MEMOIR OF THE LIFE, CHARACTER, AND PUBLIC SERVICES OF THE LATE HON. HENRY WM. DE SAUSSURE, PREPARED AND READ ON THE 15th FEBRUARY, 1841, AT THE CIRCULAR CHURCH, CHARLESTON, BY APPOINTMENT OF THE SOUTH CAROLINA BAR ASSOCIATION.

A special meeting of the Association was held as it was resolved that Chancellor Harper was requested to prepare a memoir of the late Chancellor De Saussure.

Speech of Hon. John Lowndes McLaurin, of South Carolina, in the Senate of the United States, Monday, December 9, 1901

This document contains a speech by John L. McLaurin of South Carolina presented in the Senate of the United States. Sections of the speech include: sectionalism the cause, conditions in South Carolina, the federal administration in South Carolina, should not array class against class, freedom of thought and speech, the issues, under caucus dictation the Senate no longer a deliberative body, the beginning of the fight, matter of arraying class against class, freedom of thought and speech, and issues.

Speech of Hon. John Lowndes McLaurin, of South Carolina, in the Senate of the United States, Monday, December 9, 1901

This speech is to address the statement that Mr. McLaurin has been excluded from the caucuses of his party and thus that he will be without assignment on any committee. He goes on to explain his exclusion and defend his views that led to his exclusion.

The Children's Crusade, May 24, 1940

Concert program for The Children's Crusade, May 24, 1940

The University Singers and The University Evening Chorus March 1, 1966

Concert program for The University Singers and the University Evening Chorus March 1, 1966

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

O fantástico em Fialho de Almeida e Jean Lorrain pessimismo e decadentismo finisseculares

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses - Estudos Comparatistas

Jean Renoir. The River: Uma história ou um lugar? Passagem pela Índia

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação

Charles e Ray Eames, o casamento entre razão e emoção no design

O racionalismo surge como uma corrente filosófica, cuja operação mental e lógica é evidenciada. Sendo a principal característica do pensamento moderno o método, a bauhaus representa para o design a forma como a indústria se despiu dos ornamentos, buscando o ideal de forma e função. Numa corrente contemporânea, o design emocional retoma, além das funções que um objeto pode ter, estéticas, práticas e simbólicas, também as emocionais de identificação, fazendo rever os métodos. Este artigo faz uma relação deste contexto com a forma brilhante com que o casal Charles e Ray Eames, criou um método absolutamente emocional para a criação do design, iniciando, com a invenção do contraplacado, e depois com acesso a diversas tecnologias advindas do pós-guerra, um processo muito interessante de construção de design, aliando arte e técnica, produzindo assentos atemporais, encontrados facilmente no mundo contemporâneo.