Dissertations / Theses on the topic '1919-1941'

This thesis traces the self-creation and autonomy of the woman artist figure in Virginia Woolf's To the Lighthouse, Doris Lessing's The Golden Notebook, and Margaret Atwood's Cat's Eye. The first chapter conveys the progression of autonomy and self-creation in Western-European philosophy through contemporary thinkers such as Charles Taylor, Robert Pippin, Alexander Nehamas, and Richard Rorty. This narrative culminates in a rift between public and private, resulting from the push--especially by Nietzsche--toward a radical, unmediated independence. Taylor and Rorty envision different ways to resolve the public/private rift, yet neither philosopher distinguishes how this rift has affected women by enclosing them in the private, barring them from the public, and delimiting their autonomy. The second chapter focusses on each woman artist's resistance to socially scripted roles, accompanied by theories about resistance: Woolf with Rachel Blau DuPlessis on narrative resistance, Lessing with Julia Kristeva on dissidence, and Atwood with Stephen Hawking and Kristeva on space-time. The third chapter contrasts the narratives of chapters 1 and 2 and reveals how the woman artist avoids the problematic public/private rift by incorporating the ethics developed within the private into her art; she balances her creative goals with responsibility to others. Drawing on the work of women moral theorists, this thesis suggests that women's self-creation and autonomy result in an undervalued but nevertheless workable solution to the public/private rift.

