Dissertations / Theses on the topic '1946-1985'

The academic study of Association Football and other sports is now regularly regarded as a valid and essential part of disciplines including psychology, history, philosophy, geography and sociology. The sociology and social history of Association Football in England for the period after the Second World War has, until recently, been dominated by the study of hooliganism and the recent commercialisation of the game. This has left a significant gap in the historiography of English foothall, particularly in terms of supporters' changing relationships with clubs in the period from 1946 onwards. This project has four principal aims. These are to assess the social make-up of postwar football crowds in Lancashire; to analyse the fall in attendances that occurred at most Lancashire football clubs in the post-war period; to assess the developing relationship between football and social identity in post-war Lancashire; and to evaluate attempts to reconnect football clubs with football communities from the late l970s to the mid-1980s. The project is focused on Lancashire as this region provides an exceptionally good context for analysing post-war football supporters, containing both declining town-based clubs such as Preston North End and Blackpool, and bigcity teams such as Liverpool and Manchester United. It centres on the period from circa 1946 to 1985 as most professional football clubs returned to normality after wartime dislocation in 1946, whilst the game underwent a number of fundamental changes after the Bradford City fire, Heysel Stadium disaster and other incidents that occurred in 1985. Through documentary analysis, the evaluation of socio-economic statistics, oral history interviews, and sociological debates concerning the respective influences of structure and agency on historical developments, the project produced a number of important conclusions. It was found that football crowds in the immediate post-war period were probably more heterogeneous than has previously been thought in terms of class, gender and geographical origins. It was also discovered that a variety of socio-economic influences including increasing affluence and consumption, rising marriage rates, geographical movement, increasing home ownership, and rising unemployment all acted as important factors in determining the frequency of people's football attendance in Lancashire at various points between 1946 and 1985. The project also found that football clubs were central agencies in producing feelings of local and regional identity in Lancashire in the 1940s and 1950s. However, it was noted that people came to construct their social and sporting identities differently from the early 1 960s onwards with the result that a bifurcation occurred between many football clubs and football communities. In the final section of the project, the successes and failures of responses to this situation are judged by studying formal football and community initiatives and changes in football fan culture in Lancashire in the l980s. These developments are used to partly explain how certain Lancashire football clubs and football communities came to be connected once more in the late 1980s and early 1990s.

The study investigated the nature of the portrayal of aged characters in children's novels which won Children's Book Council of Australia's awards in the period from 1946 to 1985. By means of content analysis, the demographic, personal and behavioural characteristics of aged characters were identified on a thirty-four item checklist. From these characteristics a portrayal score was derived to represent the extent of variation in the depiction of aged characters in the novels examined. Analysis of variance tests indicated that the level of variation in portrayal scores was significantly related to the position of importance of aged characters in novels. The portrayal of aged characters did not vary according either to the approach to story adopted in Australian award-winning novels, or to the period in which the award was granted. It seems that although aged characters taken as a whole in the novels studied display the variety of characteristics attributed to aged people in the literature of gerontology, individually many of these aged characters are depicted in a somewhat limited way. There is evidence to suggest that aged characters in Australian award-winning children's novels do not adequately reflect the demographic characteristics of aged people in the Australian population. In terms of range of social settings in which they are depicted is restricted. So too, is the range of behaviours in which they engage. This rather limited depiction of aged characters means that readers of Australian award-winning children's novels are presented with a restricted and unrealistic view of the aged and of the condition of being aged. If children's novels serve as one of the socialisation agents for young people, then the limited portrayal of aged characters presented in those novels may be a cause for concern, especially as there are few indications that the depiction of aged characters generally in more recent award-winning novels has become more varied and realistic.

