Cartas enviadas por Karl Bouda a Justo Garate entre 1934 y 1946

9 cartas + 2 tarjetas postales (manuscritas) ; entre 330x225mm y 100x60mm

Pela criança, para a família: a intervenção científica no espaço privado através do Serviço de Ortofrenia e Higiene mental (1934-1939)

Afirmar a sociedade brasileira nos quadros da modernidade foi o anseio de intelectuais de campos variados no contexto das décadas iniciais do século XX. Neste cenário, a educação era considerada uma via possível para promover mudanças de hábitos, conformando a população a partir dos referenciais modernos. Se a escola assumiu papel de destaque por ser um espaço a partir do qual seria possível educar a infância, a importância de outras instâncias educativas também era considerada, dentre as quais, destacamos a família, pensada como espaço fundamental de socialização. A educação ministrada no espaço privado deveria, no entanto, ser consoante com os ideais preconizados à época, para isso fazia-se necessário intervir sobre ele, educando os agentes do seu interior. Neste estudo, analisamos as ações encaminhadas pelo Serviço de Ortofrenia e Higiene Mental (SOHM), que funcionou no Rio de Janeiro, então Distrito Federal, no período de 1934 a 1939. Este Serviço, chefiado por Arthur Ramos, visava prevenir e corrigir os problemas dos escolares, considerando as relações culturais e sociais importantes para uma compreensão global destes indivíduos. Como as relações familiares e o espaço doméstico eram aspectos a serem conhecidos e modificados quando necessário e, como os pais eram chamados a colaborar com as ações do Serviço de formas diversas, buscamos analisar estratégias variadas destinadas a intervir no espaço doméstico, focalizando as prescrições voltadas a este e alguns aspectos da dinâmica estabelecida nas relações entre as famílias e a escola, através do SOHM.

Raíces estéticas de la música cubana, antecedentes de la canción popular, variantes y tipos (1800-1934): un estudio intercultural

192 p.

Species of the rougheye rockfish complex: resurrection of Sebastes melanostictus (Matsubara, 1934) and a redescription of Sebastes aleutianus (Jordan and Evermann, 1898)(Teleostei: Scorpaeniformes)

The widespread and commercially important rougheye rockfish, Sebastes aleutianus (Jordan and Evermann, 1898), has been considered a single variable species, with light- and dark-colored forms, found on the outer continental shelf and upper slope of the North Pacific Ocean. Genetic analysis of 124 specimens verified the presence of two species in new specimens collected from Alaska to Oregon, and the two species were analyzed for distinguishing color patterns and morphological characters. Characters distinguishing the two were extended to an analysis of 215 additional formalin-fixed specimens representing their geographic ranges. Sebastes aleutianus is pale, often has dark mottling on the dorsum in diffuse bands, and does not have distinct dark spots on the spinous dorsal fin; it ranges from the eastern Aleutian Islands and southeastern Bering Sea to California. Sebastes melanostictus (Matsubara, 1934), the blackspotted rockfish, ranges from central Japan, through the Aleutian Islands and Bering Sea, to southern California. It is darker overall and spotting is nearly always present on the spinous dorsal fin. Sebastes swifti (Evermann and Goldsborough, 1907) is a synonym of S. aleutianus; S. kawaradae (Matsubara, 1934) is a synonym of S. melanostictus. The subgenus Zalopyr is restricted to S. aleutianus and S. melanostictus. Nomenclatural synonymies, diagnoses, descriptions, and distributions are provided for each species.

Charles Henry Gilbert (1859-1928), Naturalist-in-Charge, and Chauncey Thomas, Jr. (1850-1919), Commanding: Conflict Aboard the U. S. Fish Commission Steamer Albatross in 1902

Charles Henry Gilbert (1859-1928) was a pioneering ichthyologist who made major contributions to the study of fishes of the American West. As chairman of the Department ofZoology at Leland Stanford Junior University in Palo Alto, Calif., during 1891-1925, Gilbert was extremely devoted to his work and showed little patience with those ofa different mindset. While serving as Naturalist-in-Charge of the U.S. Fish Commission Steamer Albatross during her exploratory expedition to the Hawaiian Islands in 1902, Gilbert engaged in an acrimonious feud with the ship's captain, Chauncey Thomas, Jr. (1850-1919), U.S.N., over what Gilbert perceived to be an inadequate effort by the captain. This essay focuses on the conflict between two strong figures, each operatingf rom different world views, and each vying for authority. Despite the difficulties these two men faced, the voyage of the Albatross in 1902 must be considered a success, as reflected by the extensive biological samples collected, the many new species of animals discovered, and the resulting publication of important scientific papers.