SILVA, Maria Neile Alves. Os forrozeiros e seu outro feminino: a constituição discursiva de estereótipos da mulher em canções de Luiz Gonzaga, Jakson do Pandeiro e Dominguinhos. 2008. 233 f. Dissertação (Mestrado em Linguistica) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2008.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-08-27T14:08:32Z No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2013-11-14T13:38:24Z (GMT) No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5)<br>Made available in DSpace on 2013-11-14T13:38:24Z (GMT). No. of bitstreams: 1 2008_DIS_MNASILVA.pdf: 896081 bytes, checksum: 5a562d1d5c9611573d92e5150ad49326 (MD5) Previous issue date: 2008<br>Este estudo tem como objeto principal as constituições estereotípicas femininas emergentes no posicionamento dos forrozeiros (especificamente em canções de Luiz Gonzaga, Jackson do Pandeiro e Dominguinhos). Seu objetivo é investigar as estratégias discursivas do sujeito para construir, no seu universo de sentido, imagens femininas valorizadas que, por sua vez, correspondem às disposições éticas dele no discurso. A justificativa decorre do argumento de que a análise ético-discursiva, na possibilidade dialética da relação entre sujeito e sociedade, especificamente na apreensão do feminino no posicionamento, proporciona uma melhor compreensão do que estamos considerando etos projetado, ou seja, projeção das imagens de si (sujeito discursivo) em imagens construídas e projetadas num terceiro (neste caso, em imagens femininas nas canções). Nesta pesquisa, estamos considerando etos projetado as imagens femininas valorizadas emergentes nas canções e que, por um lado, materializam-se em estereótipos do tipo mães-de-família, donas-de-casa, mulheres-honestas etc., por outro, antagonizam com imagens desvalorizadas como mulher-namoradeira, mulher-interesseira, mulher-fatal, mulher-macho, entre outras. Esses estereótipos são (assim como as imagens do sujeito) ancorados num mundo ético socialmente construído. Uma análise dos representantes selecionados acrescenta dados empíricos à hipótese sobre as pretensões (e efetivação) constituintes do discurso literomusical em nossa sociedade (COSTA, 2001), à perspectiva mangueneauniana dos discursos constituintes (MANGUENEAU e COSSUTA, 1995), além de corroborar, em termos mais gerais, com a eficácia de conceitos, como dialogismo, interdiscursividade, intertextualidade e, em termos mais específicos, posicionamento, investimentos cenográfico, lingüístico e ético (MAINGUENEAU, 1997, 2001, 2005; COSTA idem), escolhidos para embasamento teórico dessa pesquisa. Tendo este estudo natureza qualitativa, criamos um dispositivo teórico-analítico para traçar o perfil estereotípico feminino, cuja apreensão se deu a partir de três critérios: a) estereótipos construídos pela designação direta do referente (nome próprio); b) estereótipos construídos pela designação genérica feminina do co-enunciador; e c) estereótipos construídos pela designação indireta do referente (3ª pess). Utilizaremos alguns procedimentos intertextuais, como referência e alusão, imitação captativa e subversiva (COSTA, idem); e interdiscursivos, além dos já referidos anteriormente (etos, cenografia, etc.), ainda, cenografias validadas, gêneros, entre outros, numa reelaboração deste último autor. Estamos dividindo esta pesquisa nas seguintes partes: 1. Pressupostos Teóricos: em busca do discurso e do sentido; 2. Opções metodológicas; 3. Análise. 3.1 Os saberes do masculino construindo as representações do feminino; 3.2 O investimento topográfico e a construção do feminino; 4. Considerações finais<br>Ce travail a comme but principal les constitutions stéréotypées féminines emergentes dans le positionnement des forrozeiros (spécifiquement dans des chansons de Luiz Gonzaga, Jackson do Pandeiro et Dominguinhos). Son objectif est d’investiguer les stratégies discursives du sujet pour construire, dans son univers de sens, des images féminines valorisées qu’ à leur tour correspondent aux dispositions éthiques de cet univers dans le discours. La justification vient de l’argument selon lequel l’analyse éthique et discursive, dans la possibilité dialectique du rapport entre le sujet et la société, spécifiquement dans l’appréhension du féminin dans le positionnement, offre une meilleure compréhension de ce que nous considérons ethos projeté, c’est-à-dire, la projection des images de soi-même (sujet discursif) dans des images construites et projetées sur une troisième personne (dans ce cas-là, dans des images féminines dans des chansons). Dans cette recherche, nous considérons ethos projeté les images féminines valorisées emergentes dans les chansons et que, d’un côté, se matérialisent dans des stéreótypes comme mães-de-família, donas-de-casa, mulheres-honestas, etc., de l’autre côté, sont antagonistes des images dévalorisées comme mulher-namoradeira, mulher-interesseira, mulher-fatal, mulher-macho, entre autres. Ces stéréotypes sont (ainsi que les images du sujet) ancrés dans un monde éthique socialement construit. Une analyse des représentants sélectionnés ajoute des données empiriques à l’hypothèse sur les prétentions (et la mise en oeuvre) qui constituent le discours littéro-musical dans notre société (COSTA, 2001), selon la perspective des discours constitutifs de Maingueneau (MANGUENEAU e COSSUTA, 1995). Elle corrobore aussi, dans des termes plus généraux, avec l’efficacité de conceptes comme: dialogisme, interdiscursivité, intertextualité, et dans des terme plus spécífiques: positionnement, investissements scénografique, linguístique et ethique (MAINGUENEAU, 1997, 2001, 2005; COSTA Idem), choisis pour donner un support théorique de cette recherche. Cette étude, ayant une nature qualitative, nous avons créé un dispositif theórique et analitique pour construire le profil o perfil stéréotype féminin dont la saisie est arrivée à partir de trois critères: a) stéréotypes construits par désignation directe du referant (nom propre); b) stéréotypes construits par désignation générique féminine du co-énonciateur; c) stéréotypes construits par désignation indirecte du referant (3e p). Nous utiliserons quelques procédés intertextuels comme la référenciation et l’alusion, l’imitation captive et subversive (COSTA, idem); et interdiscursifs, outre les procédés qui ont été déjà mentionnés avant (ethos, scénographie, etc.), et encore, scénographies validées, genres, entre autres, dans une réélaboration de ce dernier auteur. Nous divisons cette recherche dans les parties suivantes: 1. Les supports theóriques: à la recherche du discours et du sens; 2. Les Options méthodologiques; 3. Analyse. 3.1 Les savoirs du masculin qui construisent les représentations du féminin; 3.2 L’investissement topografique et la construction du féminin; 4 Les considérations finales

La thèse analyse le discours national des émigrés russes musulmans dans leur propagande et para-diplomatie, pour vérifier l'impact de l'exil et l'assimilation de tropes politiques courants en Europe. L'étude se base sur de sources d'archives sur les publications des exilés. Après une esquisse des nationalismes avant et pendant la révolution, nous étudions l'histoire des délégations et des « centres nationaux» d'Azerbaïdjan, Nord-Caucase, Turkestan et Idel'-Oural, dès la conférence de la paix et à travers l'essor du « front prométhéen ». Alliances variables et clivages sont dus aux rivalités datant d'avant l'exil et aux disputes sur la stratégie des mouvements. La deuxième partie explore ces thèmes: l'échec des indépendances et/ou autonomies, idée de nation et solidarité turque, Islam et identité nationale, projets fédératifs, anti-soviétisme et anti-communisme, et sympathies vers les régimes fascisant, perçus comme incarnations suprêmes du principe national, en particulier dès 1934<br>The thesis analyses the nationalist discourse developed by Russian Muslim émigrés in Europe in propaganda and para-diplomacy, to ascertain the impact of the exile and the absorption of current European political tropes. It is based on archivai sources and émigré press. After a survey of nationalisms before and during the revolution, a first part analyses the history of the delegations and "centres" of Azerbaijan, North-Caucasus, Turkestan and Idel' -Ural, from the peace conference throughout -the development of the "promethean front". Cleavages and alliances depended on pre-exile personal animosities and on diverging views on the national movements' strategy abroad. The second part explores these topics: the failure of autonomy and/or independence, the idea of nation and Turkic solidarity bonds, Islam in national identity, federative projects, anti-communism and anti-sovietism, and sympathies towards fascist regimes (viewed as supreme avatars of the national principle), esp. After 1934