Thesis (Ph. D.) -- University of Maryland, College Park, 2009.
Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Tese (doutorado)—Universidade de Brasília, Instituto de Relações Internacionais, Programa de Pós-Graduação em Relações Internacionais, 2015.
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A tese tem por objetivo analisar o perfil de inserção internacional do Brasil quanto à aplicação da energia nuclear no período de 1946 a 1985. A partir da investigação dos propósitos nacionais de utilização da energia nuclear, buscou-se demonstrar a existência de um conjunto de princípios que guiaram o comportamento externo – nos planos bilateral e multilateral – que, em seu conjunto, compuseram os traços mais marcantes do perfil de inserção internacional do Brasil no interregno em análise. A investigação dos propósitos nacionais remeteu à análise da política nuclear nacional e do debate entre os principais atores políticos – governamentais e comunidade científica – que historicamente protagonizaram o processo de formulação dos interesses nacionais no emprego da energia nuclear. A tese organiza-se em quatro capítulos. O capítulo um apresenta o marco analítico adotado na tese, partindo do diálogo com a produção de conhecimento oriunda do acumulado histórico da inserção internacional do Brasil. As categorias que definem o emprego da energia nuclear também são apresentadas. Os três capítulos subsequentes, com base no esforço de periodização, discutem a inserção internacional do Brasil nos primórdios da era nuclear (1946-1955); a busca da tecnologia nuclear no plano doméstico e a desnuclearização militar no cenário externo (1956-1967); e o direito ao uso efetivo da energia nuclear e a autonomia tecnológica (1967-1985).
The thesis aims to analyze the main features of Brazilian international insertion related to the uses of nuclear energy in the period of 1946 to 1985. It was intended to demonstrate the existence of a set of principles that influenced the external behavior of Brazil in both bilateral and multilateral fields, producing as a result a specific pattern of action in the international arena. The study of national purposes in the uses of nuclear energy led to the analyses of nuclear policy and its process of formation, focused on the main aspects that shaped political debate between actors in the government and scientific community. Chapter one exposes the analytical framework adopted in the thesis and its dialogue with previews studies about Brazilian international insertion in the field of foreign policy history. The other chapters, defined chronologically through historical periodization, discusses Brazil in the nuclear age and the beginning of political debate concerning nuclear energy and its uses (1946-1955); the intentions to obtain nuclear technology and the military denuclearization efforts (1956-1967); and the right to use nuclear energy through endogenous technological development (1967-1985).

Lors de la réalisation de Shoah (1985), Claude Lanzmann a accumulé 350 heures de rushes. Ces images inédites constituent le point de départ pour une réflexion sur la genèse du film, à savoir, le rapport entre le visible et l'invisible, le montage et l'archive. Face à l'ampleur de ce fonds, cette étude s'attache en particulier à la représentation des femmes. Tandis que les critiques féministes du film soulignent leur absence, nous soutenons que Shoah est traversé par des voix de femmes. Outre une analyse détaillée de ces représentations par la parole, il s'agit donc d'approfondir cette thématique du non-visuel à partir d'un travail des rushes des interviews avec des survivantes filmée? durant le tournage du film. De même, nous analysons la manière dont la représentation verbale des survivantes dans Shoah s'oppose à la présence visuelle des personnages féminins dans certaines représentations cinématographiques - soit des films, soit des témoignages filmés dans le cadre d'un procès - de « l'Holocauste » réalisés entre 1946 et 1985
This dissertation reconsiders the representation of women in Claude Lanzmann's Shoah. While Lanzmann's documentary established a new paradigm for the limits of representation - which, as I demonstrate, contrasts with the visual presence of women in Holocaust films before Shoah -feminist readings have persisted in decrying the limited visual presence of women in the film Shifting the value from the image to the voice, I make a case for the cinematic significance GJ absence by mapping the acoustic spectrum which renders women present despite their invisibility. I argue that Shoah is traversed by the voices of women — both spoken and remembered. Vocal representations of women thus trace a path toward the unrepresentable image that haunts the film in its entirety: death itself. In Shoah, women tread between the image and its absence: the testimonies of the four women survivors in the film, which culminate in an untranslated song in Yiddish; the appearance and disappearance of the interpreters (all women), whose voices weave through the film pointing to the displacement of one language to another and to what is irreparably lost in translation the men who remember women — and their words — inside the gas chambers. Probing this intimacy of image and absence, I have been led to study the film's outtakes ; the most outstanding feature of these interviews is the ever-unstated but always present choices that constitute the film as it stands, but are themselves both unseen and unvoiced; any critical reflection on the film must concern itself with its making — that is, the arbitration between visibility and invisibility, presence and absence, montage and archive

