Dissertations / Theses on the topic '1937-1948'

The thesis deals with Britain's early Cold War history and the political history of the Church of England. It mainly uses primary sources, and contributes to our growing understanding of the early Cold War, especially in its cultural/religious elements. It explores how the Church of England dealt with the development of the early Cold War in Britain. It argues that in order to understand better the Church of England's role, an account of its perspective on issues of state modernisation dating back to at least the 1930s is necessary. It was then, during a decade of authoritarianism, and especially at the Oxford Conference of 1937, that the Church' standpoint towards secularisation was established, while the transnational agenda of the ecumenical movement was also adopted and internalized by Church of England. The thesis also examines the agencies which it built and worked with: in particular the British Council of Churches and the World Council of Churches. As the Church is the Established Church, its relationship with specific government agencies, especially the British Foreign Office and the Ministry of Information also became increasingly important. The thesis reveals the Church of England's lack of autonomy in time of crisis and the importance of key individuals for the institutional leadership of the Church. Its ecumenical agenda had played an important role, but this was under pressure after the War, as a Europe-wide Christian community was increasingly challenged by 'Western Union' plans for a Cold War Western, Christian community and bloc. By 1948 the Church had been enrolled in the Cold War between East and West which was apparent in its alignment with British government policies and its withdrawn role in the ecumenical community. The thesis adds to our understanding of the Church of England's relationship to the state in these years, and contributes to the cultural dimension of the early Cold War in Britain.

Thomas Garrigue Masaryk (1850-1937) fut professeur de philosophie à l'université de Vienne puis de prague. Comme spécialiste de Platon et de Comte, il était pétri d'humanisme idéaliste. Dans les années 1880, lors de "l'affaire des manuscrits", il affirma que la vérité est pour le peuple toujours meilleure que le mensonge. Il lutta ensuite contre l'antisémitisme lors de "l'affaire Hilsner". Député au Parlement de Vienne, il combattit la politique autrichienne anti-slave et essaya de faire éviter la guerre. Pendant la première guerre mondiale, il partit en exil pour y construire une organisation et une armée tchéco-slovaques. De Paris à Londres (1915-1917), il séjourna ensuite en Russie (1917) puis aux Etats-Unis, cherchant à convaincre les dirigeants alliés de l'idée d'une Tchécoslovaquie indépendante. Avec l'aide de Wilson, il atteint son but et la Tchécoslovaquie naquit le 28 octobre 1918. Une fois élu président (en 1918 puis en 1920, 1925 et 1934), il affronta, comme "philosophe devenu roi", trois problèmes principaux : - le processus d'intégration des citoyens dans un projet démocratique (les Allemands, les Slovaques, les femmes et les juifs). Apparaît ici la substance du projet émancipateur de Masaryk ; - l'équilibre entre un dessein philosophique humaniste et la lucidité sur les contraintes de l'équilibre centre-européen ; - l'alliage entre l'anticonformisme et la nécessité d'institutions identifiant la démocratie. Par cette biographie intellectuelle et politique, nous examinerons la question fondamentale : Masaryk devenu président est-il parvenu à transformer en réalité les théories qu'il construisit avant la guerre ?
Thomas Garrigue Masaryk (1850-1937) became a philosophy professor in Vienna's and Pragues universities. As a former specialist of Plato and soon of Comte, he tought idealistic humanism. In the 1880's, in the manuscripts affair, he claimed that truth is always better than lies for people. He engaged against antisemitism in the so-called Hilsner's affair. As a member of the Autrian Parliament, he fought against Vienna's anti-slav policy and tried to avoid World War 1. During this war, he went to exile to build Czecho-Slovakian organisation and army. From Paris and London (1915-1917), he went to Russia (1917) and to the United States (1918) to convince politicians to support his project of an independent Czechoslovakia. With the help of the president Wilson, Masaryk succeed and Czechoslovakia was born the 28th of October 1918. Elected president in 1918 and again in 1920, 1927 and 1934, Masaryk had to deal with three great problems : -how to integrate in this new democratic project some special citizens : Germans, Slovaks, women and jews ? - How to find a balance between a democratic humanism and geostrategy ? - How to built a new state with some strong democratic institutions but also with the anticonformistic touch of Masaryk ? This PhD is an intellectual and political biography and examines the simple question : did Masaryk as a president achieved to realize his intellectual projects he built before WW1 ?