Dans cette Thèse il est question de l’objectivation de la subjectivité primitive au sein de l’anthropologie de tradition anglaise depuis le début de l’évolutionnisme dans les années 1850 jusqu’à la Seconde Guerre mondiale. L’examen est mené suivant deux interrogations clairement distinctes, quoique entremêlées. D’un côté est étudiée la charpente intellectuelle fondant la représentation de la subjectivité ; d’un autre est interrogée la conception de la subjectivité résultante de l’objectivation. De ce second point de vue, nous décrivons comment la construction de la différence du primitif, du sauvage, de l’indigène a changé au fil des générations en essayant d’en expliciter à chaque fois la nature diacritique au sein de l’évolutionnisme et du fonctionnalisme. En même temps, de retracer ce segment de l’histoire de l’anthropologie anglaise permet de voir se profiler une transition fondamentale quant à l’idée du sujet qui intéressait les anthropologues anglais. Là où l’anthropologie anglaise a penché vers la pragmatique et l’étude des interactions, la subjectivité est une place allouée à l’intérieur des dispositifs mis en place au sein d’une tradition. L’ethnographe décrit les dispositifs et la représentation du sujet qu’ils impliquent, l’histoire se joue dans le rapport du sujet réel avec le dispositif qui est appareillé en pensant à lui<br>This dissertation mainly addresses the objectification in subjectivity in the history of British anthropology from the beginning of the Evolutionism in the 1850s to the second world war. The exegesis follows two interwoven paths. On the one hand, it studies the intellectual framework that founded the representation of subjectivity in four important authors belonging to this tradition (Pitt Rivers, Tylor, Frazer and Malinowski). On the other hand, it focuses on the representation of subjectivity itself, correlated to these frameworks. In this respect, the comparative analysis enables us to both describe how the difference of the primitive, the savage, the indigenous changes from one generation to the other and elucidate the diacritic nature of these representations within Evolutionism and Functionalism. Following the metamorphosis of British anthropology, a fundamental transition is then underlined, concerning the conception of the targeted subject. One ethnography leans towards pragmatics and the study of interactions, subjectivity becomes an allocated space within an apparatus built within a tradition. Whereas ethnography describes the apparatus and the representation of the subject it implies, history is at stake in the relationship that connect the real subject and the apparatus

碩士<br>輔仁大學<br>歷史學系碩士班<br>107<br>The system of Mui Tsai, or “little sister” in Cantonese, existed in traditional Chinese society. Young girls from poor families were sold to rich families as domestic servants. They had no freedom, salary and holiday. Anti-Mui Tsai Campaign in Hong Kong began in 1919, advocated by Clara Haslewood and her husband Hugh. The Haslewoods considered the Mui Tsai system as a sort of slavery in Hong Kong that should be abolished. After returning to Britain, they raised debates and petitions in the British society on the Mui Tsai issue. Britain colonized Hong Kong in 1841 and its colonial policy was economic-oriented. The government tried not to intervene too much in the Chinese society. However, this policy became “the White Man's Burden” after WWI. Additionally, Britain signed the Slavery Convention of the League of Nations in 1929. In the beginning, Chinese elites in Hong Kong considered that the Mui Tsai system was good for poor girls and their families. The system was feasible as long as the girls were well-protected. When the New Culture Movement (1919) occurred in Mainland China, some Chinese elites in Hong Kong began supporting the Anti-Mui Tsai Campaign. The British Colonial Office had repeatedly commanded the Hong Kong Government to abolish the Mui Tsai system. Despite the pressure from the British Colonial Office, the Hong Kong Government feared that the Chinese elites would be discontented, therefore the Legislative Council passed a bill to abolish the Mui Tsai system in 1923 but there was no specific date of implementation until an amendment was made in 1929. By studying the Anti-Mui Tsai Campaign through publications at that time, this thesis attempts to analyze opinions on slavery and abolitionism under different social contexts. In addition to activists in Britain and some Chinese elites in Hong Kong, it discusses the role of Chinese Christians who formed the Anti-Mui Tsai Society in 1922 to appeal for the abolition of the system.