La constitution de l'ordre cistercien de la stricte observance a pour fondement la carta caritatis, texte du 12e siecle qui pose comme principe de base l'unite d'observance entre les differents monasteres. A partir du 19e siecle cette unite avait ete entendue comme une uniformite rigoureuse, que l'ensemble du systeme institutionnel visait a maintenir. Or l'ordre a du faire face surtout apres 1946 a une internationalisation croissante et a des changements de mentalite valorisant la diversite. D'ou en 1969 une decentralisation radicale en faveur des monasteres, autorises a determiner eux-memes, a l'interieur de certaines limites, la forme que prendraient leurs observances. L'unite repose desormais sur la communion dans l'experience monastique. Bien que cette reinterpretation d'un principe constitutionnel de base rende plus difficile et plus incertain le fonctionnement institutionnel, il apparait conforme a la tradition cistercienne. En revanche, l'autonomie legislative imposee aux moniales de l'ordre par le saint-siege en 1970 repond mal a la situation specifique des cisterciennes, qui pour etre fideles a leur "inspiration originelle" ont plutot a developper l'autonomie de leurs monasteres a l'interieur d'une structure juridique commune aux maisons d'hommes et de femmes. Des necessites pratiques accentuent enfin la personnalisation de l'autorite dans l'ordre, entrainant un exercice croissant du pouvoir executif par l'abbe general au detriment du chapitre general qui, aux termes du droit particulier, en est le veritable "moderateur supreme"
The constitution of the order of cistercians of the strict observance is founded on the carta caritatis, a 12th century text whose basic principle is unity of observance between the different monasteries. Since the 19th century this unity had been understood as rigorous uniformity, which the entire system of institutions was aimed at maintaining. But, especially after 1946, the order was faced with growing internationalization and with changes in mentality which put a premium on diversity. Hence in 1969 a radical decentralization in favor of the monasteries, which were allowed to determine themselves, within certain limits, the concrete forms which their observances would take. Henceforth unity rests upon a shared monastic experience. Although this reinterpretation of a basic constitutional principle makes the functioning of the order' institutions more difficult and more haphazard, it appears in conformity with cistercian tradition. On the contrary, the legislative autonomy imposed on the nuns of the order by the holy see in 1970 does not answer the particular situation of cistercian women, who, in order to be faithful to their "original inspiration", must rather develop the autonomy of their monasteries within a juridical structure common to the houses both of men and of women. Finally, practical necessities increase the personnalization of authority within the order, as they result in growing exercise of executive power by the abbot general to the detriment of the general chapter which, according to proper law, is the true "supreme moderator"

Bibliography: pages 277-294.
The objective of this thesis is the provision of explanations for the changes in the South African tax structure between 1946 and 1985. The method of enquiry comprises an evaluation of three theoretical perspectives evident in the literature, referred to throughout as the economic development, public choice and marxist approaches. The central conclusion to emerge from this study is that whilst each of these perspectives individually provides valuable insights, by far the most structured explanation relies on an eclectic exposition which incorporates the relevant contributions of all three approaches.

