Dissertations / Theses on the topic '1960-1973'
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Wiazovski, Taciana. "Cultura em Comentário: uma revista de cultura e resistência (1960 - 1973)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-23102012-110151/.
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Este estudo reconstitui a trajetória e a contribuição intelectual de Comentário (1960-1973), revista financiada pelo American Jewish Committee (AJC) que seguiu o modelo da americana Commentary criada quinze anos antes. A publicação reuniu proeminentes nomes da cultura nacional e internacional da década de 1960. Procuramos pelas origens da revista nos Estados Unidos por meio de sua relação com a empreitada cultural norte-americana durante a Guerra Fria, considerando que tal publicação se dizia aberta ao amplo debate cultural. Através da recuperação de partes deste debate avaliamos o papel do intelectual na cultura. A revista possibilitou uma análise da postura intelectual judaica no período pós-Holocausto, momento em que se ponderou o contexto internacional do alinhamento de Israel ao Ocidente, os processos antissemitas da União Soviética e a ruptura das relações entre Israel e União Soviética em 1953. Comentário favoreceu o estudo da inserção da comunidade judaica no contexto cultural e político brasileiro da década de 1960 e primeiros anos da década de 1970, abrangendo o golpe de 1964 e os anos de maior repressão política as ideias no Brasil. Nossa hipótese é de que a revista Comentário ofereceu, por seu potencial crítico e inovador, um espaço privilegiado para a intelligentsia judaica e não judaica no Brasil pensar as questões políticas e culturais de seu tempo no universo das ações que se desenvolveram no pós-guerra a partir da criação da Organização das Nações Unidas (ONU), sobretudo através da Organização Educacional, Científica e Cultural (UNESCO) e do conceito de Direitos Humanos. Consideramos o impacto destes valores na cena cultural brasileira, sua relação com a comunidade judaica radicada no Brasil e com o espaço da classe dirigente. A revista atuou como um espaço de divulgação dos estudos sobre antissemitismo, etnicidade, racismo e intolerância gerando linhas de pesquisas que têm hoje a sua atualidade. Através do inventário biográfico de alguns colaboradores da revista e sua produção, resgatamos a história de uma importante geração de intelectuais.This study reconstructs the history and the intellectual contribution of Comentário (1960-1973), a magazine funded by the American Jewish Committee (AJC), which followed the model of the American Commentary established fifteen years earlier. The publication brought together prominent names in national and international culture of the 1960s. We seek the origins of the magazine in the United States through its relationship with cultural undertaking U.S. during the Cold War, considering that such a publication called itself \"open to broad cultural debate.\" Through the recovery of parts of this debate we evaluate the role of intellectual culture. The magazine has enabled an analysis of Jewish intellectual position in the post-Holocaust, when it weighed the international context of the alignment of Israel to the West, the processes of anti-Semitic Soviet Union and the rupture of relations between Israel and the Soviet Union in 1953. Comentário favored the study of the insertion of the Jewish community in the Brazilian political and cultural context of the 1960\'s and early 1970\'s, covering the 1964 coup and the years of greatest political repression in Brazil ideas. Our hypothesis is that the magazine Comentário offered by its critical and innovative potential, a privileged space for the Jewish and non Jewish intelligentsia in Brazil think the political and cultural issues of his time in all the actions that have developed in the postwar Since the creation of the United Nations (UN), especially through the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the concept of Human Rights. We consider the impact of these values in the Brazilian cultural scene, its relationship with the Jewish community living in Brazil and the space of the ruling class. The magazine served as a forum for dissemination of studies on anti-Semitism, ethnicity, racism and intolerance causing lines of research that has its relevance today. Through the biographical inventory of some employees of the magazine and its production, we rescued the story of an important generation of intellectuals.
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Lippert, Andrew J. "Developing A Strategy to Combat Drug Abuse in Philadelphia, 1960-1973." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/358476.
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HistoryPh.D.
How did Philadelphia develop its first drug control strategy between 1960 and 1973? This study argues that Philadelphia's drug control strategy was part of an array of collaborative responses to the composite challenges of urban decay and was influenced by concerns for development, law enforcement, and fiscal survival. In the early 1960s, a focus on development and a combination of overt racism and the more subtle psychological process of racial othering made drug abuse a low-priority, policy issue in Philadelphia. At mid-decade, the growing institutionalization of law enforcement overshadowed additional attention drug abuse might have gained at that point. By 1970, “White involvement,” as Medical Examiner Joseph Spelman termed it, provided the impetus for a more active and institutionalized public response. As the nation progressed from a War on Poverty, to a War on Crime, and then to a War on Drugs, problems of sustainability and fiscal exhaustion became paramount. When Philadelphia’s Coordinating Office for Drug and Alcohol Abuse Programs produced its Comprehensive Plan for Drug and Alcohol Abuse Treatment and Prevention, 1973-1974, it codified a years-long, work-in-progress to address the complex adaptive system that substance abuse represented. Though the strategy did not rectify the larger environmental issues of race, stability, and sustainability with which Philadelphia contended, it did provide a balanced approach and a starting point for future implementation and refinement.
Temple University--Theses
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Lacasta, Codorniu Miquel. "GEOMETRÍA Y COMPLEJIDAD. LA IRRUPCIÓN DE UN PARADIGMA ENTRE 1960 Y 1973." Doctoral thesis, Universitat Internacional de Catalunya, 2011. http://hdl.handle.net/10803/77786.
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El campo de esta investigación es sin duda la arquitectura, pero también la ciencia, más específicamente lo que Felix Guattari se refiere por ciencias duras en un artículo titulado Las tres ecologías: la termodinámica, la topología, la teoría de la información, la teoría de los sistemas, la lingüística, etc., y también, y sobre todo, a lo que Charles Jencks hace referencia en sus textos como las ciencias de la complejidad en The new paradigm in Architecture. The Language of Post-Modernism, y en el texto también de Jencks, The Architecture of the Jumping Universe: A Polemic: How Complexity Science is Changing Architecture and Culture.
De hecho los dos textos de Jencks delimitan el campo de esta tesis, ambos relacionan arquitectura y ciències de la complejidad, pautan una referencia temporal que voy a demostrar como imprecisa, y por tanto inducirán un nuevo marco temporal, sirven a la vez para justificar sobradamente la pertinencia de esta tesis, Jencks ha sido uno de los críticos más influyentes de la segunda mitad del siglo XX en arquitectura, y funcionan como una especie de guión inverso, es decir para desandar sobre sus pasos y resituar en el tiempo el objeto de esta tesis:
demostrar que el nuevo paradigma en arquitectura basado en el desarrollo de geometrías complejas surge como cuerpo de conocimiento en la década de los 60, concretamente entre 1960 y 1973. Como veremos, en esta tesis se asumen algunos de los principios que definen el campo y que están presentes en los textos antes mencionados:
a.- La arquitectura siempre ha mimetizado a la naturaleza.
b.- la naturaleza ha quedado totalmente redefinida a partir de las ciencias de la complejidad.
c.- la arquitectura, desamortizado el movimiento moderno, entra en una etapa basada en el binomio geometría y complejidad.
