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Alvarez, Romero Ana. "L'empreinte ethnographique dans la littérature mexicaine des années 1950, 1960 et 1970." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30060.
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Ce travail analyse les relations de l'ethnographie avec un corpus divers de la littérature mexicaine publiée au cours des années 1950, 1960 et 1970. Ces relations sont examinées par ce que nous appelons «empreinte ethnographique», une frontière sémiotique (dans la terminologie de Yuri Lotman) où les intérêts et les méthodes de l'ethnographie sont traduits en termes littéraires. Grâce à ce concept, nous analysons: Juan Pérez Jolote: biografía de un tzotzil (1948), de Ricardo Pozas; El diosero (1952), de Francisco Rojas González; Benzulul (1959), de Eraclio Zepeda; Balún Canán (1957) et Los convidados de agosto (1964), de Rosario Castellanos; La tumba (1964), de José Agustín; Gazapo (1965), de Gustavo Sainz; Los hongos alucinantes (1964), de Fernando Benítez; Los albañiles (1963), de Vicente Leñero; Hasta no verte Jesús mío (1969) et La noche de Tlatelolco (1971), d’ Elena Poniatowska; Chin chin el teporocho (1971), d’Armando Ramírez; et Vida de María Sabina. La sabia de los hongos (1977), d’Álvaro Estrada. L'interconnexion est présentée par le travail littéraire axé sur la reconstruction des sujets inscrits et configurés par leur culture: si d'abord dans la littérature mexicaine l'accent était mis sur l'indigène, ultérieurement cette littérature essai d'expliquer la culture de l'habitant urbain. De cette façon, l’empreinte ethnographique dévoile comment un corpus apparemment divers est interconnecté. De même, nous proposons que cette empreinte ethnographique soit construite par ce qu'on appelle le «réalisme culturel»: un style d’écriture qui tente de rendre compte de cultures spécifiques selon le point de vue de ses acteursThis study analyzes ethnography’s relationship with a diverse corpus of Mexican literature published during the decades of 1950, 1960 and 1970. These relationships are analyzed through what we call “ethnographic imprint”, a semiotic frontier (in Yuri Lotman’s terminology) where ethnography’s interests and methods are translated into literary terms. Through this concept, we analyze Juan Pérez Jolote: biografía de un tzotzil (1948), by Ricardo Pozas; El diosero (1952), by Francisco Rojas González; Benzulul (1959), by Eraclio Zepeda; Balún Canán (1957) and Los convidados de agosto (1964), by Rosario Castellanos; La tumba (1964), by José Agustín; Gazapo (1965), by Gustavo Sainz; Los hongos alucinantes (1964), by Fernando Benítez; Los albañiles (1963), by Vicente Leñero; Hasta no verte Jesús mío (1969) and La noche de Tlatelolco (1971), by Elena Poniatowska; Chin chin el teporocho (1971), by Armando Ramírez; and Vida de María Sabina. La sabia de los hongos (1977), by Álvaro Estrada. The interconnection appears through literary work focused on rebuilding subjects framed and shaped by their culture: if the original focus was the native, in the later period the subject explained according to its culture was the urban dweller. Thus, the ethnographic imprint reveals how an apparently diverse corpus is interconnected. Similarly, we propose that this ethnographic imprint is constructed through what we call “cultural realism”: a writing style that tries to account specific cultures (with correspondence in the extratextual world) from the actors’ point of view
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BARATIERI, Daniela. "Italian colonialism : memories and silences : 1930s-1960s." Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/10393.
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Defence date: 26 October 2007Examining Board: Professor Luisa Passerini (EUI and Università di Torino); Professor Bo Strath (EUI); Professor Nicola Labanca (Università di Siena); Professor David Forgacs (University College London)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
no abstract available
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Cadioli, Giovanni. "Soviet economic thought and economic policy in the 1940s : influence on 1950s-1960s reforms." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:255012eb-5322-404d-b39a-ad11edb0640d.
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The present thesis looks at the Soviet economy in the 1940s-1960s period. It specifically focuses on the influence of economic policy and thought developed in the late 1940s on the post-Stalinist era. The thesis' aim is to prove that several key elements of 1950s-1960s economic reforms had already been conceptualised, proposed or implemented during the Stalinist period. The pillars of this 1940s-1960s reforming continuity which the research deals with are khozraschet, economic levers (profit, value, market, prices, credit, bonuses), perspective planning, the balance of the national economy method, as well as the debates concerning the law of value and the repeated attempts at drawing up a General Plan and at drafting a new Party Programme. The key figure this thesis focuses on is N.A. Voznesensky, top Soviet planner in 1939-1949. In the late 1930s he revived practices and methods discontinued after 1928, while under his aegis, policies and debates that later influenced post-Stalinist reforms were developed in the late 1940s. The thesis relies on primary evidence gathered at four Russian state archives (RGAE, GARF, ARAN, RGASPI) and on research carried out at British, Russian, Italian and German libraries.
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Hui-Bon-Hoa, Alan. "Identity and marginality on the road: American road movies of the 1960s, 1970s and 1990s." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107914.
