Relatorio e synopse dos trabalhos da Camara dos Srs. Deputados : relativos ao anno de 1897 : acompanhados de differentes documentos : organisados na Secretaria da mesma Camara

Sinopse dos trabalhos da Câmara dos Deputados, em 1887.

A medicina iluminista e o vitalismo: uma discussão do Nouveaux Éléments de la Science de l‟Homme de Paul-Joseph Barthez (1734-1806).

A dissertação comenta criticamente as interpretações recentes referentes ao vitalismo no século XVIII, dedicando atenção especial aos Nouveuax Éléments de la Science de lHomme (publicado primeiramente em 1778), de Paul-Joseph Barthez (1734-1806). Até a segunda metade do século XX, como é primeiramente argumentado nesta dissertação, intérpretes do iluminismo entendiam a doutrina mecanicista como a herdeira direta da Revolução Científica, bem como a corrente dominante no mundo das ciências da vida ao longo de todo o século XVIII. Assim, na historiografia do século passado, o vitalismo era ou escassamente mencionado, ou visto como uma retrógrada corrente anti-iluminista. Mais recentemente, vários historiadores e pesquisadores da história das ciências no século XVIII (sobretudo Williams e Reill) entendem o iluminismo de um modo mais amplo e plural, considerando o vitalismo iluminista (um termo proposto por Reill) como parte integrante de um conceito mais dinâmico de iluminismo. A seguir, são apresentados a doutrina mecanicista e seus conceitos centrais, bem como as ideias de alguns dos principais representantes do mecanicismo no século XVII e início do XVIII, no caso, mais especificamente, do mecanicismo newtoniano. Em seguida, são expostos e comentados a doutrina vitalista e seus conceitos, no que é dado destaque ao vitalismo na Universidade de Montpellier. Nesse contexto, são comentados conceitos vitalistas, tal como apresentados nos Nouveuax Éléments de la Science de lHomme, no qual Barthez propõe uma nova fisiologia baseada no princípio vital; nisso são apresentados sua metodologia de pesquisa, o conceito de princípio vital, as forças sensitivas e motrizes do princípio da vida, além dos conceitos de simpatia, sinergia e, por fim, o conceito de temperamento. Esses conceitos ou essa terminologia , tal como é mostrado, não são originalmente concebidos por Barthez, mas foram por ele reapropriados e reformulados em debate com o newtonianismo e demais correntes filosóficas médicas desde a Antiguidade até o século XVIII, assim como com observações e experimentos próprios às investigações médico-científicas da época. Como resultado, é alcançada uma compreensão da doutrina vitalista como um esforço intelectual inovador tanto interagindo quanto integrado com o debate científico contemporâneo, ou seja, os médicos vitalistas se viam e, em geral, eram vistos como atuando segundo os padrões de cientificidade exigidos por seus pares.

No Coração das Trevas: o paraíso e inferno do outro em Bernardo Carvalho e Joseph Conrad

Esta dissertação estuda o papel do sujeito na literatura e sua relação com a cultura e alteridade através da análise de duas obras: Nove noites, de Bernardo de Carvalho e Coração das Trevas de Joseph Conrad. As obras estudadas mostram a crise que atinge os protagonistas dos dois livros depois do encontro com outras culturas. Em Nove noites o outro é representado pelo índio e em Coração das Trevas pelos africanos. Em Nove noites o antropólogo Buell Quain se suicida depois de uma estada entre os índios Krahô, e em Coração das Trevas vemos a deterioração do homem branco representada pelo personagem de Kurtz. Considerado um homem notável e um altruísta na Europa, Kurtz teria se corrompido no contato com a realidade do Congo e se torna, nas palavras do narrador Marlow, um dos demônios da terra. A dissolução da personalidade e código moral do homem branco, representada pelos dois personagens, será estudada analisando a relação entre personalidade e cultura e como a falta de apoio e controle grupal desarticula valores até então considerados estáveis, assim como o contato com o outro. Esta desarticulação do sujeito causada pelo choque cultural se soma à crise geral do sujeito moderno e ao mal-estar na civilização, como descrito por Freud. A posição paradoxal do antropólogo, que se situa entre duas culturas, faz parte desta análise, do mesmo modo questões pertinentes a posição dos índios e africanos no Congo. No caso específico de Coração das Trevas trabalha-se a interseção entre a análise do sujeito, e suas implicações, e a construção do personagem de Kurtz como símbolo da violência colonial. O trabalho analisa também as semelhanças entre as duas obras, tanto temáticas como em suas técnicas narrativas e a influência da obra de Conrad nos romances de Carvalho