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This case study embodies the foundation and development of Faculdade de Engenharia Industrial FEI, in São Bernardo do Campo, in the state of São Paulo, Brazil, within the period from 1946 to 1985, and analyses selected technological researches conducted in this institution. This study starts investigating the life and work of the FEI founder, Father Roberto Sabóia de Medeiros, S. J., covering his background education, ideals and objectives and highlighting his social actions, in order to establish the institute s mission. Originally founded to be an Industrial Chemical Engineering school (1946), soon after FEI was invited to compose, along with other colleges, the Universidade Católica de São Paulo, created in that same year. The transference of the FEI campus to the city of São Bernardo do Campo, where it is currently located, occurred in the 1960 s, when the City Mayor, Lauro Gomes, intended to foment and attract the settlement of large industries in that city and, at the same time, guarantee the supply of qualified professionals. With that goal, he donated a large area of his property for the setup of the FEI campus. The city of São Bernardo do Campo became an important Brazilian automotive industry pole, and the technological research conducted at FEI was very productive in that area, probably stimulated by the local vocation. Many prototypes were manufactured, as the FEI-X1, an amphibious car, the FEI-X3, a vehicle that differed due to its conception and potency and the vehicles that moved on air mattresses, such as the Máquina de Efeito de Chão MEC (Floor Effect Machine) and the Trem Aerodinâmico Leve de Alta Velocidade TALAV (High-Speed Light Airdynamic Train), powered by airplane engines. Other important technologies for the society were also developed at FEI, such as project to obtain mandioca-derived alcohol, during the oil s world crisis, starting in 1973. That crisis ended up leading to Proalcool, the Brazilian alcohol fuel program, which was practically abandoned and very restricted later. This work analyses some reasons to explain why, after decades of projects and prototype production and the registration of technological innovation patents, none of them was seized in any subsequent industrial production
Este trabalho é um estudo de caso, que abrange a fundação e o desenvolvimento da Faculdade de Engenharia Industrial FEI, em São Bernardo do Campo, no Estado de São Paulo, Brasil, no período de 1946 a 1985, e analisa algumas pesquisas tecnológicas empreendidas nessa instituição. Inicialmente efetua-se um estudo sobre a vida e as obras do fundador da FEI, Padre Roberto Sabóia de Medeiros, S. J., abordando a sua formação, os seus ideais e objetivos e evidenciando a sua ação social, para estabelecer a missão da instituição. Fundada originalmente para ser uma escola de Engenharia Química Industrial (1946), logo a seguir a FEI foi convidada para compor, juntamente com outras faculdades, a Universidade Católica de São Paulo, criada nesse mesmo ano. A transferência do campus da FEI para a cidade de São Bernardo do Campo, onde atualmente funciona, deu-se na década de 1960, quando Lauro Gomes, que era o prefeito daquela cidade, pretendeu incentivar e atrair a instalação de grandes indústrias naquele município e, ao mesmo tempo, garantir-lhes o fornecimento de mão-de-obra qualificada. Com essa finalidade, ele efetuou a doação de uma grande área, de sua propriedade, para a instalação do campus da FEI. A cidade de São Bernardo do Campo tornou-se um importante pólo da indústria automobilística brasileira, e a pesquisa tecnológica realizada na FEI foi bastante produtiva nessa área, provavelmente incentivada pela vocação local. Fabricaram-se vários protótipos, como o FEI-X1, um carro anfíbio, o FEI-X3, um veículo diferenciado pela sua concepção e potência e os veículos que se moviam sobre colchões de ar, como a Máquina de Efeito de Chão MEC e o Trem Aerodinâmico Leve de Alta Velocidade TALAV, impulsionado por turbinas de avião. Outras tecnologias importantes para a sociedade também foram desenvolvidas na FEI, tais como o projeto de obtenção de álcool derivado da mandioca, na época da crise mundial do petróleo, a partir de 1973. Essa crise acabou levando ao Próálcool, programa brasileiro do álcool combustível, que depois foi praticamente abandonado e bastante restrito. Este trabalho analisa alguns motivos pelos quais, após décadas de realização de projetos e produção de protótipos, inclusive com registro de patentes de inovações tecnológicas geradas, nenhuma dessas tenha sido aproveitada em alguma produção industrial subseqüente

L'interet de notre etude porte en priorite sur la penetration missionnaire realisee par l'institut linguistique d'ete dans les communautes indigenes de l'amazonie peruvienne et les consequences socio-economiques et culturelles affectant les indigenes. L'interet cyclique du gouvernement s'est manifeste avec les differentes decouvertes de ressources du pays telle que le caoutchouc, a la fin du dernier siecle et au debut du xxeme, puis les bois, le petrole, l'or et le gaz, ainsi que d'autres ressources. La referance a cette region, par les classes dominantes du perou, s'est faite en termes de conquete et de colonialisme interne. Les indigenes, proprietaires ancestraux de ces territoires. Ont ete deplaces, nies dans leur culture, par un etat qui pretend les integrer, mais en tant que asservis, a son projet economique de domination et dependance. L'institut linguistique d'ete fait partie des institutions protestantes fondamentalistes, appelees missions de foi, originaires et financees, en grande partie, depuis les etats-unis d'amerique. Dans le cas peruvien, cette penetration missionnaire commenca en 1946 s'adressant a plus de 60 groupes ethniques de l'amazonie peruvienne
From an ethno-sociological perspective, this work analyses the impact the summer linguistic institute (ilv) - a protestant missionary body has had on the indigenous communities of the peruvian amazon, especia lly at the socio-economic and cultural levels. The erratic interest of successive peruvian governments toward that region was triggered only by the discovery of mineral resources like gold, oil etc. The natives were displaced by a state wich professed to integrate them but which, in fact, was intereted in achieving econo mic domination and dependence. The ilv is part of a growing phenomenon seen in many parts of south america : the penetration of fundamentalist protestant institu tions which have their origins mostly in the united states of america. In the peruvian case, this missionary penetration began in 1946 the peruvian government put the ilv in charge of alphabetisation and the formation of bilingual teachers for sixty ethnic groups belonging to thirteen linguistic familles