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This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality,freedom, and rebellion. The first period, what I term the "founding" period of the road moviegenre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that of the "minority" road movie, occurs largely in the 1990s and includes Ridley Scott's Thelma & Louise (1991), Gregg Araki's The Living End (1992), and Spike Lee's Get on the Bus (1996). Emphasizing the cinematic worlds, narrative trajectories, and identity politics of the road movie, I argue that "founding" road movies, though usually homogeneous in their portrayals of identity, are significant for later minority road movies because they establish points of rebellion that negotiate between dominant and marginal social relations that minority road movies would later revisit. These minority road movies (re)interpret the generic raw material of the past, tapping into a number of subgenres as well as themes of marginality, freedom, and rebellion, in order to introduce new identities to the genre. Important to the many exchanges between the two periods is the interplay of subgenres; as I will discuss, many of these films borrow, critique, and subvert the generic precedents of the past.Cette thèse examine deux périodes clés du genre cinematographique des 'road-movies' américains en se concentrant sur les formations identitaires telles qu'elles sont articulées à travers les thèmes de la marginalité, de la liberté, et de la rébellion. La première période, que je qualifierais de période fondatrice du genre 'road-movie', comprend six films des années 1960 et1970: Bonnie and Clyde d'Arthur Penn (1967), Easy Rider de Dennis Hopper (1969), The Rain People de Francis Ford Coppola (1969), Two-Lane Blacktop de Monte Hellman (1971), Vanishing Point de Richard Sarafian (1971), et Road Movie de Joseph Strick (1974). La deuxième période du genre, que j'identifierais comme celle du 'road-movie' « minoritaire », est produite en grande partie dans les années 1990 et comprend Thelma & Louise de Ridley Scott(1991), The Living End de Gregg Araki (1992), et Get on the Bus de Spike Lee (1996). En soulignant les univers cinématiques, les trajectoires narratives, et les politiques identitaires, je soutiens que les films «fondateurs», souvent homogènes dans leurs représentations identitaires, sont importants pour les « road-movies » minoritaires ultérieurs car ils établissent des points derébellion négociant entre des rapports sociaux de dominants a marginaux, eux-meme plus tard revisités par les films minoritaires. Ces « road-movies » minoritaires réinterpretent les matériaux génériques bruts du passé, mettant en valeur un certain nombre de sous-genres ainsi que les thèmes de la marginalité, la liberté, et la rébellion, afin d'introduire de nouvelles identités au genre. Le jeu des sous-genres est lui-meme important dans les nombreux échanges entre les deux périodes : je débats que plusieurs de ces films empruntent, critiquent et subvertissent les précédents génériques du passé.
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Sanmanee, Sirichai. "Use of GIS to Identify and Delineate Areas of Fluoride, Sulfate, Chloride, and Nitrate Levels in the Woodbine Aquifer, North Central Texas, in the 1950s, 1960s, 1970s, 1980s, and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2869/.
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ArcView and ArcInfo were used to identify and delineate areas contaminated by fluoride, sulfate, chloride, and nitrate in the Woodbine Aquifer. Water analysis data were obtained from the TWDB from the 1950s to 1990s covering 9 counties. 1990s land use data were obtained to determine the relationship with each contaminant. Spearman's rank correlation coefficients and Kruskal-Wallis tests were used to calculate relationships between variables. Land uses had little effect on distributions of contaminants. Sulfate and fluoride levels were most problematic in the aquifer. Depth and lithology controlled the distributions of each contaminant. Nitrate patterns were controlled mainly by land use rather than geology, but were below the maximum contaminant level. In general, contaminant concentrations have decreased since the 1950s.
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Avrutin, Lilia. "The semiotic anthropology of Soviet film culture, 1960s-1990s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ34731.pdf.
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Farrugia, Marisa. "The plight of women in Egyptian cinema (1940s-1960s)." Thesis, University of Leeds, 2002. http://etheses.whiterose.ac.uk/251/.
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It has been suggested that the period between the 1940s and the 1960s was 'the golden age' of Egyptian cinema -a period of growth, innovation and popularity. The aim of this research is to focus on the plight of Egyptian women in selected long feature films of this period, and how this -was realistically represented on the screen. It was a daunting task for the present researcher to embark on such controversial gender issues, especially from a westerner's perspective on a Muslim Arab society. But the researcher's determination and sense of duty to investigate and expose the hardships of Egyptian womenfolk through films, managed to overcome that feeling of trepidation, together with the tremendous support of her advisor Dr. Zahia Salhi. This study begins by tracing the historical development of Egyptian cinema and the important role played by female pioneers in the newly emergent film industry, whereby an assessment of the role of these pioneers is also considered. This leads to an analysis of the status of the Egyptian woman within her socio-historical and cultural contexts that are essential for the identification of gender based representational strategies in these films. The research reviews major film theories related to representation, communication and gender issues, and how films as products of their creators, are connected to the social, economic, political and cultural backgrounds of a given time and place. In addition to these film theories, the study recommends a textual variation approach for film analysis, for those films based on literary texts that have been adapted to the screen. The textual variation approach looks for the ways in which the film director modifies the original text when it is adapted into a film. The aim behind the textual variation approach is tounderstand the function of the dominant theme in both literary text and film, and scrutinise its visible or latent realistic meanings vis ii vis the structures of thought which dominated the Egyptian society of the 1940s to the 1960s. It is these structures of thought that impose on the film-makers the textual variations from novel to film. The difference in the time period when the novel was written is compared with the period when the film was produced in order to assess the present social dominant ideologies or the shifting values. Thus, the time dimension factor, together with the film-makers' own views, help us determine the internal expectations of the Egyptian society and the realistic plight of its womenfolk. To bring the concept of textual variation into application, three film case studies are considered, th e findings of which demonstrate that when textual variations or total adherence to the novel were involved, dominant ideologies were either reaffirmed, shifted or evolved according to the era of the film production.