Orientador : Michael McDonald Hall
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed
Mestrado
Mestre em História

Orientador: Alvaro Gabriel Bianchi Mendez
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Essa dissertação discorre sobre os efeitos que a 'Controvérsia' entre Roberto Simonsen e Eugênio Gudin tiveram na consolidação do projeto político industrialista. O célebre debate entre eles ocorreu em dois momentos: em 1943, na Comissão de Redação do I Congresso Brasileiro de Economia; e entre 1944-1945 durante o debate travado na Comissão de Planejamento Econômico. Planejamento, protecionismo, atividades econômicas do Estado, pobreza, e industrialização, foram os principais temas discutidos nesses espaços de tomada de decisão, e mesmo o momento é crítico, em vista do Estado Novo em vias de desagregação e a perspectiva do fim da II Guerra Mundial. Defende-se aqui que o debate consistiu numa disputa pela hegemonia entre dois projetos de nação concorrentes
Abstract: This dissertation concerns about the effects nettle by 'Controversy' between Roberto Simonsen and Eugênio Gudin has been in industrialist political project's consolidation. The renowned debate between they has been in two moments: in 1943, in the Editorship Comission of I Congresso Brasileiro de Economia; and between 1944-1945 until the debate maked in the Comissão de Planejamento Econômico. Planning, protectionism, States' economic actives, poverty, and industrialization, was be the main issues discussed on this policy-making arenas, and in fact the moment is critical, because of the Estado Novo in straightened circumstances and end' perspective of II World War. I argue with the debate concerns in hegemony struggle between two nations' project competitors
Mestrado
Ciencia Politica
Mestre em Ciência Política

Si la littérature centre-américaine est peu étudiée, la poésie contemporaine des femmes de l’Isthme l’est moins encore. Nous avons donc souhaité participer au développement de ce champ de recherche, en étudiant l’œuvre lyrique de six écrivaines d’Amérique centrale. Dans ce corpus, publié de 1948 à nos jours, la réinvention des mythes – par l’appropriation, l’actualisation et/ou le détournement – nous a semblé particulièrement significative. Pour l’aborder, nous suivons tout d’abord le fil de la vie des poétesses sur la trame de l’Histoire contemporaine de l’Isthme et de sa littérature. Puis, nous tentons de caractériser les différents types de mythes qui peuplent leurs recueils – mythes ancestraux (amérindiens, grecs et bibliques) et mythes « nouveaux-nés », fruits de représentations stéréotypées et souvent idéalisées (l’Eternel féminin ou le « macho »). Par l’analyse textuelle et une approche théorique basée sur la réécriture et la mythocritique, nous étudions le traitement de ces motifs et figures mythiques selon leur provenance et leur valeur prescriptive envers les femmes. Nous observons ensuite de quelle manière la réinvention des mythes s’inscrit dans la poétisation du cycle de la vie, de la création (Genèse du Monde, de l’humain, de l’enfant, du poème) à la mort. Enfin, nous analysons comment, à travers le prisme du mythe, le statut de la femme et de l’homme sont redéfinis – notamment en brisant l’alternative femme exemplaire (Pénélope, l’ange du foyer) / femme fatale ou « perdue » (Eve, Médée, la prostituée), en valorisant l’héroïsme au féminin et à travers de nouveaux mythes (la femme sauvage) – pour aboutir à une réinvention des relations homme/femme
The literature of Central America – and in particular the contemporary works of the female poets in this region – is a little-studied subject. We therefore wished to help develop this field of research by examining the lyrical work of six women writers from Central America. In this corpus, published from 1948 to the present day, the reinvention of myths is, to our minds, especially significant. In order to tackle this subject, we shall first unravel the threads of these poets’ lives from the fabric of the contemporary history and literature of Central America. We shall then attempt to characterise the types of myths found in their poems – age-old tales (Amerindian, Greek and Biblical) as well as « newborn » myths that are the fruit of stereotyped and images (the Archetypal Female or the « macho » male). Through textual analysis and a theoretical approach based on rewriting and myth criticism, we shall study the way these myths are dealt with according to where they come from and their advisory value regarding women. We shall then consider the way in which the reinvention of myths is part of the poetic depiction of the life cycle from creation (the genesis of the world, of human life; the birth of a child, of a poem) to death. Finally, we shall analyse how the status of women and men is redefined through the prismatic distortion of the myth – by breaking down the dichotomy between the commendable woman (Penelope, the angel in the house) and the femme fatale or « fallen woman » (Eve, Medea, the prostitute), or praising female heroism through new myths (such as the wild woman) – with a view to breaking new ground in male-female relationships