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CNPq
O presente trabalho tem como objetivo compreender como a música nordestina, o forró especificamente, foi considerado como prática sociocultural dos “de baixo” ascendendo para toda sociedade campinense. A partir daí pretendemos entender a relação entre o forró e a formação social de Campina Grande durante o período correspondente a segunda metade do século XX até 1985, dois anos após a criação de “O Maior São João do Mundo”. Nesse sentido, buscamos compreender as maneiras como os praticantes do forró compuseram cenários em bairros da cidade de Campina Grande. Analisando as experiências sociais das pessoas que frequentavam os Forrós, ambientes marcados pela cultura, hábitos e costumes de pessoas comuns vindas do campo ou de pequenos interiores da Paraíba. Somando a isso, apresentaremos a dinâmica dos agentes socioculturais, sejam institucionais ou não, como mecanismos imprescindíveis para o processo histórico de difusão dessa música popular as todas as camadas sociais da cidade. Por fim, analisaremos a música na perspectiva social e estética da obra musical quando procuraremos entender a evolução social da música e dança de Forró inserido no processo de “modernização” e urbanização, dialogando com as trajetórias individuais de alguns forrozeiros de “Campina Grande” na ascensão do forró. Para compor as fontes, utilizaremos vasto corpus documental compreendido de fontes primárias e secundárias, como jornais da época, entrevistas, revistas, processos crimes e composições musicais com objetivo de confrontá-las para dar maior credibilidade à problemática levantada na historiografia apresentada. Diante disso, nos apropriaremos da historiografia social inglesa como suporte teórico-metodológico do nosso objeto, tendo como historiadores fundamentais Edward Palmer Thompson, Eric Hobsbawn e Raymond Williams.
This study aims to understand how music Northeast, specifically forró, the dance was considered as social and cultural practice of "low" ascending to every society Campina Grande. From there we want to understand the relationship between the dance and the social formation of Campina Grande during the period corresponding to the second half of the twentieth century until 1985, two years after the creation of "The Maior São João do Mundo”. Accordingly, we seek to understand the ways lovers composed forró scenarios in neighborhoods in the city of Campina Grande. Analyzing the social experiences of the people who attended the liners, environments marked by culture, habits and customs of ordinary people coming from the countryside or small interior of Paraíba. Adding to that, we present the dynamics of sociocultural agents, whether institutional or not, as essential mechanisms for the dissemination of this historical process of popular music to all social strata of the city. Finally, we analyze the social perspective on music and aesthetics of the musical work as seek to understand the evolution of social music and dance forró inserted in the process of "modernization" and urbanization, dialoguing with individual trajectories of some of forró artists "Campina Grande" in rise of forró. To compose the sources, we use vast corpus of documents comprised of primary and secondary sources, such as newspapers of the time, interviews, magazines, criminal cases and musical compositions in order to compare them to give greater credibility to the issue raised in the historiography presented. Thus, in English social we appropriate of historiography as theoretical-methodological support of our object, having as fundamental historians Edward Palmer Thompson, Eric Hobsbawm and Raymond Williams.