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Szarycz, Ireneusz. "Poetics of Valentin Kataev's prose of the 1960s and 1970s." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5274.
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Lane, Margaret. "Women and domestic life in Hull, 1920s to the 1960s." Thesis, University of Hull, 2011. http://hydra.hull.ac.uk/resources/hull:5374.
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Keshmershekan, Abdolhamid. "Contemporary Iranian painting : neo-traditionalism during the 1960s and 1990s." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409536.
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Barbieri, Chiara. "Graphic design and graphic designers in Milan, 1930s to 1960s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2816/.
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Graphic design holds a marginal position in the Italian design historiography in relation to industrial design. Often written by and for graphic designers, histories have tended to concentrate on changes in graphic styles as exemplified in works by prominent designers or the visual communication strategies of major companies. By contrast, this thesis addresses the organisation of the graphic design profession in Milan, from the interwar period to the mid-1960s. Key aspects explored include: graphic design’s mutable meanings and practices; formal and informal educational practices; graphic designers’self-identification with a new profession; and the structures they created to organise and make their practice visible. A focus on dialogue and negotiation between different interest groups stresses the relational and contingent nature of design professions. The thesis asks whether Milan’s graphic practitioners capitalised on modernist ideas such as standardisation, universalism, objectivity and functionalism to distance themselves from graphic arts and advertising, and enable re-categorisation within design. Thus, it problematises the relationship between professionalisation and international modernism, within the specific context of industrial structures in Milan and the hierarchy of design practice in twentieth-century Italy more broadly. The thesis provides an original retelling of stories often taken for granted, and looks behind individual designers and big companies to uncover overlooked narratives. Five chapters addressing the Scuola del Libro and the Cooperativa Rinascita in Milan, the ISIA in Monza, the Milan Triennale, the Studio Boggeri and the associations AIAP and ADI draw attention to educational issues, design practice, professional organisations, networks and mediating channels that have defined, legitimised, represented, advanced, contrasted, and articulated the graphic design profession in Milan. The argument is built on close scrutiny of archival material and other primary sources, including extensive visual material and oral interviews. Methodologies derive principally from history of design and visual culture, and place great emphasis on visual analysis. Visual artefacts are approached both as visual expressions of design methodologies and aesthetic principles and, drawing on actor-network-theory, as three-dimensional actors that interact with people and other artefacts. Despite focusing on the local, the thesis draws on global design history as a methodology by taking into account the dynamic and multi-directional movement of people, ideas, and artefacts within transnational circuits. Building on sociological stances, it approaches professions as socially constructed concepts and argues that professional identities are constantly in formation and require continual adaptation to shifting environments, agendas and design discourses. The thesis aims to offer neither a comprehensive history of Italian graphic design nor a final assessment of its professionalisation. Rather, it prioritises the process of professionalisation, by stressing tensions and contradictions, and by following practitioners’ struggle to articulate what graphic design is. The originality and potential impact of the thesis lie in its endeavour to present a closely-articulated history of the graphic design profession in Milan that draws attention to economic, industrial, political, social and technological contexts, and to propose this as a template for the writing of graphic design history. Furthermore, it provides a historically-integrated, archive-based, outward-looking model for graphic design history as an integral part of the history of design.
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Hodgson, James Neil. "Male homosexuality in Brazilian cinema of the 1960s and 1970s." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/male-homosexuality-in-brazilian-cinema-of-the-1960s-and-1970s(d1678b48-5d3c-47fa-9a06-b4b0d72ed49b).html.
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The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.
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Barrow, Ondine. "Charity, relief and development : Christian Aid in Ethiopia, 1960s-1990s." Thesis, SOAS, University of London, 1998. http://eprints.soas.ac.uk/28961/.
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This thesis is about a charity, Christian Aid (CA) and the experience of that charity working in Ethiopia over three decades. The thesis looks at the evolving capabilities of CA in the world of relief and development. It asks whether CA has learned anything from its experience. The study looks at CA from the beginning of the 1960s through major famines and through a process by which charities have grown from small apolitical organisations to prominent political players, both in the southern countries where they work, and in the northern countries where they undertake publicity, lobby and advocacy. With changing priorities and demands on aid, practical experience on its own, has not been enough to ensure a coherent institutional response. There is a significant danger that CA has not had time to reflect on what has happened. This thesis provides an institutional memory, a historical reflection on CA's own development. The thesis sets CA in the context of development in general and Ethiopia in particular. It looks at the charity as an organisation, at its evolution and positioning within the broader institutional and theoretical setting. It explores the different levels of policy and concern within the organisation. The various paradigm shifts in development policy over the past 30 years are examined, setting up debates that had real meaning for the charity around a set of specific policy concerns in Ethiopia. The main body of analysis focuses on CA's performance in Ethiopia. The charity's experience of famine in the mid-1970s and mid-1980s is explored and its response analysed. How CA articulated development policies in Ethiopia from the late 1980s is examined. Throughout, the focus is on how CA has positioned its mandate, how theory related to practice and how the experiences of the past have informed the present.