Charles Henry Gilbert (1859-1928), Naturalist-in-Charge: the 1906 North Pacific Expedition of the Steamer Albatross

Fishery science pioneers often faced challenges in their field work that are mostly unknown to modern biologists. Some of the travails faced by ichthyologist and, later, fishery biologist Charles Henry Gilbert (1859-1928) during his service as Naturalist-in-Charge of the North Pacific cruise ofthe U.S. Bureau of Fisheries Steamer Albatross in 1906, are described here, as are accomplishments of the cruise. The vessel left San Francisco, Calif., on 3 May 1906, just after the great San Francisco earthquake, for scientific exploration of waters of the Aleutian islands, Bering Sea, Kamchatka, Sakhalin, and Japan, returning to San Francisco in December. Because the expedition occurred just after the war between Japan and Russia of 1904-05 floating derelict mines in Japanese waters were often a menace. Major storms caused havoc in the region, and the captain of the Albatross, Lieutenant Commander LeRoy Mason Garrett (1857-1906), U.S.N., was lost at sea, apparently thrown from the vessel during a sudden storm on the return leg of the cruise. Despite such obstacles, Gilbert and the Albatross successfully completed their assigned chores. They occupied 339 dredging and 48 hydrographic stations, and discovered over 180 new species of fishes and many new species of invertebrates. The expedition's extensive biological collections spawned over 30 descriptive publications, some of which remain today as standards of knowledge.

A review of the cyprinoid fish genus Barbodes Bleeker, 1859, from Yunnan, China, with descriptions of two new species

Fishes of the genus Barbodes in Yunnan have been reviewed and 2 new species are described on the basis of specimens deposited in Kunming institute of Zoology, Chinese Academy of Sciences. Counts and measurements follow Chu and Chen (1989). Barbodes heterostomus is distinguished by its terminal mouth, with gape being horizontal in the male, and acclivitous in the female, last unbranched dorsal ray smooth with upper 1/3 articulated; dorsal fin origin anterior to pelvic fin origin; no dark lateral band on sides of body; gill rakers 13-19; lateral line scales 24-29; longest caudal ray length about 2 times that of shortest. It is distributed in Longchuanjiang and Dayingjiang (upper Irrawaddy). Barbodes baoshanensis is distinguished by its smooth last unbranched dorsal ray with upper 1/3-1/2 articulated; dorsal fin origin anterior to pelvic fin origin; sides of body with a dark longitudinal band; gill rakers 13-14; lateral line scales 23-28. It occurs in Nujiang (upper Salween) and Longchuanjiang. A key to the species of Barbodes in Yunnan is provided.

Molecular variation of Bothriocephalus acheilognathi Yamaguti, 1934 (Cestoda : Pseudophyllidea) in different fish host species based on ITS rDNA sequences

The molecular variation in Bothriocephalus acheilognathi Yamaguti, 1934 from 11 species of freshwater fish collected in Australia, China, the Czech Republic, England and Hawaii was investigated by determining the nucleotide sequences of the internal transcribed spacer region. The length of the first and second internal transcribed spacer sequences of multiple individuals ranged from 553 to 571 bp and 553 to 615 bp, and the G + C content from 53.1 to 53.5%. The percentage sequence divergence varied between 0 and 0.9% in the ITS1 and 0 and 6.6% in the ITS2, respectively, indicating the occurrence of intraspecific variation. It is demonstrated that the fragment length variation resulted primarily from microsatellite polymorphisms present in the ITS region, especially in the ITS2 region. Phylogenetic analyses revealed that B. acheilognathi examined in this study consisted of three closely related genotypes with certain degrees of host-specificity, and the genotype representing isolates from Cyprinus carpio L. was the most common and diverse form within the species B. acheilognathi.

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.

Para a história da educação de infância em Portugal : o caso de Bragança (1934-1986)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2014