Cette enquête est partie du constat de la déshérence du nom de guerre lors des bombardements de l’OTAN contre la Serbie pour s’affirmer lors des guerres contre l’Afghanistan (2001) et l’Irak (2003). En effet, depuis la Serbie, des locutions telles que « maintien de l’ordre international », « militarisation de l’Empire », « guerre comme ordre permanent » se proposent comme les termes analytiques de ce que, ici, on persiste à appeler guerre. Ces locutions sont néanmoins à la base de thèses contradictoires : celle de la démultiplication de la guerre (tout est guerre), et celle de son abolition pour le terrorisme ou les violences civiles. Ces deux thèses présentent un point commun : l’impossibilité de singulariser la guerre pour elle-même et une entente sur la fin de son assignation étatique. Notre réponse aux thèses de la déshérence est de deux ordres. Le premier réside dans la décision de maintenir le nom de guerre, convaincue que l’élucidation du contemporain politique et guerrier passe par sa nomination et sa qualification. Ce maintien constitue la condition d’une enquête nous permettant de connaître, selon les occurrences, ce que le mot de guerre recouvre. Pour ce faire, c’est le second aspect de notre réponse, nous avions besoin d’un dispositif d’enquête : ce sera la démarche en termes de modes politiques de guerre nous permettant de qualifier différentes occurrences de pensées de la guerre en regard des conceptions singulières de la politique qui s’y déploient. Nous avons mis en œuvre cette démarche pour les pensées de Clausewitz, de Carl Schmitt, de Mao Zedong et de l’Administration Bush (2001-2003)
The present investigation

Dans le but d'évaluer la portée historiographique de ce choix de montage qui consiste à faire œuvre cinématographique à partir d'images déjà existantes, cette thèse développe une étude de deux films de réemploi réalisés au Brésil dans le début des années 1970 : História do Brasil (Histoire du Brésil, Glauber Rocha et Marcos Medeiros, 1974) et Triste Trópico (Triste Tropique, Arthur Omar, 1974). Œuvres uniques dans la filmographie de cinéastes importants, ces films, réalisés uniquement à partir du recyclage de matériaux divers, partagent en plus de leur méthode atypique de réalisation, un intérêt central pour la compréhension de l'histoire du Brésil. Dans leur travail avec les images préexistantes, História do Brasil et Triste Trópico actualisent des questions qui traversent non seulement l'esthétique cinématographique, mais plus généralement le champ de la création culturelle brésilienne des années 60-70, période politiquement marquée au Brésil par une dictature militaire (1964-1985). À partir d'une analyse esthétique du montage, nous nous interrogeons sur la façon selon laquelle ces films s'approprient l'histoire et construisent à l'aide des procédés mêmes de montage un regard sur la société brésilienne du temps présent, celui de leur réalisation. À partir de quels matériaux et de quelles stratégies discursives développent-ils une pensée historique ? Un troisième film, postérieur, Tudo é Brasil (Rogério Sganzerla, 1998), est ponctuellement convoqué dans la première partie de la thèse, afin de montrer combien certains choix politiques et esthétiques de ces films de réemploi de 1974 signalent une position générationnelle, partagée par Sganzerla, qui se prolonge dans le temps
This thesis develops a study of two compilation films made in Brazil in the early 1970s: História do Brasil (History of Brazil, Glauber Rocha and Marcos Medeiros, 1974) and Triste Trópico (Sad Tropic, Arthur Omar, 1974). Unique works in the filmography of important filmmakers, these films, made from the appropriation of various materials, share in addition to their atypical method of filmmaking, a central interest for the understanding of the history of Brazil. They radically exploit the power of rewriting what already exists to build a new work of historical content. In their work with pre-existing images História do Brasil and Triste Trópico address issues that concern not only the cinema, but the field of Brazilian cultural creation of the 60s and 70s, period politically marked in Brazil by the military dictatorship (1964-1985). Based mostly on an aesthetic analysis of the film's montages, we question the way in which they "write" history and offer, in their very editing processes, a perspective at Brazilian society. From what materials and discursive strategies do these films develop their historical thoughts? The thesis aims to contribute to the establishment of a range of film recycling practices and theoretical questions about the presence of archival footage in cinema, as well as about the relationship between cinema and historical narrative
Esta tese desenvolve um estudo sobre dois filmes de reemprego brasileiros realizados no início dos anos 1970: História do Brasil (Glauber Rocha e Marcos Medeiros, 1974) e Triste Trópico (Arthur Omar, 1974), com o objetivo de avaliar o alcance historiográfico da escolha estética e política do reemprego de imagens já existentes como método de realização. Obras singulares na filmografia de artistas importantes, esses filmes, realizados fundamentalmente a partir da retomada de materiais diversos, compartilham, além de seu raro método de realização, um interesse central pela compreensão da história do Brasil. Trata-se de filmes que exploram radicalmente a potência de re-criação e re-escritura (ou releitura) do que já existe para a construção de uma obra nova, com intenções históricas. Através da montagem de materiais do passado, História do Brasil e Triste Trópico atualizam questões que atravessam não somente o cinema, mas o campo da criação cultural brasileira dos anos 60-70, período marcado politicamente pela vigência da ditadura militar no Brasil (1964-1985). A partir de uma análise estética, o objetivo desta tese é pensar como os filmes elaboram suas narrativas de caráter histórico e constroem, através dos próprios procedimentos da montagem, um olhar sobre a sociedade brasileira do tempo presente de então, o início dos anos 1970. A partir de quais materiais e estratégias discursivas eles elaboram um pensamento sobre o Brasil e a história? Um terceiro filme, posterior, Tudo é Brasil (Rogério Sganzerla, 1998), é pontualmente convocado na primeira parte da tese, a fim de mostrar o quanto determinadas escolhas políticas e estéticas destes filmes de reemprego de 1974 apontam para uma postura geracional, compartilhada por Sganzerla, que se prolonga no tempo