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Hamilton, Stephen Derek. "New Zealand English language periodicals of literary interest active 1920s-1960s." Thesis, University of Auckland, 1996. http://hdl.handle.net/2292/1146.
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The primary objective of this thesis is to provide an account of New Zealand literary magazine activity from the 1920s to the 1960s. While a focus is maintained on the fifteen year period between the appearance of the first issue of Phoenix in March 1932 and the advent of Landfall, the thesis examines several magazines whose issue runs extend well outside that period. The thesis is divided into two volumes, the first of which, in Chapters Two through Five, provides a detailed survey of the four most important periodicals published entirely within the period selected for this study: Phoenix (1932-1933), Tomorrow (1934-1940), Book (1941-1947), and New Zealand New Writing (1942-1945). Chapter Six concludes Volume One with a survey of the numerous university based periodicals, including several published entirely outside the focal period of the study. In Volume Two, Chapters Seven to Nine discuss, in order, the Auckland family magazine the Mirror (1922-1963), the national magazine of the arts Art in New Zealand (1928-1946), and the travel journal the Near Zealand Railways Magazine (1926-1940). All three of these publications are of significance as early sites for the development in New Zealand of the popular fiction genres of romance, adventure and mystery. Chapter Ten deals with a range of minor little magazines, including the New Zealand Mercury (1933-1936), Quill (1934-1948), Anvil (1945-1946), Chapbook (1945-1950), Oriflamme: A Literary Journal (1939-1942), and those edited, printed and published by Noel Farr Hoggard: Spilt Ink (1932-1937), New Triad (1937-1942), Letters (1943-1946), and Arena'(1946-1972). Appendix I supplies an annotated bibliography of the fifty-two periodicals discussed in the body of the thesis. These annotations are supplemented with author indexes for those periodicals not already indexed by earlier researchers. Appendix II compares the text of Allen Curnow's 1939 prose and poetry sequence Not in Narrow Seas with an early version of the sequence published in Tomorrow between June 1937 and August 1938.
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Lai, Victor Ming Hoi. "The influences of Taoism on postwar American abstract expressionism (1940s-1960s)." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274225.
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DiSalvo, Mary Lorraine. "Redirecting Neorealism: Italian Auteur-Actress Collaborations of the 1950s and 1960s." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11518.
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The aftermath of Italy's cinematic movement neorealism left several directors searching for a new cinematic practice and a new directorial identity. Many of the most artistically intrepid directors of the era turned to women as a means of professional and personal reinvention. This study analyzes the collaborations of Vittorio De Sica, Roberto Rossellini, Federico Fellini, and Michelangelo Antonioni with the actresses Sophia Loren, Ingrid Bergman, Giulietta Masina, and Monica Vitti, respectively.Romance Languages and Literatures
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Straine, S. E. "The ground of drawing : graphic operations in the 1960s and 1970s." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1416487/.
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This thesis aims to rethink the terms for drawing as it negotiated dematerialisation and deskilling at the beginnings of conceptual art in the mid to late 1960s. The survival of drawing at this time is considered in terms of what a ground means in relation to an image, concentrating on questions of finish, temporality, skill, and materiality – most crucially that of paper. Over five monographic chapters, I set out the foundational and flexible proposition of the ground of drawing: an equally material and conceptual framework that disrupts the direct registration of line and trace that process-led accounts of drawing in the expanded field have so often focused on. Accepting both the precision and pollution of drawing as it existed within the mass media landscape of the 1960s and early 1970s, the examples discussed move away from the active flight of linearity in favour of rendering, depiction, narrative or visual deception, revealing drawing’s relationship to the world to be both potently iconic and stubbornly indexical. Chapter 1 tackles drawing’s newly conceptual relationship to trompe l’oeil through Vija Celmins’s use of photographic paper ephemera. Chapter 2 explores the concepts of over-working and after-drawings as together they control and obscure Franz Erhard Walther’s interactive sculptural practice. Chapter 3 reappraises Bill Bollinger’s intermedial practice of sculpture, drawing and installation to focus on his works on paper shaped by industrial gestures and a blindness of technique. In chapter 4 the ground shared by drawing and performance in the work of Alex Hay is used to interrogate the material and conceptual potential of the paper plane – referencing drawing only at an oblique angle. The final chapter thinks through the idea of post-photographic drawing within an image-saturated print and media culture, ultimately reconciling the durational, illusionistic drawing of Ed Ruscha with its hidden processual base.
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Speaks, Elyse Marie Deeb. "The architecture of reception : sculpture and gender in the 1950s and 1960s /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174676.
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Bodling, Kurt Allen Thayer. "The Jesus Movement of the 1960s and 1970s as a "Great Awakening"." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Bielby, Clare. "Print media representations of violent women in 1960s and 1970s West Germany." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3226.