Con este argumento general pretendo por tanto reubicar el origen del nacimiento de las geometrías complejas y desplazar el statu quo histórico desde finales del siglo XX y principios del XXI a la época comprendida entre 1960 y 1973.
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Gregory, Stephen William George Modern Language Studies UNSW. "The collapse of dialogue:Intellectuals and politics in the Uruguayan crisis, 1960-1973." Awarded by:University of New South Wales. Modern Language Studies, 1999. http://handle.unsw.edu.au/1959.4/17231.
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In the context of the growing political instability and deepening economic crisis in Uruguay during the 1960s and early 1970s, the thesis examines two propositions. The first is that politically informed intellectuals, though disaffected or marginalised, will integrate themselves into the political mainstream if circumstances demand and a suitable vehicle allows them to participate usefully in the political process. The second is that, in the Uruguayan case, an expanded notion of dialogue is essential in analysing how this was accomplished, partly because the idea of dialogue was a necessary part of how they worked together and communicated with their public, and partly because dialogue was seen as a crucial element in reforming the nation and as the basis of the relationship between the political party that was to be the agent of such reform and its potential constituency. The thesis begins by examining how the so-called 1945 and 1960s generations overcame intergenerational squabbles and worked together, with the help of an expanding publishing industry, to create a public for their meditations on Uruguay's problems. Then, after briefly outlining the importance of dialogue to the essay as a genre and its role in developing national identity in Latin America, the study examines essays on the state of Uruguay by four major writers in the 1960s: Roberto Ares Pons, Alberto Methol Ferr??, Carlos Maggi and Washington Lockhart. The thesis then traces the intelligentsia's role in the several attempts to heal the rifts within the Uruguayan left and in the formation of the centre left coalition, the Frente Amplio, in 1971, to show how the notion of dialogue was incorporated into its structure, mode of operation and political program. The final section, a case study of Mario Benedetti's political activities and propagandist essays of 1971-1973, examines the contradictions of working as a committed intellectual when the very conditions necessary for intellectual life are breaking down. The thesis concludes that the resurrection of the nation as a site for dialogue with and among all members of society, a project in which the intelligentsia had enthusiastically participated, foundered because drastic political polarisation permitted only one militarist and monologic solution.
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Koli, Motombi Sese. "Les Relations entre les états francophones d'Afrique centrale, de 1960 à 1973." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37614763c.
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Koli, Motombi Sese. "Les Relations entre les Etats francophones d'Afrique Centrale de 1960 à 1973." Paris 1, 1988. http://www.theses.fr/1988PA010604.
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Elsdon, Peter Stanley. "Keith Jarrett's solo concerts and the aesthetics of free improvisation from 1960-1973." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364749.
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Rosas, Guzmán Daniela. "Políticas de control de la fertilidad y planificación familiar en Chile 1960-1973." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/143580.
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Zetterberg, Pettersson Eva. "The Old World Journey : National Identity in Four American Novels from 1960 to 1973." Doctoral thesis, Uppsala : Acta Universitatis Upsaliensis : Uppsala University Library, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-5946.
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Wolkmer, Juliana Ribeiro. "Formação em teatro na UFRGS (1960-1973) : memórias de tempos de ousadia e paixão." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/165457.
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A história do ensino de teatro no Departamento de Arte Dramática (DAD) do Instituto de Artes (IA) da Universidade Federal do Rio Grande do Sul (UFRGS) é o tema central da pesquisa, que busca compreender o processo de formação em teatro na referida instituição e suas transformações, tomando por base o período entre os anos de 1960 e 1973. A pesquisa é organizada em torno dos paradigmas da Nova História Cultural, abrangendo os conceitos de micro-história, história oral e memória. Através da metodologia da história oral, a pesquisa investiga a trajetória acadêmica de seis profissionais de teatro formados no CAD/DAD no período mencionado. A partir do registro de memórias e da organização de fontes históricas, como documentos oficiais e fotografias, busca-se refletir sobre o ensino de teatro e suas relações com o tempo, considerando a ação docente atravessada por diversas determinações, macro e micro contextuais de ordem histórica, social, política e cultural. O contexto histórico dos períodos apontados pelos entrevistados é analisado com a finalidade de identificar práticas e teorias que influenciaram os professores de teatro no passado e evidenciar marcas por eles legadas aos profissionais de teatro da atualidade.The history of theater teaching in the Department of Dramatic Art (DAD) of the Art Institute (IA) of the Federal University of Rio Grande do Sul (UFRGS) is the central theme of this research that seeks to understand the formation processes in theater in that institution and its transformations, from 1960 until 1973.The research is organized around the New Cultural History paradigms, including the concepts of micro-history, oral history and memory. Through the oral history methodology, the research investigates the academic trajectory of six graduated theater professionals at CAD/DAD in this period. From the recording of memories and organization of historical sources like official documents and pictures, it seeks to think about teaching theater and its links with time, considering the teaching action crossed by numerous determinations, macro and micro contextual historical, social, political and cultural order. The historical context of the periods mentioned by respondents is analyzed in order to identify practices and theories that influenced the theater of teachers in the past and show marks they bequeathed to today's theater professionals.
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Peña, Queralt Pilar. "La revolución ilustrada de la música chilena 1960-1973 — Una aproximación al problema del arte." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/101252.
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El presente estudio, aborda el proceso político vivido en Chile durante el período 1960-
1973, desde del discurso académico-musical de la izquierda. Partiendo de la base de una
correlación entre el desarrollo de las discusiones estratégicas con las políticas culturales, se
instala la discusión sobre el rol que jugó la música de tradición escrita, como ejemplo de una
manifestación burguesa, en la configuración del marco cultural del proceso revolucionario en
relación a la discusión e implementación de la vía chilena al socialismo.
Con el objetivo de dilucidar el papel de los espacios académicos en la configuración del
discurso político de la época y en la manera en que este articula los mecanismos para construir
una nueva sociedad, se trasladan las divergencias teórico-políticas de la izquierda al desarrollo
de sus políticas culturales, vistas principalmente desde el espacio musical académico.
Considerando que el arte como espacio cultural propio de la burguesía, hizo igualmente
parte del desarrollo del pensamiento y las políticas de la izquierda del período, abordamos las
problemáticas propias del medio musical para graficar el conflicto inherente a la configuración
de un discurso revolucionario bajo parámetros ilustrados. Específicamente, la música entendida
bajo los parámetros de autonomía del arte, donde opera como manifestación propiamente
burguesa.
Será posible ver a lo largo de este estudio, que en el medio musical académico, se vivió
una fuerte lucha por la resignificación de sus manifestaciones, politizando el repertorio y
apropiándose de espacios tradicionalmente definidos apolíticamente. Sin embargo, veremos
también que en su mayoría estas acciones apuntan a problemas de forma, más que de fondo.