Cette thèse analyse les formes et les effets de l’utopisme qui sous-tend le projet politique du SAP (parti social-démocrate suédois) entre 1932 et 1986. Dans le cadre d’une approche conceptuelle du politique nous nous interrogeons sur le pouvoir des idées, des symboles et de l’imaginaire dans la constitution d’un roman national original, mais aussi à travers la mise en oeuvre de l’action publique. A partir d’un important corpus inédit de discours et d’écrits rédigés par les trois leaders qui se sont succédés à la tête du gouvernement pendant un demi-siècle(Hansson, Erlander, Palme), la thèse s’efforce de mettre à jour « la cristallisation sémantique » qui a structuré le lexique politique du SAP. En son coeur figure la métaphore du Folkhem qui fonctionne comme un mythe mobilisateur pour la nouvelle société, avant de se transformer en élément essentiel de l’identité nationale et de la culture politique de la Suède. Autour du Folkhem, se noue le contrat social suédois, et la notion se transforme en source etressource de légitimité politique. L’histoire des récits du Folkhem permet de mieuxcomprendre les origines du modèle suédois et les modalités récentes de son évolution. Par son extrême plasticité, le Folkhem continue de nos jours à faire l’objet d’appropriations politiques nombreuses et diverses, confirmant ainsi son rôle fondateur d’institution de sens
This thesis relates the forms and effects of the utopianism that underlies the SAP (Swedish Social-Democratic Party) political project between 1932 and 1986. The power of ideas,symbols and imaginary in politics is our theoretical base. The political discourse of the SAP leaders and the importance of words in the creation of public policy are studied. Our corpus consists of a vast archive material. Guided by utopianism, the leaders express their will to create a new society. The Folkhem political metaphor, narrative at the heart of the political glossary of the SAP, is in the centre of this utopianism. The notion is used as a mobilizingmyth for the new society and it works as a social contract for the Swedes. The Folkhem narratives help us understand the Swedish model and contemporary Sweden. By its extreme plasticity and by being part of the Swedish identity, the notion is still a source of political legitimacy and continues to produce meaning