Les littératures émergentes franco-créolophones comme la littérature mauricienne sont en évolution permanente. Nous avons décidé de travailler sur la problématique langues/identités/littératures car elle constitue le socle commun de la production littéraire contemporaine et sur quatre auteurs mauriciens : Ananda Devi Anenden (français), Lindsey Collen (anglais/créole), Abhimanyu Unnuth (hindi/bhojpouri) et Dev Virahsawmy (créole/anglais). L'objet de cette recherche n'est pas de faire un inventaire des littératures francophones du bassin océan Indien. Nous voulons montrer qu'à travers la multi-langue, la multi-écriture et la multi-culture, les littératures mauriciennes émergent comme des contre-pouvoirs reposant sur la force des discours, des paroles et des mots. Quelle(s) langue(s)? Qu'elle(s) identité(s)? Qu'elle(s) littérature(s)? Peut-on construire une mauricianité sans recourir à l'espace littéraire qui serait l'unique lieu de réconciliation et de création d'une patrie imaginaire?
Emerging literatures using French or Creole as in the case of Mauritian literature undergo continuous change. We have chosen to study the interactions between languages/identities and literatures as they seem to constitute the common denominator of contemporary literary production in relation with work of four Mauritian writers : Ananda Devi Anenden (French), Lindsey Collen (English/ Mauritian Creole), Abhimanyu Unnuth (Hindi/Bhojpuri) and Dev Virahsawmy (Mauritian Creole/English). The aim of the study is not to undertake an inventory of literatures using French as a medium of creation in the Indian Ocean. Our objective is to show that the multilingual and multicultural Mauritian literatures emerge as counter forces using words, discourses and letters as their major creative energy. How does a writer chose a literary language? Of what identities and literatures are we talking about? Is it possible to build a Mauritian identity or entity by transcending the literary sphere which seems to be the unique space where one can manage differences and build an imaginary homeland?

Cette étude comparative de la littérature amérindienne, aborigène et post-coloniale montre les stratégies subversives utilisées pour la survie de la voix amérindienne et aborigène. D'abord, sur un plan pantibal, nous étudions le réseau complexe des relations entre la terre, les contes et les peuples dans les oeuvres écrites par les écrivains amérindiens. Ensuite, sur un plan aborigène, nous étudions comment certains personnages servent à faire le lien entre le "réalisme" et les éléments mythiques dans Ceremony de Leslie Marmon Silko et Potiki de Patricia Grace, liant en même temps le présent au passé et à un présent mythique. Nous nous intéressons au trickster subversif chez Gerald Vizenor et Louise Erdrich pour montrer comment la chance et la bonne-fortune sont interprétées par deux écrivains anishinaabe. Enfin, sur un plan post-colonial, nous nous proposons d'élargir notre comparaison afin d'étudier les interrelations entre histoire, fiction et mythe concernant le personnage de Billy the Kid dans The Ancient Child de N. Scott Momaday et dans Billy the Kid de Michael Ondaatje
A comparative study of Native American, aboriginal and post-colonial literature demonstrating the subversive strategies employed by these authors for the survival of their voice and their community. On a pan-tribal level, the study examines the complex interrelationship between the land, the stories and the people which forms the base of Native American literature. On an aboriginal level, in Ceremony by Leslie Marmon Silko and Potiki by Patricia Grace, certain characters serve as the link between realism and myth, tying the present both to the past and to a mythical present. In works by two Anishinaabe authors, Gerald Vizenor and Louise Erdrich, the trickster plays an integral part in the interpretation of chance and luck by each author. Finally, on a post-colonial level, the interrelation between history, fiction and myth are explored through two interpretations of Billy the Kid in The Ancient Child by N. Scott Momaday and Billy the Kid by Michael Ondaatje