Puesto que los actores del medio académico musical abordaron el problema de la carga de clase
que conlleva el ‘arte’, apelando a masificarlo y difundirlo, instalando un discurso político a
través de la música, sin establecer una discusión, mucho menos un quiebre, en el entendido del
rol ideológico estructural del arte en el orden establecido que pretendían cambiar.
Finalmente, mediante el caso particular del período analizado, este estudio establece una
crítica al entendido de la supremacía moral del arte, estableciendo un cuestionamiento sobre el
contenido ideológico de su definición
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Silva, Jacqueline Souza. "Instituto de antropologia: um espa?o para ci?ncia no Rio Grande do Norte (1960-1973)." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br/handle/123456789/19727.
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O objetivo desta disserta??o ? analisar como o Instituto de Antropologia da Universidade Federal do Rio Grande do Norte se formou como um espa?o da ci?ncia, durante o per?odo de 1960 a 1973, considerando o espa?o social no qual ele estava inserido, as quest?es pol?ticas e econ?micas que estavam em pauta ao longo do per?odo, assim como a atua??o dos intelectuais ligados a sua cria??o: Lu?s da C?mara Cascudo, Jos? Nunes Cabral de Carvalho, Ver?ssimo Pinheiro de Melo e Dom Nivaldo Monte. Levar em conta as trajet?rias cient?ficas dos seus pesquisadores, assim como suas posi??es enquanto agentes sociais, no momento de cria??o do Instituto de Antropologia, nos permite diferenciar suas pr?ticas cient?ficas e refletir sobre os motivos que levaram esses agentes a definirem seus os objetos e constitu?rem um espa?o cient?fico dedicado ? suas pr?ticas. Tentaremos compreender o Instituto de Antropologia inserido em um universo no qual se encontravam indiv?duos e outras institui??es que produziram, reproduziram e difundiram a ci?ncia no Estado do Rio Grande do Norte, contribuindo para constru??o de uma hist?ria local da ci?ncia.
The aim of this dissertation is to analyze how the Institute of Anthropology from the Federal University of Rio Grande do Norte was formed as a space of science, during the period 1960- 1973, considering the social space in which it was inserted, the political and economic issues that were on the agenda over the period, as well as the role of intellectuals linked to its creation: Lu?s da C?mara Cascudo, Jos? Nunes Cabral de Carvalho, Ver?ssimo Pinheiro de Melo and Dom Nivaldo Monte. Consider the trajectories of their scientific researchers, as well as their positions as social agents at the time of creation of the Institute of Anthropology, allows us to differentiate their scientific practices and think the reasons these agents define their objects and constitute a scientific space dedicated to their practices. We try to understand the Anthropology Institute (agent) as a universe on which were participating individuals and institutions that produced, reproduced and spread the science in the state of Rio Grande do Norte, contributing to the construction of a regional history of science.
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CARVALHO, Maria José de. "Mulheres na Faculdade de Direito do Recife (1960-1973): para não dizer que não falei das flores." Universidade Federal de Pernambuco, 2017. https://repositorio.ufpe.br/handle/123456789/25150.
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Esta dissertação tem como objetivo analisar a presença da mulher na Faculdade de Direito do Recife no período de 1960-1973, enquanto estudantes e, posteriormente, profissionais. A abordagem se dá sob a ótica de gênero enfocando parte do período anterior e posterior ao golpe militar no Brasil, em uma instituição tradicionalista e voltada à formação de uma profissão predominantemente masculina. Avalia-se a presença da mulher na instituição desde a formação dos Cursos Jurídicos em Pernambuco, desde as primeiras bacharelas de Ciências Jurídicas do Brasil, em 1888. Posteriormente, no período delimitado, reflete-se sobre o desenvolvimento do cenário político no país e no mundo. Destaca-se duas mulheres; a primeira professora da faculdade e posteriormente a advogada combativa. O estudo está dividido em três partes: compreender como as dez mulheres entrevistadas viveram o período abordado a partir da vida acadêmica, da vida política, cultural e de costumes, assim como da vida profissional. Aborda-se ainda a repressão política desencadeada na própria instituição, com perseguições, delações, detenções, prisões de alunos e professores.
This dissertation aims to analyze the presence of women in the Law Faculty of Recife in the period 1960-1973 as students and later professionals. The approach is given from a gender perspective focusing part of the period before and after the military coup in Brazil, in a traditionalist institution focused on the formation of a predominantly male profession. The presence of women in the institution has been evaluated since the formation of the Legal Courses in Pernambuco, since the first baccalaureates of Legal Sciences in Brazil in 1888. Later, during the period defined, it is reflected on the development of the political scenario in the country and in the world. Two women stand out; The first professor of the faculty and later the combative lawyer. The study is divided into three parts: understand how the ten women interviewed lived the period covered by academic life, political life, culture and customs, as well as professional life. It also addresses the political repression unleashed in the institution itself, with persecutions, delations, detentions, arrests of students and teachers.
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Nunes, Elke Daniela Rocha. "Mineração de manganês no Amapá : controle de trabalho e memória de trabalhadores na ICOMI, de 1960 a 1973." Universidade do Vale do Rio dos Sinos, 2018. http://www.repositorio.jesuita.org.br/handle/UNISINOS/7105.
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O presente trabalho trata do primeiro, maior e mais duradouro empreendimento produtivo da história do Amapá. Ou seja, a mineração de manganês de Serra do Navio, operada pela Indústria e Comércio de Minérios S/A (ICOMI). O objetivo que engendrou a pesquisa foi analisar como a ICOMI formou em pouco tempo um modelo de trabalhador, como criou e aplicou um conjunto de normas que impunham o modelo ideal de comportamento e como esse modelo colaborou para a representação social deste trabalhador que permeou e ainda permeia a memória dos envolvidos no projeto ICOMI. Para tanto, foi necessário contextualizar o processo de produção mineral na Amazônia para poder compreender como foram criadas representações de um trabalhador ideal através dos meios de comunicação da empresa. Também se analisou os vínculos existentes entre a organização da vida social, através das vilas e do seu complexo social e as formas de poder disciplinar no curso da exploração do manganês no Amapá para entender como todos esses mecanismos excederam os limites do mundo do trabalho extrapolando para além das condutas e memórias individuais e se constituindo representações sociais que passaram a integrar e constituir a memória não apenas de ex-funcionários e familiares mas do povo amapaense. O recorte espacial apontado é o raio de ação dessa mineradora dentro do Amapá, mais enfaticamente a Estrada de Ferro, o Porto de Santana, que servia de base logística para o escoamento do minério, e as vias que davam acesso às minas, bem como a Vila Operária da ICOMI, Vila Serra do Navio e a Vila Amazonas. O ano de 1960 é escolhido como recorte cronológico para início da pesquisa, posto que é nesse ano que as vilas operárias são concluídas, consequentemente o ano em que os trabalhadores começam a se alojar nas casas, e as vilas tornam-se, assim, mais um aparato na vida prática de cada indivíduo, bem como é nesse ano que praticamente toda a infraestrutura da mineradora foi concluída. A pesquisa se prolongará até 1973 por ser o ano de maior índice de reelaboração das Normas de Procedimento. Para tanto, fez-se necessária uma breve análise sobre a teoria do poder disciplinar de Michel Foucault.