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A proliferation of media discourse on the ‘phenomenon’ of violent women in 1960s and 1970s West Germany suggests that the violent woman is a troubling figure who provokes both fascination and fear. Julia Kristeva’s notion of the abject provides a language for understanding and accounting for the complex mixture of emotions the figure elicits. For Kristeva, abjection is a violent revolt against something which threatens the subject, which may be both “other” or foreign, and familiar; we abject that which cannot be tolerated, cannot be thought or known, which provokes both desire and repulsion. Troubling about the violent woman, and what renders her culturally unintelligible or unimaginable, is that she takes life rather than giving it. In this study, I trace the various attempts made by the print media to assimilate the violent woman, to make her thinkable and knowable and, as a result, to defuse her threat. More frequently, she is made other, abjected either in the Kristevan sense or in the (related) more literal sense: ‘cast off,’ ‘excluded,’ ‘rejected’ or ‘degraded.’ West Germany of the 1960s and 1970s provides a good time-frame for the study: West German terrorism, which involved a large number of women, was at its peak in the 1970s, and a number of high-profile trials against non-politically violent women also took place during the period. In chapter one of the thesis, I look at how the violent woman is rendered the negative and ‘unnatural’ (m)other of the proper German woman and nation, the better to bolster hegemonic understandings of both woman and nation; in chapter two, how she is made hysterical and feminised so as to defuse the threat that she poses; in chapter three, how her crime is redefined as a crime against her gender and sexuality (one idea here is that it is the ‘man inside’ who is to blame). Finally, in chapter four, I explore how the violent woman is abjected through association with filth and defilement. Arguably it is because the strategies which attempt to assimilate, to know and to name her fail or are only partially successful, that the violent woman must be abjected from the body politic through association with dirt.
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Bergfelder, Tim. "The internationalisation of the German film industry in the 1950s and 1960s." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297478.
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Holbrook, Joseph. "Catholic Student Movements in Latin America: Cuba and Brazil, 1920s to 1960s." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/1013.
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This dissertation examines the ideological development of the Catholic University Student (JUC) movements in Cuba and Brazil during the Cold War and their organizational predecessors and intellectual influences in interwar Europe. Transnational Catholicism prioritized the attempt to influence youth and in particular, university students, within the context of Catholic nations within Atlantic civilization in the middle of the twentieth century. This dissertation argues that the Catholic university movements achieved a relatively high level of social and political influence in a number of countries in Latin America and that the experience of the Catholic student activists led them to experience ideological conflict and in some cases, rupture, with the conservative ideology of the Catholic hierarchy. Catholic student movements flourished after World War II in the context of an emerging youth culture. The proliferation of student organizations became part of the ideological battlefield of the Cold War. Catholic university students also played key roles in the Cuban Revolution (1957-1959) and in the attempted political and social reforms in Brazil under President João Goulart (1961-1964).
The JUC, under the guidance of the Church hierarchy, attempted to avoid aligning itself with either ideological camp in the Cold War, but rather to chart a Third Way between materialistic capitalism and atheistic socialism. Thousands of students in over 70 nations were intensively trained to think critically about pressing social issues. This paper will to place the Catholic Student movement in Cuba in the larger context of transnational Catholic university movements using archival evidence, newspaper accounts and secondary sources. Despite the hierarchy’s attempt to utilize students as a tool of influence, the actual lived experience of students equipped them to think critically about social issues, and helped lay a foundation for the progressive student politics of the late 1960s and the rise of liberation theology in the1970s.
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Treglia, Laura. "Guerrilla girls : rebellious women of the Japanese 1960s-1970s 'pinky violence' films." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702934.
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Haga, Koichi. "The critique of virtual shifting discursive space in Japanese literature, 1960s-1980s." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1682825951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Ziefel, Jenny. "A living instrument : the clarinet in jazz in the 1950s and 1960s /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11284.
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Thesis (D. Mus. Arts)--University of Washington, 2002.Vita. Includes transcript of interview, vita and discography of Bill Smith (leaves 257-286). Includes bibliographical references (leaves 240-256).
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Pickett, Meagan Lynette. "Digital textile patterns inspired by themes from the late 1950s/early 1960s." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/2610.
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Yang, Shu. "Grafted Identities: Shrews and the New Woman Narrative in China (1910s-1960s)." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20693.
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My dissertation examines the unacknowledged role of negative female models from traditional literature in constructing the modern woman in China. It draws upon literary and historical sources to examine how modern cultural figures resuscitated and even redeemed qualities associated with traditional shrews in their perceptions and constructions of the new woman across the first half of the twentieth century. By linking the literary trope of the shrew, associated with imperial China, with the twentieth-century figure of the new woman, my work bridges the transition from the late-imperial to the modern era and foregrounds the late-imperial roots of Chinese modernization.
The scope of my dissertation includes depictions of shrews/new women in literary texts, the press, theater, and public discourses from the Republican to the Socialist period. Although there exists a rich body of work on both traditional shrew literature and the new woman narrative, no one has addressed the confluence of the two in Chinese modernity. Scholars of late imperial Chinese literature have claimed that shrew literature disappeared when China entered the modern age. Studies on the new woman focus on specific social and cultural contexts during the different periods of modernizing China; few scholars have traced the effects that previous female types had on the new woman. My research reveals the importance of the traditional shrew in contributing to the construction and reception of the new woman, despite the radically changing ideologies of the twentieth century. As I argue, the feisty, rebellious modern women in her many guises as suffragette, sexual independent, and gender radical are female types grafted onto the violent, sexualized, and transgressive typologies of the traditional shrew.
My research contributes to the studies of Chinese modernity and the representations of Chinese women. First, it bridges the artificial divide between modern and traditional studies of China and expands the debates about the nature of Chinese modernity. Second, it brings to light the underexamined constructions of the new woman as an empowered social actor through her genealogical connections to the traditional shrew. Third, it provides a methodology for rethinking the contested depiction of women in Chinese modernity.