Orientador: Michael Mc Donald Hall
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O objetivo desta tese é compreender a aproximação dos escritores brasileiros com o movimento comunista, entendido como um conjunto de idéias difusas ligadas à União Soviética, à Internacional Comunista e aos partidos comunistas nacionais, entre 1928 e 1948. O recorte cronológico leva em conta, por um lado, os momentos de "eventos históricos", nos quais há maior visibilidade da aproximação dos intelectuais com o Partido Comunista do Brasil- Seção Brasileira da Internacional Comunista e, por outro, as temáticas da "cultura" que organizam as diferentes intervenções sociais dos escritores e que fornecem outros aspectos dessa aproximação mais difusa e menos orgânica. Essa abordagem permite desviar o olhar da "linha política oficial" do PCB ou da IC em relação aos escritores, direcionando-o para suas temáticas próprias como profissionais e produtores de uma literatura. Uma matriz obreirista da identidade comunista acabou se traduzindo na arrogância e na desconfiança da direção do partido em relação aos intelectuais de uma forma geral, o que resultou numa quase imobilidade vertical deles nos aparelhos de direção. Através da descrição problematizada de Astrojildo Pereira, Caio Prado Júnior, Jorge Amado e Graciliano, procura-se observar a simpatia com a qual recebiam as experiências da União Soviética, a sedução pelo comunismo, a aproximação com o Partido Comunista, as suas relações entre si e com outros intelectuais, as suas produções. Procura-se também indagar as formas como o partido os recebeu e enquadrou ao longo de duas décadas, como se posicionou face à criação intelectual e à sua intervenção política e social
Abstract: This thesis focuses on the involvement of Brazilian writers with the communist movement, understood as a set of diffuse ideas related to the Soviet Union, to the Communist International and to national communist parties, between 1928 and 1948. This period encompasses crucial historical moments of the relationship between intellectuals and the Communist Party of Brazil (Brazilian Section of the Communist International). It also permits an examination of" cultural" themes related to their social interventions that provide other diffuse and less organic aspects of this relationship. This approach allows us to avoid the official political trends of the Communist Party and the Communist International. Instead, it aims at crediting the writers as professionals and producers of a specific literature. By those years, an arrogant and distrustful attitude of the party leadership towards intellectuals in general resulted in their virtual immobilization in the directive apparatus. Through a critical description of the experiences of Astrojildo Pereira, Caio Prado Júnior, Jorge Amado, and Graciliano Ramos, this thesis investigates their empathy towards the Soviet Union experiences, their seduction by communism, their involvement in the Communist Party, their relationship with other intellectuals, as well as their intellectual production itself It also discusses how the Communist Party dealt with them throughout those two decades
Doutorado
Doutor em História

Orientador: Marisa Lajolo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Durante o período de 1934 a 1937, estreitaram-se as relações entre Monteiro Lobato e o suíço Karl Werner Franke, engenheiro do petróleo que, imigrado em junho de 1920, passa a chamar-se Charles Frankie. Lobato e Frankie trocaram nesse período de três anos mais de cem missivas1 além de alguns documentos técnicos relacionados à exploração do petróleo brasileiro. Nessas cartas, Lobato, além de se familiarizar com alguns termos técnicosgeológicos da exploração petrolífera, faz críticas contundentes ao Código de Minas de 1934 e ao "atraso brasileiro" e protagoniza a história das primeiras companhias petrolíferas do Brasil. Em outros momentos da correspondência, entram em discussão questões acerca da parceria na tradução e prefaciação de A luta pelo Petróleo, de Essad Bey, Lobato e Franckie discutem literatura e seus aspectos, como os requisitos para uma boa tradução, ou os critérios para um livro bem editado e bem distribuído. Os exemplares d'A luta são tidos, por ambos, como propulsores de uma nova Era para as pesquisas petrolíferas. Acabei A Luta do Petróleo. O editor daqui pagará 500 marcos ao editor alemão, de direitos, e nós daremos nosso trabalho de tradução de graça em troca de 1000 exemplares para distribuirmos pelo congresso federal e estadual e mais gente do governo que não tem a menor idéia do que seja o petróleo. Vou agora fazer o meu prefácio. Você fará o seu - e num apêndice porei no fim a Lei de Minas, precedida duma introdução maquiavélica em que se foi a Standart que mandou fazer aquela lei cheia de embaraços, para que ela pudesse sossegadamente ir adaptando as terras petrolíferas até o dia em que entenda-se em explorar petróleo.2 Aí então cairá a Lei de Minas atual, que se terá aproveitado a ela, e virá uma nova que a favoreça. ... O livro é que vai abrir os olhos dessa gente, mostrando a significação do petróleo. Ninguém sabe. Este país é uma burrada imensa...(...) Fundação de companhias, críticas a uma legislação falha e a busca de uma que privilegie os interesses nacionais da exploração do petróleo, relações cotidianas de perfuração, implicações políticas de um livro: é disso basicamente que se ocupam tais cartas, representativas dessa parceria "político-ideológicoliterária". A dissertação em questão estuda o cruzamento dessa correspondência entre Lobato e Frankie com a ficção O poço do visconde e a prosa crítica sóciopolítica de O Escândalo do Petróleo, apontando semelhanças e divergências na abordagem do mesmo tema por diferentes gêneros
Abstract: The years from 1934 to 1937 made closer the relationship between Monteiro Lobato and the Swiss oil engineer Karl Werner Frankie, who immigrated in June of 1920, changing his name to Charles Frankie. Lobato and Frankie sent each other more than a hundred mails4 in this period of three years, further than technical documents about the Brazilian oil exploration. In these letters, Lobato uses technical terms of the oil exploration to strongly criticize the National Mining Code of 1934 and the "Brazilian delay", being part of the history of the first oil companies of Brazil. In other moments of their contact, they debated about their partnership to translate and make a foreword for Flüssiges Gold, by Essad Bey. Lobato and Frankie discussed literature and it aspects, as the requirements for a good translation or the caracteristics of a well published book. The copies of Flüssiges Gold are, for both, of great importance to begin a new Age for the oil researches. I finished Flüssiges Gold. The publisher from here will pay 500 marks to the german publisher, for the rights. We will have as payment for our work of translation 1000 copies to distribute to the national congress, the state congress and more people from the government who don't have any idea of what is the oil. Now I will do my foreword. You will do yours - and in an appendix I will put the Mining Code, preceded by a machiavellian introduction, which will bring the Standart as responsible for that confuse law, interested in smoothly adapt the oil lands, until the day when people start to explore oil.5 Then the Mining Code will fall, and it will brings up a better one. ... The book will open the eyes of these people, showing them the meaning of the oil. Nobody knows it.This country is a great foolish...(...) Foundation of companies, critics to a legislation filled with fails and the search for one which privileges national interests of oil exploration, daily drills, and political implications of a book: these are basically the subjects of these letters, which represent this political, ideological and literary partnership. This dissertation studies the relation between the letters of Lobato and Frankie with the fiction O poço do visconde and political and social prose O Escândalo do Petróleo, pointing aspects in agreement or not of these different approaches of the same subject
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária

Le présent travail, en analysant la trajectoire biographique du réalisateur japonais Sômai Shinji de son passage dans les mouvements de contestation de la Nouvelle gauche à ses premiers films tournés dans les années quatre-vingt, se veut une étude critique sur le sens généralement accordé à l’utilisation de la technique dite du « plan-séquence » dans le contexte du cinéma japonais. Le plan-séquence est une méthode de mise en scène que différents auteurs occidentaux, de Noël Burch à Donald Richie, ont régulièrement qualifié d’ « essentiellement » japonaise tant elle semble selon eux présenter une utilisation de l’espace qui la rapproche des arts de représentation traditionnels comme le théâtre kabuki ou la peinture de Heian. En mettant en évidence les fonctions de contestation et de résistance que cette technique joue dans l’esthétique des films de Sômai Shinji, activiste de la Quatrième internationale japonaise de 1967 à 1971, nous démontrons que le jugement selon lequel le plan-séquence découlerait d’une sensibilité propre au peuple japonais－en effet, d’une « japonité »－est pour le moins à revoir. Sômai, de par son passé politique, est un réalisateur qui est constamment en lutte avec les valeurs de ce que nous appelons l’ « idéologie dominante », si bien que sa trajectoire ne peut se comprendre qu’en tenant compte des notions de conflits et de contradictions, bien loin de l’image lisse et homogène du peuple japonais dont nous abreuve un certain discours. Au-delà de la relecture du sens accordé à l’usage de la technique du plan-séquence－à laquelle nous associons rapidement des cinéastes comme Mizoguchi Kenji ou Sone Chûsei－, cette thèse soulève donc certaines interrogations sur la perception que nous avons, à travers les médias audiovisuels, de la nation comme entité homogène et fixée dans le temps
The present work, while examining the biographical trajectory of Japanese filmmaker Sômai Shinji from his past in the Japanese New Left to his first movies made in the 80s, is aimed at being a critical study of the significance regarding the use of the technique called “one scene-one shot” generally admitted in the context of Japanese cinema. The one scene-one shot is a method of mise-en-scène considered by several non-Japanese authors, like Noël Burch or Donald Richie, to be “essentially” Japanese because of what they think to be similarities with methods of representation usually found in kabuki theatre and Heian paintings. While we enhance the functions of protest and resistance this technique plays in the aesthetic of Sômai Shinji－who was an activist of the Japanese Fourth International from 1967 to 1971－films, we assess that the argument regarding the one scene-one shot as a method of filming particular to the Japanese sensibility－indeed, an expression of “Japaneseness”－is at best to be reconsidered. Sômai, because of his political past, was a filmmaker constantly struggling with the values of what we call the “dominant ideology”. His work cannot properly be understood unless we put the notions of conflicts and contradictions at the core of our analysis, departing from the traditionally peaceful and homogenous image that certain discourses usually express regarding the Japanese people. Beyond a reexamination of the significance traditionally given to the use of the one scene-one shot in the context of Japanese cinema－to which we associate filmmakers such as Mizoguchi Kenji and Sone Chûsei－, this dissertation questions the images of the nation, expressed through audiovisual means, as a homogenous and fixed community