The present work deals with the first, largest and most enduring productive enterprise in the history of Amapá. That is, the manganese mining of Serra do Navio, operated by Indústria e Comércio de Minérios S / A (ICOMI). The objective of the research was to analyze how ICOMI soon formed a model of worker, how he created and applied a set of norms that imposed the ideal model of behavior and how this model collaborated for the social representation of this worker who permeated and still permeates the memory of those involved in the ICOMI project. In order to do so, it was necessary to contextualize the process of mineral production in the Amazon in order to understand how representations of an ideal worker were created through the company's media. The linkages between the organization of social life through the villages and their social complex and the forms of disciplinary power in the course of manganese exploitation in Amapá were also analyzed to understand how all these mechanisms exceeded the limits of the world of work by extrapolating to besides the conducts and individual memories and forming social representations that began to integrate and constitute the memory not only of former employees and family but of the amapaense people. The spatial cut is the radius of action of this mining company within Amapá, more emphatically the Estrada de Ferro, the Port of Santana, which served as a logistical basis for the disposal of the ore, and the roads that gave access to the mines, as well as the Vila Operária of ICOMI, Vila Serra do Navio and Vila Amazonas. The year 1960 is chosen as a chronological cut for the beginning of the research, since it is in that year that the working-class villages are completed, consequently the year in which the workers begin to lodge in the houses, and the villages become, thus, more an apparatus in the practical life of each individual, as well as in that year that practically all the infrastructure of the mining company has been completed. The research will continue until 1973 because it is the year of greatest index for the elaboration of the Rules of Procedure. To do so, a brief analysis of Michel Foucault's theory of disciplinary power was necessary.
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Savariaud, Christine. "Traduction et réception de la fiction hispano-américaine en France et aux Pays-Bas entre 1960 et 1973." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040098.
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A partir des années 1960, la fiction hispano-américaine connaît un essor sans précédent, auquel la critique littéraire internationale a donné le nom très contesté de boom. Le principal problème de ce terme est qu’il renvoie à un phénomène touchant à la fois la production et la diffusion de la littérature hispano-américaine.Notre travail prose une relecture du phénomène à travers l’étude de la traduction et de la réception de Julio Cortázar, Carlos Fuentes, Gabriel García Márquez et Mario Vargas Llosa en France et aux Pays-Bas entre 1960 et 1973.En retraçant l’historique des premières traductions et en analysant le contexte éditorial dans lequel elles sont arrivées, nous montrons l’existence d’écarts profonds séparant les deux pays dans la traduction des quatre auteurs, n’illustrant pas toujours leur position théorique au sein de l’espace mondial de la traduction, et le rôle importants joués par certains intermédiaires culturels. Par le biais d’une étude de traduction et de réception, nous mettons aussi en évidence le rôle de médiation joué par les traducteurs et la critique littéraire entre les œuvres originales et le lecteur final dans les deux pays de référenceSpanish-American fiction has been developing unprecedented from the 1960’s, what has been given the highly contested name of boom by international literary critics. The main problem of that term is that it refers to a phenomenon affecting both the production and distribution of Spanish-American literature.Our work is a reading of the phenomenon through the study of translation and reception of Julio Cortázar, Carlos Fuentes, Gabriel García Márquez and Mario Vargas Llosa in France and in the Netherlands between 1960 and 1973.In tracing the history of the early translations and analysis of the editorial context in which they arrived, we show the existence of profound differences between the two countries in the translation of the four authors, which do not illustrate their theoretical position in the world space of translation, and the important role played by certain cultural intermediaries. Through a study of translation and reception, we also highlight the mediating role played by translators and literary criticism between the original texts and the final reader in the two reference countries
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Benitez, Pilar L. "Calle Ocho revived : artists studios commemorate the role of Cuban exiles (1960-1973) in the development of Calle Ocho." FIU Digital Commons, 2001. http://digitalcommons.fiu.edu/etd/1508.
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The purpose of this study was to learn about the historical development of Eight Street in order to use this information in the revitalization of this area with the new migration of artists.
This study demonstrated a cyclical pattern prompted by the economical success of the immigrant group. The 1960 Cuban migration brought an era of life to Eight Street. As the Cubans became successful they left the area causing a decline. Presently the area is witnessing a migration of artists that may bring it new life.
The thesis retrofits buildings in this area to create a series of artist studios. These studios are designed using elements of 1960 Cuban urbanity, an era of robust urban life for this street.
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Bohler, Olivier. "Vestiges de soi, vertige de l'autre : l'homme de l'après-guerre dans l'oeuvre de Jean-Pierre Melville." Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10118.
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L'oeuvre de Jean-Pierre Melville constitue un questionnement important sur la guerre et l'évolution de la société depuis 1945. Tout d'abord, le cinéaste s'inspire principalement des films des années trente, et il connote ses personnages de façon très mélancolique : ils s'identifient à leur fonction, cherchent à être irréprochables et se réfèrent à des codes sociaux périmés. Il s'agit donc d'une tentative de deuil : ces figures du passé ne sont pas des archétypes, mais des " télotypes " : elles représentent un achèvement, après lequel plus rien n'est possible. Melville désigne la guerre comme rupture : ses personnages n'ont pas d'autre passé que celui d'anciens combattants (exactement comme le cinéaste, qui fut un grand Résistant) et se consacrent à la Résistance, qui devient un enjeu de représentation. En effet, en tant que survivant, le personnage melvillien est incapable de s'adapter à la société moderne. Sa relation à l'autre devient alors problématique : elle se définit comme une schize, une rupture avec le monde, qui implique la solitude et l'incommunicabilité. Ces figures restent alors ancrées dans le passé, ou tentent de faire corps avec cette nouvelle ère aseptisée, et perdent une part de leur humanité. Néanmoins, Melville décrit aussi une résistance à cette schize, à travers la subsistance de liens sous-jacents entre les êtres. Pour lui, la relation à l'autre se construit alors selon un processus complexe d'identification. De véritables relations amoureuses se nouent ainsi entre les protagonistes masculins, sentiments dont les femmes deviennent le vecteur. Mais seule la mort peut apporter une solution à ce désir de l'Autre. Dans un ultime combat, les deux figures vont enfin se faire face, et l'une offre à l'autre une mort honorable, qui laisse une image de lui pure dans la mémoire collective, et lui confère ainsi une forme d'éternité.
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Magnusson, Joel. "Exploatering av den utländska arbetskraften – eller vad? : En facklig syn på invandring och invandringspolitik. Livsmedelsarbetareförbundets tidning, Mål och Medel 1960-1973." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35080.