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Burgon, Ruth Amy. "Pace, rhythm, repetition : walking in art since the 1960s." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25512.
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In recent years, there has been a noticeable rise in the use of walking in artistic practice. Artists explore, map, narrate, draw, follow and procrastinate through the use of pedestrianism. This rise in an artistic output that uses the walking body has coincided with a burgeoning literature in this field; a literature that, I argue, has yet to find its feet, frequently repeating, and so depoliticising, the dominant narrative that casts walking as a strategy of resistance to the high-speed technological demands of late capitalism. Beyond its role as emancipatory gesture, I show, walking is enmeshed in histories of gender, labour, punishment, power and protest; something that a focus on the art of the 1960s and ‘70s can help to uncover. Accordingly, this thesis seeks to place the recent rise of ‘walking art’ in a specific historical context, positing that the uses of walking by artists today find the key to their legitimation in moving image and performance work of the 1960s and ‘70s. Through chapters on the work of the Judson Dance Theater (1962-7) and Trisha Brown (early 1970s), Bruce Nauman’s studio films and videos (1967-9) and Agnes Martin’s only film Gabriel (1976), I argue that these artists used walking not only to deconstruct the mediums out of which they worked (dance, sculpture, painting), but also to negotiate the wider socio-political issues of the era, from protest marching and the moon landings to much more clandestine concerns such as surveillance and controlled viewership. These chapters reveal a walking body as supported by technology, subject to self-discipline, and negotiating a new relationship with the natural world. A final chapter on Janet Cardiff’s audio walks, which she first developed in the late 1990s, makes explicit a feminist problematic, as I ask where the female body resides in a long history of male walkers, and explore the broader question of how we write the history of ‘walking art’. Via Cardiff, I reflect on the place of the 1960s and ‘70s in our historical imagination today, arguing for a more uneasy reading of the art of these decades than we have previously been used to.
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Amato, Jean M. "The representation of ancestral home and homeland in Chinese American fiction (1960s-1990s) /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181080.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 307-317). Also available for download via the World Wide Web; free to University of Oregon users.
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Herrick, Andrew Robert. "A hairy predicament the problem with long hair in the 1960s and 1970s /." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4932.
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Priebe, Janina. "Greenland's future : narratives of natural resource development in the 1900s until the 1960s." Doctoral thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-142073.
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This doctoral thesis identifies and analyzes narratives of Greenland's future that emerged in the context of developing and modernizing the dependency's natural resources industries in the 1900s until the 1960s. After almost two centuries of Danish colonial rule, the turn of the 20th century witnessed a profound change in Greenland's governance. Although contested at first, the notion of cultural progress increasingly linked developing a modern industry to a productive economy under Danish auspices. Ideas of modernity that connected rationalities of the market with political power and science were unparalleled in the colonial discourse on Greenland's future. How were the development of Greenland's natural resource industries and its role in Danish governance debated? Which narratives emerged in this context? As the studies in this compilation thesis suggest, the rationalities of science, markets, and power became entangled in an unprecedented way during these decades, creating new ways to imagine Greenland's future. The first paper analyzes the application of a private stakeholder group of Copenhagen's financial and economic elite for access to Greenland as a private, for-profit venture to extract and trade with the colony's living resources in 1905. The motif of an Arctic scramble was constructed through the authority of science, still resonating in the debate on rare earth mining today. The second paper identifies the business relationships between the group's members, connecting major Danish financial institutes and private economic interests in the late 19th and early 20th century. The third paper focuses on the commercialization of Greenlandic fisheries in the 1910s until the late 1920s and the fisheries scientist Adolf Severin Jensen (1866-1953). Jensen's work is an example of how applied sciences connected both scientific and political agendas, carried out in a colonial setting. The fourth paper focuses on the narrative analysis of (Danish-language) Greenlandic newspaper coverage of Qullissat between 1942 and 1968. Representations of the coal mine and nearby settlement on Greenland's west coast, which were closed down in 1972, are at the center of this study. While the coal mine was presented as a Danish success to establish an independent energy supply and to introduce modernization measures, it was presented as a Greenlandic failure to adapt to modern demands of economic productivity in the years leading up to its closure.
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MAROJA, CAMILA SANTORO. "THREADING THE LABYRINTH: THE WORK OF ROBERT MORRIS IN THE YEARS 1960S-1970S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8481@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORRejeitando a noção de uma produção artística pautada em uma linearidade, o trabalho de Robert Morris das décadas 1960-1970 escapa a rótulos como minimalista, arte processual ou arte de site-specific, embora seus escritos e obras tenham sido fundamentais para que críticos e historiadores de arte pudessem delimitar e/ou cunhar esses mesmos termos. A mobilidade adotada pelo artista - seja na adoção de um espaço e de um tempo da obra de arte como co-extensivos aos de seu público, seja na forma de obras que incorporam o observador - resulta numa ida em direção à experiência sensível vivida pelo espectador, que é transformado em um visitante/participante. Apesar de estarem inseridos em preocupações de seu momento histórico, esses trabalhos apontam para uma pesquisa estética que continua ainda hoje. Ao oferecerem, por meio de uma série de iniciativas exploratórias, os termos para uma experiência escultural, as obras de Morris impulsionam uma reflexão sobre as opções da escultura e de sua percepção. São obras cuja compreensão exige o tempo, o espaço e o corpo como condição da experiência estética.
