GRUPO ESCOLAR ERNY DE ZORZI (CAXIAS DO SUL/RS – 1942/1955): AS FESTIVIDADES ESCOLARES

RESUMOO trabalho aqui apresentado é uma produção regional, que limita-se a analisar e investigar a partir da análise documental a cultura escolar desenvolvida em uma instituição de ensino primário, no espaço rural de Vila Oliva (Caxias do Sul/RS). O objetivo desta investigação consiste em analisar as festas e comemorações cívicas e o modo como estão imbricadas à produção de uma cultura escolar nesta localidade, entre 1942 e 1955. A perspectiva teórica sustenta-se na História Cultural, fundamentada em autores como Pesavento (2008) e Burke (2008), entre outros. A metodologia utilizada consistiu na análise documental, acessando as documentações do acervo do Arquivo Histórico Municipal João Spadari Adami e da Escola Municipal de Ensino Fundamental Erny de Zorzi. Destaca-se neste estudo as festas escolares que aconteciam nessa instituição de ensino, procurando esclarecer como ocorria a realização dessas festas e como foram fundamentais para o âmbito das relações políticas, sociais e culturais estabelecidas com o sentimento cívico.Palavras-chave: Grupo Escolar. Instituições Escolares. Festas Escolares. ABSTRACTThe work presented here is a regional production, which is limited to analyzing and investigating, based on documentary analysis, the school culture developed in a primary education institution, in the rural area of Vila Oliva (Caxias do Sul/RS). The aim of this investigation is to analyze the parties and civic celebrations and the way they are intertwined with the production of a school culture in this location, between 1942 and 1955. The theoretical perspective is based on Cultural History, based on authors such as Pesavento (2008) and Burke (2008), among others. The methodology used consisted of documentary analysis, accessing the documentation of the collection of the João Spadari Adami Municipal Historical Archive and the Municipal Elementary School Erny de Zorzi. In this study, the school parties that took place in this educational institution stand out, seeking to clarify how these parties took place and how they were fundamental to the scope of political, social and cultural relations established with civic sentiment.Keywords: School Group. School Institutions. School Parties.

Sappho F 44 Voigt and Euripides’ Troades

In this paper a new interpretation of the first stasimon of Euripides’Troadesis proposed, based on a plausible relationship with Sappho’s F 44 Voigt. Sappho’s version of the wedding of Hektor and Andromache seems to be poetically evoked by the women of the chorus right before Andromache’s arrival on stage in the second episode of the play. The lyric, recalling the welcoming of the Trojan Horse to the town and the ensuing communal revelry, conjures up the civic celebrations at the nuptial procession and reception of the happy couple. The striking contrast between the lyric past and the tragic present casts an even more somber light not only on the widow of Hektor but also on the Trojan women themselves who form the chorus of the play.

Los festivales dionisíacos: entre el gozo, el dolor y la gloria

Resumen: En Atenas, el escenario principal en época clásica era el teatro de Dioniso, vinculado al culto de este dios, lo que se ve transpuesto a los héroes en el desarrollo de la ciudad, en el paso de los cultos agrarios a fiestas cívicas, en un proceso de integración relacionado con las tiranías.Dioniso es el que ha dado a los hombres alegría y dolor, según Hesíodo. Él mismo es pues personificación de las contradicciones de la vida misma, en la que es difícil hallar el gozo en estado puro. Pero existía antes un culto heroico que se integra en las ciudades en su formación como poleis.Abstract: In Athens, the main stage in classical times was the theatre of Dionysus, linked to the worship of this god. This is transposed to the heroes in the development of the city, in the transition from the agricultural cults to civic celebrations, in an integration process relatedto the tyrannies. Dionysus is who has given to men joy and pain, according to Hesiod. It is thus a personification of the contradictions of life itself, in which it is difficult to find joy in its purest form. But before there was a heroic cult which is integrated in the cities in their formation as poleis.Palabras clave: Dioniso, teatro, culto heroico, cultos agrarios, poleisKey words: Dionysus, theatre, heroic cults, agricultural cults, poleis

Political Toasting in the Age of Revolutions: Britain, America and France, 1765–1800

This chapter examines the emergence of political toasting in revolutionary France and during the ‘age of revolutions’ in Britain and America from 1765 to around 1800. Drinking and toasting were integral to the expression of popular politics. Contemporaries and historians have used toast lists as precious, if rough, indexes of popular opinion and, during the 1790s, as evidence of sympathy for the French Revolution and transnational republicanism. Toasting was a common practice in the American colonies and the young republic, and was adopted later in France. David Waldstreicher has shown the crucial role of civic celebrations and convivial gatherings in the forging of a new, republican identity during the American Revolution and in the early years of the republic. In his work on Ireland, Martyn Powell showed how toasting, while drawing on English and American symbolism, displayed an increasing sense of Irishness after the 1760s.

Provincial towns: streets and squares, 1660–1750

This chapter discusses two distinct forms of street recreation in the century that followed the Restoration. It begins with the almost forgotten tradition of bull-baiting in the early modern market place. The chapter also looks at the civic celebrations and street bonfires, which were made familiar in frequent descriptions by eighteenth-century urban elites and modern historians. It looks at the subtle changes in the ways civic authorities regarded these pastimes during the period.

The York Plays of the Dying, Assumption, and Coronation of Our Lady

The comparative scarcity of evidence as to dramatic performances of saints' miracles in mediæval England has frequently been the subject of comment. The only surviving independent texts of separate plays are those of Mary Magdalen, St. Paul, and the Cornish Meriasek; and the list of recorded performances is far from impressive. Particularly noticeable is the almost complete lack of evidence of such independent Miracles of Our Lady as would correspond to the amazing French series of Miracles de Notre Dame.1 The Lincoln play of the Assumption (sometimes Ascension) and Coronation of Our Lady, undertaken by the cathedral clergy over a long period, and, perhaps, as time went on, linked with the municipal St. Anne's play, is unusual.2 But, if self-contained plays of the Virgin Mary are notable mainly by their absence, there is ample evidence of a well-established group of Death and Assumption of Mary plays within the framework of the regular Corpus Christi cycles. Texts of such groups have survived in the York Register3 and in the Ludus Coventriœ.* Records of such plays occur at Newcastle, where the Burial of the Virgin was played by the masons;6 at Beverley where the priests, and at Aberdeen where the tailors were responsible for the Coronation of Our Lady;6 and, as we shall see, at York. At York, too, as elsewhere, certain features, at least, of the Assumption Play seem to have been incorporated in royal entry civic celebrations.