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The following essay is a study about how migrant workers and immigration policies were discussed from Livsmedelsarbetareförbundets union press, Mål och Medel, to the members of the union between the years 1960-1973. To find this out I set these questions: What sort of information appear in Mål och Medel concerning migrant workers and immigrant policies, and how does this change over time? How does Mål och Medel present the immigrant workers opinions? The method for the study is based on analyzing articles, interviews and others texts found in Livsmedelsarbetareförbundets union press, Mål och Medel, and what they want to inform the members of the union about. The study’s results have found that during the early parts of the 1960s immigrant workers were not included in the union press at all. Towards the late 1960s the immigrants were discussed, but in a manner which implied that immigrants are naturally exploited and therefore must the immigration be controlled better. It also discussed immigrants had some sort of “adaptation problem” to the Swedish norm. The immigrants were expected to adapt themselves to become more like the normal “Swedish worker”. In the early 1970s the immigrant workers become gradually more included with the rest of the union members and are considered to be a great asset in Swedish workforce. During this period Mål och Medel also publishes immigrant workers opinions and frequently discusses the possibilities for education in Swedish for the foreign part of the workforce.
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Leite, Denivaldo Pereira. "Inventário de arquitetura moderna no ABC: edifícios públicos em São Bernardo do Campo, Santo André e São Caetano do Sul, 1960-1973." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2638.
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Previous issue date: 2009-02-02The object of this research, is identify and quantify the Public Architecture of some cities near form the city of São Paulo (Santo André, São Bernardo do Campo e São Caetano do Sul), during the years of 1960 till 1973. This research looks to realize a documental reference for new researchs, and to help in process of preservation, and the most important, give a new value to the buildings studied in this work. In the case and period studied, the documentation is very important, because shows, in general lines, a production that is part of what is called Arquitetura Brutalista Paulista . This work gives not only a grafic document, because compare, and make a description based on the general ways of the Modern Architecture in São Paulo at the period.
O objetivo desta dissertação é o de realizar um inventário da arquitetura pública nos municípios vizinhos à cidade de São Paulo (Santo André, São Bernardo do Campo e São Caetano do Sul), no período de 1960 a 1973. O inventário busca ser uma fonte de referência documental para novos estudos e para o processo de proteção e preservação e, principalmente, valorização das edificações estudadas. Nos casos e período em pauta, esta documentação é bastante significativa, pois retrata em linhas gerais uma produção vinculada a um conjunto de posturas (técnicas, formais e construtivas) identificadas com o que se denomina Arquitetura Brutalista Paulista. A dissertação não só documenta graficamente os exemplares como os descreve, compara e analisa em relação com os percursos gerais da Arquitetura Moderna Paulista do período.
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Zufelde, Sabine. ""Comment savoir?" - "Comment dire?" : metafiktionale, metanarrative und metahistoriographische Diskurse über Referenz und Repräsentation in Claude Simons Romanen "La Route des Flandres" (1960), "Triptyque" (1973) und "Les Géorgiques" (1981) /." Tübingen : Gunter Narr Verlag, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3233137&prov=M&dok_var=1&dok_ext=htm.
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Zufelde, Sabine. ""Comment savoir?" - "Comment dire?" metafiktionale, metanarrative und metahistoriographische Diskurse über Referenz und Repräsentation in Claude Simons Romanen "La Route des Flandres" (1960), "Triptyque" (1973) und "Les Géorgiques" (1981)." Tübingen Narr, 2007. http://d-nb.info/992327091/04.
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Schiappacasse, Rodríguez Lucas. "La intervención de Estados Unidos en Chile, en el contexto de guerra fría: aspectos políticos y culturales durante las décadas 50, 60 y 70. La dictadura en Chile." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/152242.
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Urquieta, Sepúlveda Julia. "Valores y sentidos de la educación en general y en su trayectoria Una perspectiva desde mujeres profesoras representantes de las expansiones del sistema de Educación Superior de 1960 a 1973 y de 1999 a 2006, en los años 2011 y 2012." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/116443.
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SociólogaGran parte de las investigaciones referentes a la educación en Chile se han realizado en el debate de las reformas educacionales, en la medición de la calidad de la educación y en la perspectiva de cuantificar la mayoría de los procesos educacionales, pero, en menor medida, se han hecho estudios enfocados en ver los significados que tienen los actores educacionales con respecto a la educación, a su trayectoria educacional y a los diferentes procesos involucrados en ella. Es por ello que frente a la crisis del sistema educacional de este país, la que ha tenido su cara visible en las múltiples movilizaciones realizadas principalmente por estudiantes secundarios y universitarios, se vuelve interesante penetrar en un actor educacional, que además de haber sido parte del sistema, como estudiante y profesional, es formador de sujetos dentro del él, los profesores, y dentro de ellos, las profesoras, quienes son mayoritariamente las que engrosan las filas del profesorado chileno
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Leger, Nina. "Systèmes d’incrédulité : la perspective dans les travaux de Mel Bochner et de Robert Smithson." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080056.
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Cette thèse s’origine dans un étonnement. Il s’agit de comprendre pourquoi, au milieu des années 1960, plusieurs artistes de la nouvelle avant-garde américaine s’emparent d’un objet que la modernité de l’art semblait avoir à jamais abandonné : la perspective linéaire. Pourquoi cette construction, intimement liée à l’héritage artistique de la Renaissance, cristallisa-t-elle les préoccupations d’artistes qui entendaient liquider cet héritage s’inscrire dans une histoire strictement américaine de l’art ? Comment put-elle se concilier avec l’élaboration d’un projet d’avant-garde ? Le but du travail est de passer du constat d’un paradoxe au diagnostic d’un symptôme. Pour cela, il convient de dépasser le sentiment d’un retour incongru et rétrograde du passé de l’art, pour considérer la manière dont la perspective est suscitée à nouveau par un champ contemporain qui la déplace en l’exploitant. Notre étude se concentre sur les cas de Robert Smithson (1938-1973) et de Mel Bochner (1940-), d’abord, parce que leurs usages de la perspective furent les plus concertés et les plus conséquents ; ensuite parce qu’ils occupent deux positions à la fois proches (liés d’amitié, ils réfléchirent et travaillèrent ensemble) et distinctes : là où Smithson, d’abord lié au mouvement minimal, s’orienta vers le Land Art, Bochner se rapprocha du courant conceptuel. Cette diversité de pratiques permet de saisir la manière dont la perspective résonne avec une pluralité de problématiques propres à la période. Trois axes principaux animent notre étude : éclairer ce qui, dans le contexte artistique contemporain, favorisa et accompagna le retour de la perspective ; préciser la spécificité des usages et des pensées de la perspective que développèrent Smithson et Bochner et la manière dont ceux-ci fut souvent la pierre de touche de leurs particularismes ; comprendre comment l’un et l’autre transformèrent l’objet qu’il convoquaient, et réinventèrent la perspective plutôt que de la réhabiliterThis dissertation is born out of astonishment. It aims at understanding how, in the middle of the 1960s, several artists of the American avant-garde seized an object that artistic modernity seemed to have discarded for good: linear perspective.Why did this device, so tightly linked to the legacy of Renaissance art, crystallize the interest of artists whose project was to put an end to this legacy and to write a strictly American history of art? How could it fit into an avant-garde agenda? This work aims at turning what seems to be a paradox into the understanding of a symptom. This means overriding the feeling of an incongruous and reactionary comeback and understanding how perspective is called forth by a specific context that recodes it and transforms it.To do so, we focus on the works of Robert Smithson (1938-1973) and Mel Bochner (b.1940). First of all, because they are the two artists, among the avant-garde, who most engaged with perspective. Secondly, because they were both close (as friends they thought and worked together) and apart in the artistic field: Smithson drifted from Minimalism to Land Art, while Bochner moved toward Conceptual Art. This diversity helps us observe how perspective reflects several questions at stake in the artistic landscape. Three main lines of questioning structure this dissertation: highlighting what features of the artistic context trigger this return of perspective; specifying how Bochner’s and Smithson’s use of and thinking about perspective differ from this general context and reflect their particular positions; and finally, showing how they both transformed the object they conveyed, reinventing perspective rather than simply recalling it, and eluding its usual definitions to produce new ones and reveal others
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Maureira, Moreno Juan René. "Enfrentar con la vida a la muerte: Historia y memorias de la violencia y el Terrorismo de Estado en Paine (1960-2008)." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109843.