У тезах розглянуто масштаби та наслідки кримінального переслідування духовенства на Сумщині у 1919-1941 роках, визначено регіональні особливості<br>The thesis considers the scale and consequences of criminal prosecution of the clergy in Sumy region in 1919-1941, identifies regional features

Examining board: Prof. Duccio Bigazzi, Università degli Studi di Milano ; Prof. Albert Carreras, Universitat Pompeu Fabra, Barcellona (supervisor) ; Prof. Peter Hertner, Universität Halle (co-supervisor) ; Prof. René Leboutte, Istituto Universitario Europeo ; Prof. Marta Petricioli, Università degli Studi di Firenze<br>Defence date: 3 October 1995<br>PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011<br>Acompanha a tese um video que apenas poderá ser consultado na Biblioteca da FBAUL. Cota DVD 99<br>The project STILLNESS - Entre o Corpo e a Imagem, Notas sobre o Híbrido na Vídeo- Instalação is situated on the side of the body, over here, in wich is the exploration of the fisical nuances of the projection display beyond the image, forcing a re-evaluation of the bidimensional and temporal planes. That is to say that it is established the body-image over here (the body) and over there (the image), in an uninterrupted ensemble of concepts that try to define the other, called here a hybrid. In a discourse that aims to be deeply transdisciplinary, we try to define the performative body and the projection of its image in the space of the video installation, and the way that its different elements connect each other and how they build up the different universes and fields of action. Being the hybrid a fusion between different disciplines, expressions, languages, ways of doing and seeing, a study of this case is in the order of the day. Having as object of analysis the work Stillness, an artistic proposal that as become our case study

En 1936, l’American Music League publiait le recueil de chansons afro-américaines Negro Songs of Protest collectées par le folkloriste communiste Lawrence Gellert. Puis en 1938 et 1939, grâce au financement du mouvement communiste américain, le producteur John Hammond présentait deux concerts intitulés From Spirituals to Swing au Carnegie Hall de New York. En plus de rendre hommage à l’histoire de la musique noire américaine, ces deux concerts défiaient la ségrégation raciale, permettant au Noirs et aux Blancs d’être rassemblés sur une même scène et de s’asseoir ensemble dans l’assistance. Au même moment, la chanteuse jazz Billie Holiday faisait fureur au Café Society, premier club « intégré » de New York et lieu de rassemblement de la gauche radicale, en interprétant soir après soir la chanson ‘’Strange Fruit’’ qui dénonçait l’horreur du lynchage toujours en vigueur dans le Sud des États-Unis. C’était l’époque du Front Populaire, la plus importante période d’influence du mouvement communiste aux États-Unis et, de surcroît, le moment de l’histoire américaine durant lequel la gauche organisée détenait un pouvoir sans précédent sur la culture de masse. Partant d’une discussion sur le potentiel révolutionnaire de la musique noire américaine et cherchant à comprendre le positionnement des mouvements sociaux vis-à-vis la culture, ce mémoire met en lumière le point de vue des communistes américains blancs face à l’émergence et à la popularité grandissante du blues et du jazz noirs aux États-Unis. En fonction des trois principales phases politiques du Parti Communiste américain (CPUSA) – la phase du colorblind class (1919-1928); la phase du nationalisme noir (1928-1935); le Front Populaire (1935-1940) – ce mémoire retrace les changements d’attitude de la vieille gauche envers la culture populaire et suggère que le mouvement communiste américain a tenté d’utiliser le blues et le jazz à des fins d’agit-prop.<br>In 1936, the American Music League published Negro Songs of Protest, a book of songs collected by the left-wing folklorist Lawrence Gellert. In 1938 and 1939, with the financial support of the communist movement, the producer John Hammond was able to present From Spirituals to Swing at Carnegie Hall, New York, two concerts that celebrated the contribution of African American music in American history. Moreover, the From Spirituals to Swing concerts broke the color line, by letting Blacks and Whites play music together on stage and sit together in the audience. During the same years, jazz singer Billie Holiday enjoyed a monstrous success with her anti-lynching song “Strange Fruit” at Café Society, the first integrated club and radical left-wing cabaret in New York. It was the time of the Popular Front; a time when the communist movement had a great influence on American society and when the organized left exerted unprecedented power over mass culture. Starting with a discussion of the revolutionary potential of African American music and trying to understand what social movements do with culture, this essay traces the developing point of view of white American communists toward the commercial explosion and growing popularity of blues and jazz music in USA during the interwar years. It asks the question of why there was so little mention of jazz and blues in Party organs during the 1920’s and early 1930’s , it explores the changing attitudes of the Old Left toward popular culture and suggests that the American communist movement used blues and jazz music for agitprop, during the last of the three main political phases of the Communist Party of America (CPUSA) – the colorblind class (1919-1928); the Black Belt Nation thesis (1928-1935); and the Popular Front (1935-1940).