Tese de Doutoramento em Relações Internacionais.
Exame público realizado em
No início do Século XV, espartilhado pelas fronteiras políticas e geográficas, que o separavam da Europa e desejoso de continuar o movimento de expansão iniciado com a reconquista e a obtenção e o assegurar da independência, Portugal procurou na exploração marítima e nas terras de ultramar, o escape para a frustração sentida, especialmente pelas elites nobres e religiosas. De caminho empreendeu uma empresa comercial, religiosa e de supremacia mundial que durou mais de cem anos. Tal escolha afastou-o de uma participação mais activa, com algumas excepções, nos “negócios” do continente a que geograficamente pertencia. Este afastamento conduziu, mesmo depois de perder a supremacia mundial, a um “caminho de dependência” que o manteve ligado aos territórios que entretanto tinha adquirido, “voltando” apenas esporadicamente à Europa quando as crises desta o ameaçavam ou o seu prestígio estava em perigo. No Século XX, especialmente depois da II Guerra Mundial, tudo mudou. As transformações globais que o período de pós guerra trouxe aos panoramas politico e económico mundiais, foram de tal maneira profundas que, mesmo limitado por um regime nacionalista, Portugal teve de ceder e regressar a uma partilha mais íntima com os destinos da Europa. Este trabalho de investigação pretende, partindo da descrição das razões e factos do afastamento, analisar o regresso de Portugal à Europa ligando-o às alterações estruturais da geografia do seu comércio externo a partir de 1945, que serão usadas como prova desse regresso. O Autor aproveita o tema do trabalho para introduzir na discussão destas questões duas formas recentes de analisar as relações económicas internacionais, por um lado, e o estudo da realidade complexa e não linear que vivemos, por outro. Para isso faz uma análise, e procura aplicá-las, da Economia Politica Internacional e da Teoria dos Sistemas Complexos Adaptativos.
In the start of the XV century, confined to the space delimited by political and geographical borders that made difficult the development of deeper relations with the rest of Europe, Portugal, with reasons rooted in the Reconquista and its own struggle to assure its independence, rnaintained a profound desire of continuing its geographical expansion. The only course open to it was the sea, and so the frustration felt by its gentry and its religious elites, was resolved by choosing that direction of expansion. In the process, Portugal fully engaged in a commercial, religious and world supremacy endeavor that lasted more than one hundred years. However, that choice kept Portugal even further apart from the issues related to the continent to which it geographically belonged. This parting with Europe led, even after losing its world dominance, to a dependency path that kept Portugal even more engaged in its relations with the lands it had meanwhile acquired, "returning" to Europe only when its prestige was in danger or when the European crisis were a threat. In the XX century, rnainly after World War 2, all changed. The global changes that the post war period brought to the world political and economic scenarios were so profound that, even bounded by a corporatist, and nationalist regime, Portugal had to give up its isolationist stance and to come back to a more engaged involvement in Europe destiny. This work aims to, starting with the reasons and facts pertaining to Portugal parting with Europe, analyze the return to Europe, with special attention to te structural changes that occurred in te geographical map of its foreign trade since 1945, which is to be the corroboration of that return. The author further uses the main subject matter of its work to introduce in the reasoning about these questions, two fairly recent approaches, on one hand, the analysis of international economic relations, and, on the other hand, the study of complex and non-linear realities. With this aim I describe, and try to use in the analysis, the International Political Eeonomy and the Theory of Adaptive Complex Systems.

This thesis is specifically concerned with the study of authenticity in the arts field, with no disregard to other dimensions that, through the course of this investigation, have helped us elaborate a schematic proposal for what we hereby identify as an authentic or inauthentic way of doing art. The study is comprised of two sections: on the first part we examine the history of authenticity (and inauthenticity), with emphasis on the notion of being authentic, from a nominal, ethical, philosophical and psychological perspective and calling on authors such as Benjamin or Nietzsche; on the second part, we focus the research on the artistic dimension of authenticity, with help from authors such as Kant or Heidegger, with the purpose of elaborating a scheme of traits (or features) that can further our reflection about what constitutes an authentic and inauthentic way of doing art. On the final chapter, and on the basis of this schematic proposal, we briefly experiment with the analysis of recent works of art, based on four traits: originality, technique, soul and, finally, truth

The main concern of the present reflection is to explore and understand the limits of human existence and of the body itself, as well as its respective transgressions. Thus, in the first place, we intend to carry out an analysis of the limits that founded the human existence and of its moments of dissolution, in order to perceive what motivated the birth of art. Then, we will examine the issues related to the construction of human identity throughout the evolutionary process of the life cycle. The topic of this dissertation was inspired by the fact that we perceive the body as an opening, a space of unlimited expression in the creation of identity. In order to apply this way of understanding the body to different forms of artistic expression, we have selected some artists who have endeavored to convey to the observers an experience of bodily transgression. For this, we decided to decompose the body into parts, conducting an analysis that goes through the different body instances. This decomposition of the body is directly related to our artistic project, in which we investigate the most varied forms of representing it, but not in order to enclose it in a recognizable structure, rather with the aim of releasing it and this through the most varied plastic interpretations