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La hipótesis de esta investigación sostiene que las tensiones entre una cultura latifundista
y las ideas campesinas de cambio social desarrolladas durante la Reforma Agraria
(1960-1973) en Paine se constituyeron como un factor condicionante de una violencia
Estatal y civil que se desató sobre la comunidad durante la Dictadura Militar (1973-1990),
generando un estado de violencia y traumatización social que fracturó y desintegró las redes
sociales sobre la base del miedo, el terror y otros efectos psicosociales que se extienden
hasta la actualidad (1991-2008) reinterpretados y transmitidos a nuevas generaciones.
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Preda, Cristian. "Le liberalisme du desespoir : tradition liberale et critique du totalitarisme dans les annees 1938-1960." Paris, EHESS, 1998. http://www.theses.fr/1998EHES0018.
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La these est une reconstruction philosophique de l'identite liberale contemporaine qui s'exprime dans les oeuvres de walter lippmann, wilheim roepke, ludwig von mises, friedrich von hayek et michael polanyi. Le liberalisme de cette periode (1938-1960) est une double critique: tout d'abord, il est une critique de la tradition intellectuelle du liberalisme des xviie, xviiie et xixe siecles; en deuxieme lieu, il est une critique des idees socialistes et de la realite nee de ces idees. La premiere partie de la these analyse en detail les differentes distinctions proposees par lippmann, roepke, mises, hayek et polanyi pour caracteriser un vrai liberalisme et respectivement un faux liberalisme. La deuxieme partie de la these analyse les arguments liberaux utilises dans la description de la realite totalitaire (l'esprit militaire, la bureaucratie, la prison), dans la critique des idees socialistes (l'utopie socialiste, le role des intellectuels, le rapport entre socialisme, d'une part, democratie et religion, de l'autre) et enfin dans l'examen du rapport entre les idees socialistes et la realite totalitaire (le dogme, la prophetie, l'effet pervers, l'identite communisme-fascisme)The thesis is a philosophical reconstruction of one contemporary liberal identity made from the works of walter lippmann, wilhelm roepke, ludwig von mises, friedrich von hayek and michael polanyi. The liberalism of this time (1938-1960) consists in a double critique: first, it is a critique of the liberal intellectual tradition of the seventeenth's, eighteenth's and nineteenth's centuries; secondly, it is a critique of socialist ideas and of reality issuing from these ideas. The first part of the thesis analyses in detail the various distinctions made by lippmann, roepke, mises, hayek and polanyi in order to describe a true liberalism and a false liberalism. The second part of the thesis deals with the liberal arguments used in the description of the totalitarian reality (the military spirit, the bureaucracy, the prison), in the critique of socialist ideas (the socialist utopia, the role of intellectuals, the relation between socialism, democracy and religion) and finally in the analysis of the connection between socialist discourse and totalitarian reality (the dogma, the prophecy, the perversity, the identity communism-socialism)
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Nadeau, François M. "Casques bleus et unifolié : le maintien de la paix et l'identité canadienne, 1956-1973." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq25688.pdf.
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Guiñez, Chepillo Sebatián. "Porque el progreso encuentra muchas veces palancas poderosas en situaciones transitorias: regímenes autoritarios y crisis económicas en Chile: los casos de Carlos Ibáñez del Campo (1927-1931) y Augusto Pinochet Ugarte (1973-1990)." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/144242.
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Michel, Florian. "Un réseau d'intellectuels européens en Amérique du Nord : diffusion, réception et américanisation de la pensée catholique : années 1920-années 1960." Paris, EPHE, 2006. http://www.theses.fr/2006EPHE5016.
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The aim of this research is to study the presence and the influence of some European Christian philosophers in North America, tracing the development of a Thomistic network between the late 190s and the Second Vatican Council, inquiring into the reasons for the expatriation of these Catholic scholars, evaluating the fecundity of their influence on Catholic thought and religious life in North America, and finally considering the notion of a possible Americanization of Thomism. Basically, the plan of this research is to study six places corresponding to six different institutions where Etienne Gilson, Jacques Maritain, Yves Simon, Father Marie-Dominique Chenu, O. P. Jacques de Monléon and Charles De Koninck taught. As a matter of fact, this Thomist presence was supported by a number of institutions, such as The Pontifical Institute of Medieval Studies in Toronto, founded by Etienne Gilson in 1929 with the help of the Basilian order ; the Institut d’Etudes Médievales in Ottawa, founded by Father Chenu in association with Gilson in 1930 ; the philosophy department of Laval University in Québec, directed by Charles De Koninck ; the University of Notre Dame, which was one of the great centers of Thomists ; as well as Princeton University, which welcomed Maritain from 1948 until 1960, and the University of Chicago, which offered chair to Thomist scholars passing through Chicago, thanks to Robert Hutchins, Mortimer Adler, and John Nef. The historical significance of the work I propose is situated in the intersection of several intellectual currents. On the one hand there is the “Thomist Revival” so eagerly sought after by Leo XIII, a revival that first took place in Europe and whose European aspects are well known, but whose passage to the New World remains largely unexamined, despite the numerous fruits that it produced. There is also the study of the American period of some European intellectuals, a biographical element that is likewise often unknown or ignored, resulting in a lacuna that flaws even the best of their biographies. Finally there is also the classic theme of cultural transfer (“translation studii”) between America and Europe, applied to Christian philosophy, which will permit the explication of a significant aspect of American Catholic though and will shed light on an “Atlantist” intellectual milieu.
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Dryansky, Larisa. "Déplacements : les usages de la cartographie et de la photographie dans l'art américain des années 1960 et du début des années 1970 : les cas de Mel Bochner, Douglas Huebler, Dennis Oppenheim, Ed Ruscha et Robert Smithson." Paris 1, 2011. http://www.theses.fr/2011PA010557.
