas distintas, respondem a demandas próprias de cada circunstância, portanto, os conteúdos e as formas que se criam para representá-los dialogam com as (im)possibilidades de representar os horrores de uma batalha fratricida. Nesta tese, queremos estabelecer a relação de cada uma das obras com a representação da Guerra Civil Espanhola, destacando os aspectos formais e a arquitetura textual das narrativas para estabelecer a tensão entre os dois momentos na literatura espanhola de pós-guerra: a produção literária da Espanha peregrina e a da era franquista, a fim de indicar as relações entre história, memória e literatura através da expressão narrativa dos dois segmentos em causa
The Spanish Civil War, which devastated Spain from 1936 to 1949, along with the subsequent establishment of a totalitarian regime that ruled the country for almost four decades, are both high on the list of the most catastrophic events of the 20th century, being widely portrayed by the world of the arts. Many of these works of art were created during the war; others were produced during the immediate post-war period. Nevertheless, during the eight decades that went by since these events took place, the production of such artistic pieces has significantly increased, especially the ones which depict the ideological conflict between “the two Spains” (las dos Espanãs). Among the wide variety of texts that deal with this conflict, two novels, each written in different and specific moments of the Hispanic cultural life, should be pointed out: Réquiem por un campesino español (1952), by Ramón J. Sender, published in Mexico during Sender’s exile, and Cinco horas con Mario (1966), by Miguel Delibes, published in Spain under General Franco’s dictatorship. These two novels, inspired by the same reasons but produced under different circumstances, meet the demands of the particular situations regarding their authors; therefore, both form and content in these novels are meant to cope with the “(im)possibility” of conveying the horrors of a fratricidal war. In this thesis, we wish to establish how each of these novels manages to portray the Spanish Civil War, highlighting the specific characteristics of both form and content in each text, so as to reveal the tension between these two kinds of literary productions of the post-war period: the works of the so-called España peregrina (“Pilgrim Spain”), and those produced under the Franco regime. In this way, we wish to bring to light the way in which history, memory, and literature are integrated through these different types of narrative expression
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Magasich-Airola, Jorge. "Ceux qui ont dit "Non": histoire du mouvement des marins chiliens opposés au coup d'Etat de 1973." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210614.
Анотація:
L’opposition au coup d’État de 1973 au sein des forces armées chiliennes a été significative. En effet, un nombre symptomatique d’officiers, tout comme un nombre considérable des membres de la troupe, ont répondu « Non » à l’ordre de renverser le gouvernement légitime. Ces militaires légitimistes ont été particulièrement actifs dans la Marine, institution qui vit un conflit entre sa structure archaïque et le statut social de technicien acquis par les marins. Ce derniers perçoivent, avant d’autres secteurs de la société, le danger d’un coup d’État et vont tenter de s’organiser, tout d’abord pour informer les autorités et ensuite pour tenter de le faire avorter. Notre objectif est de retracer l’histoire du mouvement des marins légitimistes et notre hypothèse de travail est que le coup d’État de 1973 n’est pas l’œuvre de l’armée mais d’une fraction de celle-ci.
Nous avons consulté quatre catégories de sources :
1) La presse :6 quotidiens et 2 hebdomadaires opposés au gouvernement d’Allende; 4 quotidiens, 2 hebdomadaires et un bimensuel proches du gouvernement ou de gauche.
2) Les essais, documents politiques, témoignages et mémoires, particulièrement les mémoires des quatre amiraux organisateurs du coup d’État.
3) Les procès entamés contre les marins dès la fin du gouvernement d’Allende, dont les 6.000 pages du célèbre procès 3926 contre les marins de la flotte.
4) Nous avons interviewé 30 marins, ce qui correspond à environ un tiers des marins condamnés par les tribunaux navals sous la dictature. En outre, nous avons interviewé, des militants, des avocats, un procureur, un général de l’aviation opposé au coup d’État, un officier de la Marine opposé au coup d’État et un officier de la Marine favorable au coup d’État. Au total 52 interviews qui totalisent un bon millier de pages.
L’introduction présente le sujet et explique sa pertinence :les réunions entre les marins et les dirigeants politiques restent un événement souvent cité dans l’historiographie qui justifie le coup d’État.
Le ch. I est un travail de compilation sur l’histoire des révoltes de marins au XXe siècle, pour identifier les éléments communs entre elles.
Le ch. II tente de situer la Marine chilienne dans son contexte historique et social, rappelant les conflits qui ont secoué la force navale et sa réorganisation lors du début de la Guerre froide et décrivant le contenu de l’enseignement donné à l’École navale des officiers.
Le ch. III décrit la vie sociale dans la Marine de 1970 –l’année de l’élection présidentielle– surtout les relations difficiles entre la troupe et les officiers. Celles-ci se manifestent à travers des réactions contradictoires au résultat de l’élection. Pendant les premiers mois du gouvernement d’Allende, un nombre croissant d’officiers manifeste son opposition, alors que des « hommes de mer » (la troupe) s’organisent pour le défendre.
