Oppositional Political Identity in the Song Culture of the Vormärz and the 1848 Revolution in Germany

Historically political song has often been perceived negatively, as a disturbance of the peace, summed up by the legendary line from Goethe’s Faust: “Politisches Lied – ein garstiges Lied”. In the period in Germany of the Vormärz (from 1815 up to the revolution of March 1848), however, we see how this perception may be changing as it increasingly becomes a means of self-expression in public life. This was the era of restauration, in which broader sections of German society are striving for political emancipation from the princes and kings. A whole host of political themes emerge in the songs (Freiheitslieder) of that period in which a new oppositional political consciousness is reflected. The themes range from freedom of speech, freedom from censorship, and the need for democratic and national self-determination to critiques of injustice and hunger, and parodies of political convention and opportunism. Sources of reception give indications about the social and political milieus in which these songs circulated. Such sources include broadsheets, handwritten manuscripts, song collections, commemoration events, advertisements in political press, memoires, police reports and general literature of the time. In many cases we see how these songs reflect the emerging social and political identities of those who sing them. One also sees the use of well known melodies in the popular dissemination of these songs. An intertextual function of music often becomes apparent in the practice of contrefacture whereby melodies with particular semantic associations are used to either underline the message or parody the subject of the song.

The limits of democracy: Ireland 1778-1848

A survey of the use of the term democracy in Irish politics in the late eighteenth and early ninetenth centuries

Alexander Keiller's Avebury, fifty years ago

1986 Alexander Keiller's Avebury: Fifty Years Ago. (Southampton City Museum, England) (3 month show in Southampton Museum - 50 photographs + artefacts and text)

Finding revelation in anthropology: Alexander Winchell, William Robertson Smith and the heretical imperative

Anthropological inquiry has often been considered an agent of intellectual secularization. Not least is this so in the sphere of religion, where anthropological accounts have often been taken to represent the triumph of naturalism. This metanarrative however fails to recognise that naturalistic explanations could sometimes be espoused for religious purposes and in defence of confessional creeds. This essay examines two late nineteenth-century figures – Alexander Winchell in the United States, and William Robertson Smith in Britain – who found in anthropological analysis resources to bolster rather than undermine faith. In both cases these individuals found themselves on the receiving end of ecclesiastical censure and were dismissed from their positions at church-governed institutions. But their motivation was to vindicate divine revelation, in Winchell’s case from the physical anthropology of human origins and in Smith’s from the cultural anthropology of Semitic ritual.

A ingerência do conhecimento explícito no conhecimento tácito: a técnica Alexander e a prática e ensino da flauta

O presente trabalho é o resultado duma investigação heurística sobre os efeitos do estudo da Técnica Alexander (TA) na prática e no ensino da flauta. Submeti-me a uma centena de aulas de Técnica Alexander e procedi a uma análise reflexiva da minha aprendizagem e prática individual e pedagógica, registando a sua evolução através da progressiva incorporação dos princípios e metodologias daquela técnica. A primeira parte descreve os princípios e procedimentos da TA enquadrando-a na problemática das relações entre conhecimento tácito e explícito, nos processos de controlo motor voluntário e involuntário, e na eficácia e eficiência dos automatismos neuromusculares. A segunda parte constitui a descrição e análise do processo transformador catalisado pelo estudo da TA: modificações na coordenação muscular; na técnica respiratória; no empunhar da flauta e na preparação para a emissão da primeira nota, e na relação entre o equilíbrio do instrumento e o movimento dos dedos. Vários procedimentos e exercícios desenvolvidos para a resolução de problemas pessoais são apresentados justificando a sua eficácia. A TA não proporciona apenas alterações na coordenação muscular mas pode modificar os processos mentais. Por isso alguns princípios para uma organização eficiente da prática são discutidos e concretizados nalguns exercícios que promovem maior variabilidade, alternância entre análise e integração e clareza na concepção do gesto técnico-musical. Por último, a evolução da minha abordagem pedagógica, incorporando procedimentos inspirados na TA e desenvolvidos ao longo da investigação são ilustrados com alguns alunos. A tese argumenta que a TA pode desempenhar um papel fundamental na melhoria do desempenho dum músico e revela-se uma ferramenta pedagógica que merece ser explorada mais sistematicamente num ensino mais baseado numa experimentação guiada que promova uma maior autoconsciência dos processos neuromusculares do que na instrução prescritiva e explícita.

Ecology of the early life-history stages of shad Alosa fallax fallax (Lacépède, 1803) in the River Mira, with a note on Alosa spp. larvae in the River Guadiana

Tese dout., Ecologia, Universidade do Algarve, 2006