O herói e o inimigo no imaginário do jacobinismo brasileiro 1894/1897

Esta dissertação tem como objetivo compreender e analisar o jacobinismo brasileiro tendo como foco os anos de 1894 até 1897. Pretende-se perceber como esse grupo conseguiu construir um projeto de personalização do poder em torno do Marechal Floriano Peixoto em momentos críticos da história República brasileira: durante a Revolta da Armada de 1894; no momento de transição do governo militar para o governo civil de Prudente de Moraes em 1894/95; e na ocasião da morte do Marechal Floriano Peixoto em 1895. Para tanto, o estudo propõe uma reflexão sobre a utilização do discurso jornalístico como instrumento na fabricação da imagem dos revoltosos da Marinha como restauradores monarquistas e de Floriano como herói da República, buscando assim, perceber igualmente a dinâmica de sua elaboração e as suas repercussões na sociedade brasileira. Chegaremos a conclusão que as forças jacobinas enfraqueceram no momento do atentado a Prudente de Morais em 1897, mas seus discursos ainda tiveram eco na primeira metade do século XX na República brasileira.

Penaeus indicus H. Milne Edwards, 1837: resumo das conclusões dos cruzeiros de pesca exploratória entre 1979 e 1983 no banco de Sofala em Moçambique

From 1979 to 1983, several surveys were carried out with research and fishing vessels at Sofala Bank in Mozambique. Their main objective was the assessment of shallow water prawn stocks, as this resource is of great economic importance for the country. A summary of the conclusions of these surveys regarding the species Penaeus indicus is presented. During the rainy season the species occurs closer to the shore than during the dry season. Estimates of biomass are very variable. The spawning peak seems to occur at the beginning of the rainy season (September-October). The spawning areas are located very close to the shore in the northern part of Sofala Bank and South of 17 degree 10'S in the 15-25 m depth interval.

Penaeus indicus H. Milne Edwards, 1837: a summary of the conclusions from the fishing exploratory surveys between 1979 and 1837 at Sofala Bank, Mozambique

From 1979 to 1983, several surveys were carried out with research and fishing vessels at Sofala Bank in Mozambique. Their main objective was the assessment of shallow water prawn stocks, as this resource is of great economic importance for the country. A summary of the conclusions of these surveys regarding the species Penaeus indicus is presented. During the rainy season the species occurs closer to the shore than during the dry season. Estimates of biomass are very variable. The spawning peak seems to occur at the beginning of the rainy season (September-October). The spawning areas are located very close to the shore in the northern part of Sofala Bank and South of 17 degree 10'S in the 15-25 m depth interval.

Warianty realizacji austriackości w wybranych autorów (Joseph Roth, Stefan Zweig, Franz Theodor Csokor i Ődön von Horváth) w odniesieniu do kategorii granicznych starego i nowego świata

Wydział Neofilologii:Instytut Filologii Germańskiej

A discourse delivered on Thanksgiving Day, Dec. 7, 1837 : in the Unitarian Church, Keene, N.H.

The print copy of this sermon is held by Pitts Theology Library. The Pitts Theology Library's digital copy was produced as part of the ATLA/ATS Cooperative Digital Resources Initiative (CDRI), funded by the Luce Foundation. Electronic reproduction. Atlanta, Georgia : Pitts Theology Library, Emory University, 2003. (Thanksgiving Day Sermons, ATLA Cooperative Digital Resources Initiative, CDRI). Joint CDRI project by: Andover-Harvard Library (Harvard Divinity School), Pitts Theology Library (Emory University), and Princeton Theological Seminary Libraries.