Les ch. IV et V couvrent la période qui va de 1971 jusqu’à la première tentative de coup d’État le 29 juin 1973 (el Tanquetazo). Elle est marquée d’une part par l’adhésion de la plupart des officiers aux thèses putschistes, et d’autre part, par un notable développement des groupes de marins antiputschistes. Nous décrivons les relations structurelles entre les officiers et civils conjurés et l’établissement des relations entre des groupes de marins et certains partis politiques de gauche. Ce travail décrit la réunion secrète où plusieurs groupes de marins, tentent d’établir une coordination et discutent s’il faut agir avant que le coup d’État ne soit déclenché ou seulement en réaction à celui-ci.
Le chapitre VI couvre les cinq « semaines décisives » qui s’écoulent entre la tentative de putsch du 29 juin et l’arrestation des marins de la flotte, le 5 août 1973. Dans la Marine, la préparation du coup d’État arrive à sa phase finale, avec un affairement perceptible. Beaucoup de marins craignent d’être forcés à y participer. Dans ce contexte, le groupe de marins de la flotte formule une ébauche de plan d’occupation des navires et organise des réunions avec des dirigeants de gauche pour tenter une action qui ferait avorter le coup d’État imminent. Nous avons pu retracer ce plan ainsi que les célèbres réunions avec les dirigeants du PS, du MAPU et du MIR, grâce à plusieurs témoignages de marins et de « civils » présents dans ces réunions.
Le chapitre VII décrit la période entre l’arrestation des marins et les semaines qui suivent le coup d’État, décrivant les premières tortures, la difficile situation du gouvernement d’Allende, qui attaque en justice les marins « infiltrés », et le débat politique et juridique suscité par les arrestations et tortures, un des derniers débats démocratiques.
Le chapitre VIII expose la poursuite des procès sous la dictature. Parmi les avocats pro deo qui se contentent d’une timide défense pour la forme, nous avons trouvé une défense exceptionnelle des marins sur le plan politique :« le devoir de tout militaire est de défendre le gouvernement légitime », affirme l’avocate Lidia Hogtert, une dame de 75 ans, qui, en 1975, ose défier la justice militaire. En 1988, à la fin de la dictature, lorsque l’ancien secrétaire du MAPU Oscar Garretón se présente devant la justice navale, le cas connaît un nouveau retentissement :après plusieurs condamnations par des tribunaux militaires, Garreton obtient une victoire complète à la Cour Suprême. Il est acquitté de toute accusation pour « sédition et mutinerie ».
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
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Jiménez, Hanton Amelia M. "La vision de l'ambassade américaine des acteurs socio-politiques mexicains : 1947 à 1949." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25618.pdf.
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Pontes, Heloisa André 1959. "Historia social e relações de gênero no teatro e no campo intelectual, 1940-1968." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281330.
Анотація:
Tese (livre-docencia) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias HumanasMade available in DSpace on 2018-08-10T23:46:07Z (GMT). No. of bitstreams: 1 Pontes_HeloisaAndre_LD.pdf: 22918634 bytes, checksum: 9ee22988278f3dd61b58642257cc0d63 (MD5) Previous issue date: 2008
Resumo: Não informado
Abstract: Not informed
Tese (livre-docencia) - Univer
Livre-Docente em Antropologia Social
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Guimarães, Pedro Maciel. "Créer ensemble : l'apport des collaborateurs de création à l'oeuvre de Manoel de Oliveira." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030127.
Анотація:
Un film est une œuvre de collaboration qui se nourrit des différentes sensibilités des professionnels qui le font et qui épaulent, de manière plus ou moins significative, son auteur. Notre réflexion se situe au moment charnière de toute œuvre artistique, sa création. L’étude de la poétique du film, des processus de sa fabrication, permet d’en comprendre plus profondément les enjeux esthétiques. En abordant spécifiquement les relations de collaboration chez le réalisateur portugais Manoel de Oliveira, il s’agit d’enquêter sur la façon dont les rapports idéologiques, personnels et professionnels que le cinéaste noue avec quelques-uns de ses collaborateurs déterminent la conception de l’image, du montage, du choix des acteurs et du processus d’adaptation d’une œuvre littéraire. Les professionnels choisis sont l’acteur portugais Luis Miguel Cintra, la monteuse française Valérie Loiseleux, le directeur de la photographie suisse Renato Berta et la romancière portugaise Agustina Bessa-Luis. En analysant ces relations bilatérales, ce travail se demande comment la présence du collaborateur influence la conception de la mise en scène d’Oliveira et comment le fait d’être un interlocuteur privilégié du réalisateur portugais détermine la suite de la carrière de quelques-uns de ces collaborateurs. Sans mettre en doute le cinéma d’auteur, nous croyons néanmoins au cinéma de collaboration, un cinéma qui dit « nous » au lieu de « je », où le collaborateur est non seulement un témoin du faire cinématographique, mais aussi une surface sensible, une présence active et constamment mise à l’épreuve dans le processus de création qu’il intègre – et qui l’intègreA film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him
49
Jammes, Sarah. "Miquel Utrillo et "Pèl & Ploma" : ou comment participer à la renaissance des arts catalans et internationaux (1899-1903)." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20056.