In its refusal of the idea of an artistic production based on linearity, the work of Robert Morris in the years 1960s-1970s cannot be designated as minimalist art, process art or site-specific, although his writings and pieces were essential for critics and art historians to define and/or to create the definitions themselves. The mobility which the artist adopts - both in his performance pieces and his process pieces - leads viewers into a sensible space/time experience turning them into participants/visitors. Although the works of Robert Morris point to the concerns of its historical background, they also foresee an aesthetic research that has continued to this day. By offering a series of exploration initiatives, they compel a reflection about the options of sculpture and about its perception. They are works that entail time, space, and the body as conditions of an aesthetic experience.
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Kowal, Roman. "Krzysztof Penderecki's Actions and the Polish Jazz Awakening of the 1950s and 1960s." Gudrun Schröder Verlag, 2006. https://ul.qucosa.de/id/qucosa%3A70574.
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Baxter, Lisa Mary. "History, identity and meaning : Cape Town's Coon Carnival in the 1960s and 1970s." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/19684.
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Little has been written about the Coon Carnival since its inception in the late nineteenth century. This thesis helps remedy the general neglect of popular, "Coloured", working class history during the apartheid years. attempts to situate Cape Town's New Year Carnival within the international debate surrounding popular festival and identity. Following a broadly historical line of inquiry, this thesis straddles different disciplines, borrowing from a range of interpretative fields to assess the form and significance of the event during the 1960s and 1970s, a critical period in the Carnival's history. During these years, District Six - the event's symbolic and spiritual home - was declared for "White" residence only under the Group Areas Act. Coloured residents were forcibly removed from this central city suburb to disparate areas on the Cape Flats - the townships surrounding the metropolis. A year later, in 1967, the carnival parade was effectively banned from the city centre's streets; banished to remote and enclosed stadium venues. Thus, in a relatively short space of time the Carnival came under sustained attack. Due to the relative dearth of critical engagement with, or historical commentary on, the Carnival, this thesis relies heavily on oral sources and journalistic, visual and tourist oriented representations. Focussing particularly on the oral testimonies of twenty-four people involved in the event, it explores the notion of continuity and change in the Carnival during this period, through a thorough interrogation of the narratives.
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Adams, Beverly. "Locating the international : art of Brazil and Argentina in the 1950s and 1960s /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004205.
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Perrill, Elizabeth A. "Contemporary Zulu ceramics, 1960s-present." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330798.
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Thesis (Ph.D.)--Indiana University, History of Art, 2008.Title from PDF t.p. (viewed on Jul 21, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3782. Adviser: Patrick R. McNaughton.
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Meadows, Rita Emily. "The portrayal of older adults in basal reading textbooks of the 1960s and 1980s." Gainesville, FL, 1986. http://www.archive.org/details/portrayalofolder00mead.
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Churchill, Lindsey Blake. "Imagining the Tupamaros resistance and gender in Uruguayan and U.S. revolutionary movements, 1960s-1980s /." Tallahassee, Florida : Florida State University, 2010. http://etd.lib.fsu.edu/theses/available/etd-04052010-215137.
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Thesis (Ph. D.)--Florida State University, 2010.Advisor: Robinson A. Herrera, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page viewed on July 23, 2010. Document formatted into pages; contains vi, 168 pages. Includes bibliographical references.
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Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.
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Guest, Lacey. ""A Special Relationship of Peculiar Intimacy": Marriage Education in the United States, 1920s-1960s." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23808.
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Marriage education emerged in universities across the United States in the 1920s as a response to a perceived “marriage crisis.” Over the next several decades, marriage educators shaped marriage course content to reflect student interests and maintain relevance to students’ lives. With the goal of saving marriage from the abstract forces of modernity, faculty initially targeted a specific demographic: white, middle-class, college students. This thesis chronicles the trajectory of marriage education as it shifted from a mechanism of positive eugenics to a vehicle by which black students in the South could access rights of citizenship in the post-WWII period. What began as a method of civic exclusion with roots in the eugenic movement transformed into a means through which Southern black citizens asserted their rights to education, marriage, sexuality, and family. This democratization of education for citizenship reflected the diverse uses of marriage education from the 1920s through the 1960s.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.
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Kim, Esther Songie. "Asian American Theatre History From the 1960s to 1990s: Actors, Playwrights, Communities, and Producers." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392814758.
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Carletti, Elena. "The Photographic Eye: Poetry and the Visual in 1950s and 1960s Italian Experimental Writers." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/22076.