Experiences of a backwoods preacher, or, Facts and incidents culled from thirty years ministerial life / by Joseph H. Hilts.

http://www.archive.org/details/experiencesofab00hiltuoft

The Missionary pioneer, or, A brief memoir of the life, labours, and death of John Stewart, (man of colour) founder, under God of the mission among the Wyandotts at Upper Sandusky, Ohio / Published by Joseph Mitchell.

http://www.archive.org/details/missionarypionee00stewrich

JOACHIM, BRAHMS, AND SCHUMANN: THE FLOURSHING OF NINETEENTHCENTURY VIOLIN REPERTOIRE

The cultivation of violin repertoire and its ultimate dominance of the late Nineteenth-Century orchestral library are best examined through the analysis and study of the works of Joseph Joachim (1831-1907), Johannes Brahms (1833-1897), and Robert Schumann (1810-1856). Each of these men, in their own right, made significant contributions to the development of violin repertoire during the latter half of the Nineteenth Century. Yet their achievements were also the result of a collaborative effort and shared influence, the absence of which would have yielded a diminutive musical landscape, especially in the concerti of Brahms and Joachim. This dissertation explores Joachim’s technical dexterity and its influence on Brahms and Schumann, and further studies the vital role Brahms and Schumann played in forming Joachim as both composer and editor. The pieces examined in this dissertation evidence the significant influence each of these composers shared. Three chamber compositions stand as guideposts in the analysis and establish a stylistic foundation to collaborative efforts among Joachim, Brahms, and Schumann. The preliminary recital focuses on these chamber pieces which illustrate the individual style of each composer, featuring Joachim’s Romance, Op. 2, written between 1848 and 1852, Schumann’s Second Sonata, Op. 121, written in 1851, and Brahms’ Second Sonata, Op. 100, written in 1886. A second performance includes the enigmatic F-A-E Sonata of Brahms, Schumann, and Albert Deitrich, Schumann’s pupil, as well as Joachim’s Second Concerto. A collaborative effort, the F-A-E Sonata represents Brahms’ and Schumann’s efforts to write with Joachim’s unbridled style and technique in mind. An even greater musical offering, Joachim’s Second Concerto, a gift to Brahms in 1860, has been called the “Holy Grail” of concertos, and is considered the preeminent display of Joachim’s creative genius by incorporating demanding technical challenges and Hungarian-like overtones. The third and final program features Brahms’ Concerto in D Major. A fitting response to Joachim’s gift 17 years later, Brahms’ Concerto was written for Joachim at the height of his career, bearing the performer’s stylistic elements throughout. The recital also includes various Hungarian Dances by Brahms. While the Dances were not original to Brahms, they further illustrate the underlying idiom of Hungarian folk music in both Brahms’ and Joachim’s art.

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

SELECTED CHARACTER PIECES OF FRÉDÉRIC CHOPIN (1810-1849), FRANZ LISZT (1811-1886) AND JOHANNES BRAHMS (1833-1897)

During the 19th century, Frédéric Chopin (1810-1849), Franz Liszt (1811- 1886), and Johannes Brahms (1833-1897) were among the most recognized composers of character pieces. Their compositions have been considered a significant milestone in piano literature. Frédéric Chopin (1810-1849) did not give descriptive titles to his character pieces. He grouped them into several genres such as Mazurkas, Polonaises. His Mazurkas and Polonaises are influenced by Polish dance music and inspired by the polish national idiom. Franz Liszt (1811-1886) was influenced in many ways by Chopin, and adopted Chopin’s lyricism, melodic style, and tempo rubato. However, Liszt frequently drew on non-musical subjects (e.g., art, literature) for inspiration. “Harmonies poétiques et religieuses” and “Années de pèlerinage” are especially representative of character pieces in which poetic and pictorial imagination are reflected. Johannes Brahms (1833-1897) was a conservative traditionalist, synthesizing Romantic expression and Classical tradition remarkably well. Like Chopin, Brahms avoided using programmatic titles for his works. The titles of Brahms’ short character pieces are often taken from traditional lyrical or dramatic genres such as ballade, rhapsody and scherzo. Because of his conservatism, Brahms was considered the main rival of Liszt in the Romantic Period. Brahms character pieces in his third period (e.g., Scherzo Op.4, Ballades of Op.10, and Rhapsodies of Op.79) are concise and focused. The form of Brahms’ character pieces is mostly simple ternary (ABA), and his style is introspective and lyrical. Through this recording project, I was able to get a better understanding of the styles of Chopin, Brahms and Liszt through their character pieces. This recording dissertation consists of two CDs recorded in the Dekelboum Concert Hall at the University of Maryland, College Park. These recordings are documented on compact disc recordings that are housed within the University of Maryland Library System.