Анотація:
Cette thèse a pour objet l’étude de la revue illustrée artistique et littéraire Pèl & Ploma, publiée à Barcelone entre 1899 et 1903 et dirigée par son duo fondateur, les artistes catalans Miquel Utrillo (1862-1934) et Ramon Casas (1866-1932). Ce travail s’attache, d’une part, à montrer le rôle central que joue Miquel Utrillo dans le cours de sa revue. C'est ainsi que le contexte familial de celui-ci est pris en compte dans cette étude qui définit divers enjeux régénérateurs de la publication Pèl & Ploma située dans le contexte espagnol du « Désastre » de 1898. D'autre part, la thèse précise les principales conceptions artistiques et littéraires défendues dans le périodique barcelonais, notamment à travers plusieurs de ses collaborateurs, lesquels sont tous classés par nationalité dans des tableaux synoptiques placés en annexes. Enfin, cette étude souligne tout particulièrement la dimension européenne de Pèl & Ploma : elle situe la revue au cœur du contexte effervescent de la presse publiée alors en Espagne et dans le reste de l’Europe et détermine un certain nombre de titres internationaux ayant influencé le périodique de Utrillo et de Casas pendant ses quatre années de parution. La perspective européenne est également adoptée dans l’analyse de la diffusion et de la réception de Pèl & Ploma qui dépasse largement les frontières nationalesThis thesis deals with the study of the artistic and literary illustrated review Pèl & Ploma, published in Barcelona between 1899 and 1903 and directed by its founding duo, the Catalan artists Miquel Utrillo (1862-1934) and Ramon Casas (1866-1932). This work focuses, on one hand, on showing Miquel Utrillo’s centrality in the course of his review. Thus, we consider his family context in this study that defines various regenerator issues of Pèl & Ploma situated in the Spanish context of the “Desaster” of 1898. On the other hand, the thesis specifies the main artistic and literary conceptions defended in the Barcelonese periodical, especially through several of its contributors who are all classified by nationality in synoptic charts placed in appendices. At last, this study especially highlights the European scope of Pèl & Ploma: it places the review in the middle of the effervescent press context published at that time in Spain and in the rest of Europe and identifies a number of international periodicals that influenced the Utrillo and Casas’s review during its four years of publication. The European perspective is also adopted in the analysis of the diffusion and reception of Pèl & Ploma beyond the national borders
Esta tesis tiene por objeto el estudio de la revista ilustrada artística y literaria Pèl & Ploma, publicada en Barcelona entre 1899 y 1903 y dirigida por su dúo fundador, los artistas catalanes Miquel Utrillo (1862-1934) y Ramón Casas (1866-1932). Este trabajo se dedica, por una parte, a mostrar el papel central que desempeña Miquel Utrillo en el curso de su revista. Así es como se toma en cuenta el contexto familiar de éste en este estudio, el cual define diversos objetivos regeneradores de la publicación Pèl & Ploma situada en el contexto español del “Desastre” del 98. Por otra parte, la tesis especifica las principales concepciones artísticas y literarias defendidas en el periódico barcelonés, especialmente a través de varios de sus colaboradores, los cuales aparecen todos clasificados por nacionalidad en unos cuadros sinópticos que están en los anejos de la tesis. Por fin, este estudio subraya particularmente la dimensión europea de Pèl & Ploma: sitúa la revista dentro del contexto próspero de la prensa publicada entonces en España y en el resto de Europa y determina algunos títulos internacionales que han influido en el periódico de Utrillo y de Casas durante sus cuatro años de publicación. Se adopta también la perspectiva europea en el análisis de la difusión y recepción de Pèl & Ploma que va mucho más allá de las fronteras nacionales
50
Boto, Daniel Filipe da Costa. "Aquele querido mês de Agosto : análise do filme de Miguel Gomes." Master's thesis, 2009. http://hdl.handle.net/10316/13262.
Анотація:
Dissertação de mestrado em Estudos Artísticos, apresentada à Fac. de Letras da Univ. de CoimbraOur Beloved Month of August may be the film that better combines an updated picture of the Portuguese rural imaginary, raised in the form of documentary, with a fictional narrative based on that same picture, where the popular music festivals and the summer migrants are main characters. It is a groundbreaking work that breaks with the conventional model of documentary film and it is a humorous and experimental view that respects popular non-urban culture and its key players – people and places – inviting us to rethink the boundaries between documentary and fiction and to reflect on ways of making movies.
Aquele Querido Mês de Agosto é talvez o filme que melhor combina um retrato actualizado do imaginário rural português, abordado sob a forma de documentário, com uma narrativa ficcional fundada nesse mesmo retrato, onde a música popular, as festas de Verão e os emigrantes são as personagens principais. É uma obra inovadora, que rompe com o modelo convencional do filme documentário, constituindo uma visão bem--humorada, experimental e respeitadora da cultura popular não urbana e dos seus principais agentes – pessoas e locais –, que convida a repensar as fronteiras entre documentário e ficção e a reflectir sobre as formas de fazer cinema.