Tese de doutoramento, Belas Artes (Especialidade de Instalação), Universidade de Lisboa, Faculdade de Belas Artes, 2017<br>A Tese é acompanhada por uma PEN com 5 filmes: 1.ANA RITO_Pleura_2015 ; 2.ANA RITO_Le Buste_2015 ; 3.ANA RITO_Le Mot et le Fantome_2015 ; 4.ANA RITO_Amatoria_ 2015 ; 5.ANA RITO_Poème - acte_2014, apenas consultável na Biblioteca da FBAUL : com a cota CDA 190<br>Projetar uma imagem implica reequacionar os seus limites, o seu interior e o seu exterior. A imagem é expelida, lançada fora. De forma a que esta imagem (agora liberta do dispositivo e em trânsito) “apareça” e seja visível ao seu espectador, é necessária uma estrutura ou melhor, uma superfície: um ecrã, uma tela, uma parede, um corpo, uma peça de vestuário ou um tecido. Esta superfície (optemos aqui por chamar-lhe ecrã) é o telos da imagem – lugar de onde emerge, onde se “realiza”, onde se “dá a ver e a tocar”. O que esconde esta imagem? Será que a imagem esconde algo que não quer revelar? A sua “frente” funciona como escudo, proteção, máscara? Ou embuste? Será que a imagem, qual canto da sereia, seduz o espectador com a sua pele, não querendo revelar as suas vísceras, os seus desejos – sim as imagens também podem desejar – o seu interior, o seu avesso? Pode uma imagem-corpo movente potenciar este toque, este encontro entre os amantes? A partir da prática artística e curatorial, a presente tese desenha a sua estratégia investigativa: considerar diferentes noções de palco e de ecrã, elasticizando e definindo uma “zona de contacto” hibridizada que se concretiza quer no espaço expositivo (museográfico ou galerístico) quer, mais especificamente, na experiência da vídeo-instalação. A aproximação de duas linguagens, a cinematográfica e a performativa (entre a “aparição” da imagem e a construção do objeto), instaura um novo paradigma do olhar que coloca em cena o corpo do espectador (agora) móvel e ativo na orientação do seu próprio processo percetivo. Em suma, a imagem que respira, o corpo do filme, o toque prometido à visão, o poema-ato, as sensações, os afetos e as quasi-carícias entre imagem e espectador traduzem o desejo pigmaliónico e assinalam a passagem (passo), da morte à vida, a última das metamorfoses.<br>To project an image implies a pitch, a burst forward, which forces to rethink its limits, its interior and its exterior. The image is expelled, thrown out. So that this image (now freed from the device and in transit) can “appear” and be visible to its spectator we need a structure, or rather, a surface: a screen, a canvas, a wall, a body, a piece of clothing or fabric. This surface (we opt here to call it the screen) is the telos of the image – from where it emerges, where it is “realized”, where it gives itself to be “seen and touched.” What does this image hide? Does the image hide something that it does not want to reveal? Does its “front” work as a shield, a protection, a mask? Or is it a scam? Does the image, like the siren song, seduces the viewer with its skin, not wanting to reveal its insides, its wishes – yes, images can also desire - its interior, its back? Can a moving body-image enhance this touch, this encounter between lovers? Working from the artistic and curatorial practices, this thesis draws its research strategy: to consider different notions of stage and screen, elasticizing and defining a hybridized “contact zone”, which is realized either in the exhibition space (museum or gallery) or, more specifically, in the experience of video installation. The approach of the two languages - the cinematographic and the performative (between the “apparition” of the image and the construction of the object) – is established in a new paradigm in the act of looking, that puts on the scene the body of the viewer, (now) mobile and ative in its own guidance of the perception process. In short, the image that breathes, the body of the film, the act of touch promised to vision, the act-poem, the sensations, feelings and the quasi-caressing between image and viewer, translate the Pygmalion desire and mark the passage (the step) from death to life, the last of metamorphoses.<br>Fundação para a Ciência e a Tecnologia (FCT)