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A travers les cas de cinq artistes (Mel Bochner, Douglas Huebler, Dennis Oppenheim, Ed Ruscha et Robert Smithson), il s'agit, dans cette étude, de rendre compte de la diversité et de la complexité des usages de la cartographie et de la photographie dans l'art américain des années 1960 et du début des années 1970, une période marquée par la remise en question de la définition formaliste de l’œuvre d'art. Loin de n'avoir, dans ce contexte, qu'une fonction documentaire - interprétation qui a prévalu jusqu'ici -, cartes et photographies, ainsi que nous le démontrons, jouent un rôle fondamental dans l' exploration de modalités différentes de la perception et la recherche de voies nouvelles pour l'art. Dans la première partie de la thèse, nous examinons comment le recours à la cartographie et au médium photographique s'articule à la problématique de la réintroduction de la temporalité dans les oeuvres d'art qui est au cœur de la crise du modèle moderniste. Dans un deuxième temps, nous traitons de la relation au paysage en montrant en quoi cartes et photographies participent d'une réflexion sur la redéfinition de l' abstraction en lien avec le réel. La troisième partie porte sur les façons dont les techniques et les représentations cartographiques et photographiques servent à interroger les conceptions habituelles de l'espace, et ce à un moment où l'art investit de nouveaux sites. Nous envisageons de la sorte tant les usages conceptuels que matériels de la cartographie et de la photographie.
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Lefilleul, Alice. "Animismes : de l'Afrique aux Premières Nations, penser la décolonisation avec les écrivains." Thèse, Sorbonne Paris Cité, 2018. http://hdl.handle.net/1866/21128.
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Gregory, Stephen W. G. "The collapse of dialogue : intellectuals and politics in the Uruguayan crisis, 1960-1973 /." 1998. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN2000.0001/index.html.
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Gregory, Stephen W. G. "The collapse of dialogue intellectuals and politics in the Uruguayan crisis, 1960-1973 /." 1999. http://www.library.unsw.edu.au/%7Ethesis/adt-NUN/public/adt-NUN2000.0001/.
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Toren, Tolga. "A case study: U.S. Labour relations with the Trade Union Council of South Africa 1960-1973." Thesis, 2010. http://hdl.handle.net/10539/8326.
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Abstract:
A CASE STUDY: U.S. LABOUR RELATIONS WITH THE
TRADE UNION COUNCIL OF SOUTH AFRICA
1960-1973
The aim of this study is to examine US policies towards the South African labour
movement through the American Federation of Labour - Congress of Industrial Organizations
(AFL-CIO) and US official institutions, such as the State Department and the Labour
Department of the United States, US universities etc. with particular focus on the period
between the 1960s and mid-1970s. The study is shaped as a case study. In the study, the
labour relations between the US and South Africa in the beginning of the 1960s and the
middle of 1970s are examined by specifically focusing on TUCSA.
The study is composed to six chapters. Following the first two chapters devoted for
introduction and literature review, the developments of the post-Second World War era, such
as the internationalization process of capital accumulation around the world, the cold war and
the formation process of new international organizations are dealt with. The re-structuring
process of the international labour movement under the cold war conditions and the
development of overseas labour policies of the ICFTU and the AFL-CIO are also handled in
this chapter.
In the fourth chapter, the capitalist development process of South Africa in the post
Second World War Era is discussed. The capital accumulation process under the apartheid
and the developments within the labour movement are the main issues dealt with in this
chapter.
In the fifth chapter, US investments in South Africa between the beginning of the sixties
and the mid seventies and the effects of these investments in the capital accumulation process
of South Africa are evaluated.
In the last chapter, the main focal point of the study, US labour relations with South
Africa between the 1960s and the middle of the 1970s is focused on with particular reference
to the relations between TUCSA and the US labour institutions including the AFL-CIO and
other official organizations of the US.
In the study, a historical framework is developed by focusing on developments in
international scale and South African scale. In the third, fourth and fifth chapters, extensive
literature on international labour, capitalist development of South Africa, labour history of
South Africa and US investments in South Africa is given to elaborate the issue. The sixth
chapter, which is the main chapter of the study, is relied principally upon archive materials of
TUCSA.
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Babatunde, Samuel Olufemi. "Engagement et militantisme dans le Docker Noir (1956), les Bouts de bois de Dieu (1960) et Xala (1973) de Sembène Ousmane." Thesis, 2015. http://hdl.handle.net/10500/19617.
Full textAbstract:
Text in FrenchMember of the union of black workers in the port of Marseille, in France, and an eyewitness to the misery of black workers in the European environment, Sembène Ousmane, in 1956, wrote, using his personal experiences, his first book entitled The Black Docker. In this novel, he describes the sufferings of the working class, the struggle between colonisers and colonised. In 1960, he uses as a pretext the strike of the Senegalese railway workers in 1937 to write a book entitled God's Bits of Wood. In this story where two forces clashed, on one hand, the colonised struggling against the colonial system and want, at all costs, to improve their living conditions, and on the other hand, the colonisers that are in support of their colonialist ideals and refuse the changes, the author tells the epic story of strikers in Senegal and their relentless struggles against the colonisers to change their living conditions for better. In 1973, an eyewitness of the daily realities of his native country, Senegal, after gaining national sovereignty, Sembène Ousmane wrote and published a book entitled Xala. In this book, he describes the evils of neo-colonialism and criticises the new African middle class, born after independence. After reading these novels, one notes that Sembène Ousmane, a defender of freedom, denounces the injustices done to the blacks, both in the colonial era as well as in the post colonial period. This is why from a book to another, he continues tirelessly his struggle against colonialism and neo-colonialism, evoking the sufferings and tragedies endured by the Africans. It occurs constantly in his imaginary creations, a theme, or better still a dialectical; commitment and militancy. What does he mean by « commitment » and « militancy » ? How do these two concepts manifest themselves in the works of the Senegalese writer? What strategy does he propose to the oppressed in the struggle against the oppressors? What means has he put at the disposal of the disinherited struggling to break the yoke of oppression and exploitation in order to achieve freedom and equality?