Nombreux sont les écrivains malgaches francophones vivant en exil, tirant de cette expérience personnelle leur sujet ; un itinéraire culturel dont le point de départ est le bilinguisme et la volonté d’échapper à l’embrigadement que suggère l’insularité. Cela donne au texte le cachet de l’œuvre accomplie: liant à la fois la volonté d’aller à la rencontre de l’autre et la quête de soi, livrant de fait, l’intime, le profond à la surface, à l’universel. L’écriture est perçue et vécue en tant qu’acte cathartique contre l’égarement de l’ego sans doute mais surtout de l’environnement soumis, offert et dévoilé à l’écrivain ; une fin utopique peut-être, mais néanmoins essentielle pour celui qui entrevoit la création littéraire comme une épée pourfendant les faiblesses de la réalité, servant à se rapprocher, à entrevoir et à modeler les caractéristiques de son monde idéal. Avec, évidemment, la complicité du double imaginaire du créateur, ce jumeau sombre par lequel Faulkner désigne le narrateur. Se dégage la difficulté de vivre avec l’autre, une coexistence annonciatrice d’un phénomène de scission, d’assimilation, pour une mise en exergue de l’espace et de la psychologie des protagonistes: complexité et dialectique du caractère où révolte et soumission, héroïsme et apathie, s’entremêlent pour dévoiler l’itinéraire commun et le parcours individuel de leur créateur qui prend le choix de la réalité décadente comme matière de l’inspiration romanesque. En somme, si la littérature malgache d’expression française est fortement enracinée dans la culture malgache, elle met aussi face à une écriture qui constitue un espace de rencontre et de tension avec l’autre, où le français apparaît comme la langue de l’ouverture, salutaire ou non
Many Malagasy French speaking authors live in exile and make their personal experience their topic ; their personal experience represents a cultural itinerary arising from their bilingualism and their will to escape from regimentation due to insularity. Their personal experience provides to their text the achieved work character, combining their will to meet the other and their will to look for themselves, therefore revealing their depths, their inmost being to the universe. Writing is perceived and experienced as a cathartic action probably against self distraction but chiefly against the distraction of the environment which has been submitted, offered and revealed to the author. This purpose may appear utopian, nevertheless it appears essential for the one who foresees literary creation as a sword assailing the weaknesses of reality in order to get closer, foresee and make the characteristics of his ideal world. This creation occurs obviously with the complicity of the author imaginary double, this dark twin [« jumeau sombre »] by which Mr Faulkner refers to the narrator. From all this it emerges a difficulty to live with the other, a coexistence that forewarns a splitting and assimilating phenomena tending to highlight the space and psychology of protagonists: the complexity and dialectic of the character intermixing rebellion and submission, heroism and apathy finally reveals the common itinerary and individual background of the author who decides to draw his romantic inspiration from the decadent reality. In short if the Malagasy French language literature is deeply rooted into Malagasy culture, it also offers a writing allowing to meet and interact with the other and therefore makes the French language an open-minded language

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Journalism and Media Studies March 2019
The 1930s and 40s marked a tumultuous political period in South Africa. Central political players and their respective parties, whether government, opposition, extra-parliamentary or other all jostled for power. Socio-economic and political events locally and on a global scale merged with religionationalistic ideology to mobilise Afrikaners into a collective and to form a maelstrom within which antisemitism flared up in the country. This rise of antisemitism created a serious ‘Jewish Question’ in South Africa and is the entry point for this research paper which takes a closer look at the reasons for the content of the opinion piece that Verwoerd, as editor of this Nationalist Party paper, penned in the first edition of Die Transvaler in October 1937, namely the ‘Nationalist viewpoint on the Jewish Question: the solution’ which effectively championed economic antisemitism. It also looks more in depth at the media libel case between Verwoerd and The Star and finds that there were multiple instances of falsification of news in the court case that found Verwoerd guilty of promoting Nazi propaganda and making his paper a tool for the Nazis during the Second World War. The outcome of this research directly links Dr. H.F. Verwoerd’s negative portrayal of the Jewish Question in Die Transvaler with the intent to mobilise Afrikaner Nationalism in the lead up to the 1948 elections.
NG (2020)