Membre du syndicat des travailleurs noirs, au port de Marseille, en France, et témoin oculaire de la misère vécue par les ouvriers noirs dans ce milieu européen, Sembène Ousmane, en 1956, écrit, en se servant de ses expériences personnelles, son premier ouvrage intitulé Le Docker noir. Dans ce roman, il décrit la souffrance de la classe ouvrière, la lutte entre colonisateurs et colonisés. En 1960, il se sert d’un prétexte, la grève des ouvriers sénégalais en 1937, pour écrire un ouvrage intitulé Les Bouts de bois de Dieu. Dans ce récit, où s’affrontent deux forces, d’une part les colonisés qui luttent contre le système colonial et veulent, à tout prix, l’amélioration de leurs conditions de vie, et d’autre part, les colonisateurs qui soutiennent les idéaux colonialistes et refusent le changement, l’auteur relate l’histoire épique des grévistes au Sénégal, et la lutte implacable qu’ils mènent contre les colonisateurs pour le changement de leurs conditions de vie. En 1973, témoin oculaire des réalités quotidiennes de son pays natal, le Sénégal, après son accession à la souveraineté nationale, Sembène Ousmane écrit et publie, un ouvrage intitulé Xala. Dans ce livre, il décrit les méfaits du néocolonialisme et critique la nouvelle classe bourgeoise africaine, née après l’indépendance. Après lecture des trois romans, on constate que Sembène Ousmane, défenseur de la liberté, dénonce les injustices faites aux Noirs, aussi bien à l’époque coloniale qu’à la période postcoloniale. C’est pourquoi, d’un ouvrage à l’autre, il continue, inlassablement, sa lutte contre le colonialisme et le néocolonialisme, en évoquant les souffrances et les drames endurés par les Africains. Il revient, constamment, dans ses créations imaginaires, à une thématique, ou mieux une dialectique, l’engagement et le militantisme. Qu’entend-il par « engagement » et « militantisme »? Comment ces deux lexèmes se manifestent-ils dans les écrits de cet écrivain sénégalais? Quelles stratégies propose-t-il aux opprimés dans la lutte qui les oppose aux oppresseurs? Quels moyens met-il a la disposition des déshérités en lutte pour briser le joug de l’oppression et celui de l’exploitation afin d’obtenir la liberté et l’égalité?
Linguistics and Modern Languages
D. Litt. et Phil. (French)
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Azevedo, Catarina Isabel Martins de 1977. "Imagens para a infância." Master's thesis, 2008. http://hdl.handle.net/10451/7266.
Full textAbstract:
Tese de mestrado em Educação Artística, apresentada á Universidade de Lisboa através da Faculdade de Belas Artes, 2008Le thème de cette dissertation de maîtrise est la recherche sur le processus constructif de l’illustration du livre infantile au Portugal. L’analyse se base sur dix entrevues sur la production graphique de quelques illustrateurs à savoir : Alain Corbel, André Letria, Carla Pott, Cristina Sampaio, Inês de Oliveira, João Fazenda, João Vaz de Carvalho, Margarida Botelho, Pedro Morais et Teresa Lima. Cette étude, a comme objectif de contribuer pour une meilleure connaissance et compréhension du quotidien de l’illustrateur, avec l’étude de ses préoccupations, expectatives, décisions et avec la perception qu’il présente dans le travail créatif. La construction de tout le processus de l’étude a tenu en compte un bref encadrement du panorama infantile au Portugal. Pour aider le développemennt de la recherche on a réalisé des questions connexe avec la création comme un acte communicatif, en analysant la motion que l’illustrateur a de la perception de l’enfant lecteur et ses impositions ; l’importance de la mémoire de l’enfance dans la production graphique ; la relation existante entre le discours narratif et le langage visuel et, pour finir, l’intention et la justification pédagogique dans la narrative visuelle. Ce que la présente étude vise, au fait, c’est profiter d’un éveil des consciences, ayant comme objectif l’hypothèse du rôle de l’illustration, en tant qu’élément dans l’éducation du regard esthétique de l’enfant
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Ekwealor, Chinedu Thomas. "United Nations Security Council Resolutions in Africa : the conundrum of state and human insecurity in Libya." Thesis, 2013. http://hdl.handle.net/10413/9712.
Full textAbstract:
Both interventionist and anti-interventionist scholars have advanced the view that the 2011 Libyan conflict probes the need to establish an international organisation to settle disputes between nations with a view to maintaining international peace and security. Ironically, 67 years after the founding of the United Nations, post-colonial African states remain deeply troubled and affected by conflicts that are often exacerbated by United Nations Security Council (UNSC) Resolutions. The 2011 Libyan conflict was not a war for democracy; rather, it represented and demonstrated clearly the asymmetrical relations between Africa and Europe. This study therefore, is anchored on the thesis that the Western Countries—especially Britain and France—within the UNSC ignore the values that are embodied in the Treaty of Westphalia which established state sovereignty. Some Permanent five (P5) members of the UN were typically insensitive to Libya’s sovereignty and to the creed of democracy and this inevitably undermined the national security of the state in favour of the ‘Responsibility to Protect’ clause.
The outsourcing of the UNSC’s mission, among other things, in Libya to ensure ‘international peace and security’ to the North Atlantic Treaty Organisation (NATO) was a critical reason for the loss of human lives and values in the 2011 Libyan pogrom. The introduction of a no-fly zone over Libya and the use of Responsibility to Protect (R2P) contained in UNSC Resolution 1973 clearly stoked the conflict in Libya in order to further the political and pecuniary interests of some of the P5 members. The involvement of NATO and the attendant bombing campaign in Libya served to undermine the militarily weak continent of Africa in its effort to broker peace under the umbrella of the African Union (AU). In order to secure these political and economic interests, the NATO jet bombers declared war against a sovereign UN member state and openly participated in the eventual overthrow and death of the Libyan leader, Muammar Gaddafi.
In essence, this study underscores that the use of Responsibility to Protect in Libya was orchestrated at the highest level of international politics to justify external interference and ultimately, to secure regime change in Libya.
The net effect of the outcome of the 2011 Libyan conflict is the post-war imperial control of Libya’s natural resources facilitated by the National Transition Committee established by these imperial forces. The extent of the damage caused by the UN-backed NATO intervention in Libya is also the result of the collective failure of the African Union to assert itself in the Libyan situation.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.
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Santos, ALexandra Sofia Miranda dos. "Helena Almeida: o tempo e a representação: um estudo sobre as múltiplas linguagens de sua obra, 1960-80." Master's thesis, 2009. http://hdl.handle.net/10451/1973.
Full textAbstract:
Tese de mestrado, Arte Património e Restauro, Universidade de Lisboa, Faculdade de Letras, 2010A autora pretende analisar o Tempo e a representação a partir do estudo da obra de Helena Almeida, em especial, entre as décadas de 50 e 80 do século XX, tendo como eixo a questão nacional portuguesa e o modernismo. Questiona nesta dissertação as afinidades e dissonâncias entre a obra da artista, o movimento moderno português e as vanguardas dadaístas e surrealistas. Estuda em particular, as relações entre o «Tudo ou nada» pessoano, o «Tudo e nada» dadaísta e a obra de Helena Almeida. Analisa-se ainda o processo criativo da artista nomeadamente o seu trabalho de desenho, pintura, escultura, fotografia e vídeo.
L'auteur prétend analyser le Temps et la représentation à partir de l'étude de l'oeuvre de Helena Almeida, en particulier entre les décenies 50 et 80 du xxème siécle,en ayant comme axe principal la question nationale portugaise et le modernisme. Questionne dans cette convergence les affinités et intérrogations entre l'oeuvre de l'artiste le mouvement moderne portugais et l'avant-garde dadaïste et le surréaliste. Etudie en particulier, les relations entre le " Tout ou rien" de Pessoa, le "Tout et rien" dadaïste et l'oeuvre de Helena Almeida. S'analyse encore le processus créatif de l'artiste cité: son travail de dessin, peinture, sculpture, photographie et vidéo.