Many scholars have considered Cuban American artist Ana Mendieta to be a translator of Afro-Cuban culture. In her 2019 monograph on the artist, for example, Genevieve Hyacinthe writes: “brownness made Mendieta a powerful translator of Black Atlantic forms into contemporary art language because she was not, and could never be, part of the dominant white culture.” Mendieta also announced herself as a translator (and inheritor) of Siboney and Taino cultures. Her gallery notes that to celebrate her return to Cuba’s “maternal breast” as an adult, the artist titled the rock carvings she made there with “names of zemis, or Taíno spirits, such as Bacayu for ‘Light of Day.’” I argue that alongside her claims on Taino cultural heritage we might consider her actual ancestry and claims on Indigenous women in the art of Cuban settlers before her. My dissertation considers Mendieta as a translator not of Taino myths or Black cultural practices but of ethnological texts and nationalistic folklore which catalogued and caricatured Black and Indigenous cultures. “Bacayu,” for example, is not a Taino “zemi” but rather a word she culled from a glossary of Black and Indigenous terms: a performance of knowledge over Indigenous cultures rather than a Taino cultural product. It hails from a lecherous story written by a Havana dentist about the death of an “Indian doncella.” Each chapter considers her translations of such pieces, focusing in particular on her translation choices which I suggest are motivated by her feminist and anti-imperial politics. My first chapter considers the influence of ethnographic studies on Abakuá and particularly the writings of Fernando Ortiz in her Iowa campus performances which reference crime scenes and “sacrificial” initiation ceremonies. Rather than offering unmediated access to Black religious practices, I suggest she is performing an abased view of Abakuá as seen through the (exterminationist) lens of Ortiz’s scholarship from his criminological ethnography, Los negros brujos (1906), to his less punitive but still highly fetishizing account of Abakuá in “La ‘tragedia’ de los ñáñigos” (1950). I don’t believe Mendieta translates this work to oppress Black people. Rather as a bodywork artist composing a militant, corporal language of feminist critique, she aims the violence of cultural translation toward her chauvinistic art school cohort. The second chapter considers her literary translation of “La Venus Negra, based on a Cuban legend,” which was composed by Adrián del Valle, Ortiz’s secretary at La Sociedad Económica de los Amigos del País for which he collated Cuba’s first public library among other projects. The original legend can be contextualized by del Valle’s broader stewardship of Cuban letters: he penned “La Venus Negra” for a collection celebrating the Centenary of Cienfuegos from the family notes of a prominent cienfueguero, Pedro Modesto. Examining the tacky national showcase in which the legend originally appears, I consider the ways Mendieta repositions la Venus Negra as a display of her own “will to continue being Other.” In particular, her translation imposes a “Siboney” ancestry on la Venus Negra and dispenses with the conditions which determine the protagonist’s muteness (in the original, la Venus Negra is a nude Black woman who is captured and displaced from her island hideout by criollo enslavers). In Mendieta’s translation la Venus is not muted Black protest incarnate but becomes an anti-colonial symbol. Mendieta publishes the piece in the feminist magazine Heresies, illustrating the legend with a silhouette of her own body from her Silueta Series. Again, I don’t think Mendieta poses as a Ciboney woman or absents Black women in a gesture of ill will toward Black and Indigenous people. Rather, she does so as an anti-imperial strategy consistent with Fidel Castro’s cadre, as her unavowed translation of Roberto Fernández Retamar’s “Calibán” into her “Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States” curatorial statement indicates. In the essay, Retamar, a white Cuban scholar, aligns the revolution with Black and Indigenous Cuba by “reclaiming” the caricature Caliban, which, as Coco Fusco writes, Shakespeare himself had based on an “Indian” exhibited in London. In the third chapter, I consider Mendieta’s Esculturas Rupestres, not as tributes to Taino spirits but as monuments of settler longing for mutilated Indigenous women. The legend I mentioned in the introductory paragraph, “Bacayu,” for example, is settler fanfiction about a daughter of a “cacique” whose death portends the coming of the white man and includes a lengthy description of the dead woman’s body. I also point toward the misnamings of Black women which appear within this rock series (Black Venus, Mother) which are often overlooked by scholars who ask us to read the work as Taino myth. Finally, building on these themes, I suggest a comparison to the work of Brazilian artist Hélio Oiticica: emphasizing the similarities in their “cannibalistic” approaches to translation. Although differently aligned politically (leftist, anarchist), Oiticica’s family, like Mendieta’s, were culturally and politically prominent settlers; and, like Mendieta, Oiticica is often read as a translator of Black Atlantic culture. Further both artists engaged in the caricaturing of Indigenous “American” cultures. In New York, Oiticica translated Oswald de Andrade’s “Manifesto Antropófago” (1928) to contextualize his work and the work of his friends. Artists in Brazil had adapted de Andrade’s manifesto into a translation program “cannibalizing” European and North American cultures, a practice they misidentified as Tupi as de Andrade had. Comparing Mendieta and Oiticica as translators reveals shared patterns of Latin American vanguards employing caricatures of Black and Indigenous cultures in anti-imperial performances. These caricatures and their resemblance to caricatures in the U.S. also point to older (and enduring) transnational networks of white nationalism in the Americas.

This paper seeks to explore the dialogue between postmodern thought and Christian theology. The dialogue will be grounded in four postmodern novels: Toni Morrison's Beloved, Ian McEwan's Atonement, Jill Paton Walsh's Knowledge of Angels, and Jeanette Winterson's Oranges Are Not the Only Fruit. In many Church circles, it has often been said that postmodernism, as it manifests itself in popular culture, is a threat to the Christian faith. However, I will be arguing that the opposite is the case, and that postmodernism has allowed for new ways of thinking about the self that has great resonance with certain theological conceptions of the self. It will be argued that the postmodern subject is one that seeks to make sense of 'the other' without risking the exploitation of the other, and that this lies very close to the theological concept of relationship, based on the idea of covenant. The self as responsible to an other and as a participant in community will be explored, from both the postmodern and theological perspectives. Before exploring issues of the self, this thesis will contextualize the dialogue by exploring postmodern conceptions of space and time. It will examine how ideas around space and time have been imagined throughout human history, thereby contextualizing the emergence of postmodern thinking. It will then show how this emergence of a postmodern space and time in fact creates new possibilities for the Christian faith to reexpress itself in ways that are more relevant to the 21st century. The concluding chapter of this thesis brings to light the longing within our postmodern reality for a place we can call home, a place where we can belong, and find healing. Such a place, such a homecoming, is offered to us in the spaces opened up to us by the dialogue between the Christian faith and postmodernity, and is found within a community of people who are learning that, as, postmodern philosopher Emmanuel Levinas states, "there is something more important than my life, and that is the life of the other" (in Beavers, 1996,16).
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

This thesis is the result of an exploratory research methodology, during which the signs of living on the fishing harbor of Ericeira were looked upon, in regards of what Photography may offer when documenting peripheral communities. There is a tension between Documentary Photography and Art Photography. This dissertation explores the artificial divide and opposition concerning the document and the artistic picture, by photographing a place of visual disarray, the fishing harbor of Ericeira. The images obtained are part of a book entitled Fishermen still lives, in a free association with the idea of still life, but also of suspended fishermen's lives. The term “still life” would thus refer to a pictorial representation of objects that may usually be of human or natural production, including flowers, fruits, fish or game. This work is based on the representation of objects and figures associated with fishing activity. Still life can be as much a celebration of pleasures as a warning of the ephemeral temporality of human life. In this context, the observer is asked to create meaning. It is a work to be observed by the ordering of images, not just by each constituent one. Thus, we seek to build an artist's book that presents itself through autonomy and is not based only on verbal or textual discourse. For this purpose, sets of images are used, applying the idea of a dramatic sequence. There is no special interest in author photography in maritime spaces. Thus, it was decided to work in a place where hasn’t been thoroughly explored. This approach aims to slow down when making and recording photographic images, counteracting to an attitude of making pictures for fast consumption. This investigation evolved over a three-year-period field work, following an investigative main question and a secondary one. The main question aims to inquire how to use photography in both a documentary and artistic manner simultaneously, while photographing a fishing harbor? Secondary question is associated with: how may photography help in documenting a fishing harbor, as a place, for future memory?