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This PhD thesis argues that, in the 1950s and 1960s, several Italian experimental writers developed photographic and cinematic modes of writing with the aim to innovate poetic form and content. By adopting an interdisciplinary framework, which intersects literary studies with visual and intermedial studies, this thesis analyses the works of Antonio Porta, Amelia Rosselli, and Edoardo Sanguineti. These authors were particularly sensitive to photographic and cinematic media, which inspired their poetics. Antonio Porta’s poetry, for instance, develops in dialogue with the photographic culture of the time, and makes references to the photographs of crime news. Furthermore, his poetry relies on the technique of poetic montage, and juxtaposes photographic and cinematic sequences through the use of percussive meter and frequent punctuation. Amelia Rosselli, on the other hand, refers to photography as a medium to capture and record her life story. Her poetry seems to work like a camera, recording a precise personal experience in both space and time. The still camera and film camera also inspire her metrical system, presented in her manifesto of poetics Spazi metrici. Finally, Edoardo Sanguineti claims to see the world photographically through a camera eye as well as through a cinematic mind. His poetry also borrows formal techniques from other artistic practices – such as collage and montage – and aims to deconstruct normative syntax as a form of resistance to bourgeois hegemony. This thesis intends to provide new and unexplored perspectives on the work of the authors analysed. It also suggests that there is a broader interrelation of literary and photographic cultures beyond the presented case studies. In post-war Italy, experimental and neo-avant-garde writers reshaped their poetry in direct dialogue with both photography and cinema. By recognising that the interactions between literature, photography, and cinema lay at the core of the poetic research of several authors in the 1950s and 1960s, this thesis aims to fill a gap in Italian Studies scholarship on poetry and calls for further research in this area.
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Gilbert, Susannah. "Transgressive networks : mail art, circulation and communication in and out of Latin America, 1960s-1980s." Thesis, University of Essex, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.605175.
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The circulation of ideas and images outside institutions, particularly mail art and its legacies, has been neglected in art history, while many mail art works remain un-researched and un-exhibited. The reappraisal of mail an networks provokes a critical examination of the historical moment of the 1960s to 1980s, as well as its relationship to present day art practice. This thesis tells some of the stories of mail art's complex history across and beyond Latin America, tracing a multifaceted trail of contacts and exchanges both within and outside the continent. It considers the ways in which artists used cultural and geographical distance productively to rethink key issues in art to question the status of the an object, to disavow the institutionalised art world and to propose new forms of expression and community. In so doing, the thesis probes some of the most fundamental issues facing those thinking about transnational artistic production from the 1970s until the present day. The thesis is not a straightforward history of the mail art movement in Latin America. Rather, it attempts to harness the aesthetic of chance, disarray and transgression that marks mail art, focusing on 'nodes' in the mail art network and radiating outwards. These crucibles of activity include the group of mail artists active in Recife (particularly Paulo Bruscky) and the Museum of Contemporary Art at the University of Sao Paulo (MAC-USP) in Brazil; the Beau Geste Press in the UK, run by David :Mayor, Felipe Ehrenberg and Martha Hellion; the small city of La Plata (through the work of Edgardo Antonio Vigo) and the Buenos Aires-based Centre for Art and Communication (CAYC) in Argentina; as well as Clemente Padio's activities in Montevideo, Uruguay. While the study focuses on a core group of artists hailing from Latin American countries, at times we find ourselves in the UK, East Germany or North America, echoing mail art's ability to transcend borders and geographical boundaries. The transgression of a host of ordering systems emerges as a central preoccupation of artists within this network.
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Groves, Zoe Rebecca. "Malawians in colonial Salisbury : A social history of migration in central Africa, c. 1920s-1960s." Thesis, Keele University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534310.
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Paulo, Mah Silva Luis. "Strategic actions and public policy choices : leadership and institutional change in South Korea, 1960s-1990s." Thesis, London School of Economics and Political Science (University of London), 2004. http://etheses.lse.ac.uk/2670/.
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South Korea has long been touted as an outstanding model of economic development. Despite poor resource endowment and a large population, a colonial legacy, the devastation following a civil war, persistent political instability, and the lingering military confrontation with her northern neighbour, Korea's role in the international economic system has rapidly increased in importance since the 1950s. For nearly four decades, Korea has achieved a remarkable economic performance that transformed the country from a typical case of a developing nation trapped in a "vicious circle of underdevelopment", into one of the largest economies in the late 1990s. Several factors account for the Korean economic success, from high levels of domestic investment and savings and a growing volume of exports, to the improvement of the quality of life reflecting decreased poverty levels, longer life expectation and lower fertility rates. Beneath the economic success lays a system of "socialisation of private risk", a particular mode of organising the market, as the "visible hands" of a strong and developmental state was able to accelerate the pace of economic growth by identifying strategic industrial sectors, making discretionary allocation of resources to those sectors, and minimising the collective action dilemmas pervasive in most developing countries. Yet, how the developmental state's policy goals were designed, negotiated and implemented remains much of a "black box". This research argues that to understand the policy process in Korea, it is crucial to examine the central role played by Korean leaders and how their policy choices are shaped by the dynamic interaction of institutions, history, context, ideas and coalition politics.
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Hurina, Anna. "Representations of urban spaces and their transformations in Soviet cinema of the 1920s and 1960s." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11340/.
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This dissertation explores the correlations between planned/constructed urban environments and the depiction of the city in films. The research focuses on the changing image of the socialist city in two broadly conceived modernist periods: the 1920s and the 1960s. Adhering to the methodologies of visual, film and urban studies after the ‘spatial turn’ in the humanities, my thesis charts the interdependency of two fields – urbanism and cinema – in the production of Soviet urban space. The theoretical contributions of my study include: (1) revisiting the theory of dispositif and the subject it produces with regard to the Soviet context; (2) identifying the category of the socialist city symphony as a cinematic sub-genre in the 1920s; (3) re-affirming the productivity of the concept of the ‘thing’ in relation to the cinematography of the 1920s; (4) reconceptualizing utopian impulses and the inherent dialectical movement of the Soviet understanding of technology. This dissertation mirrors the theory of the ‘linear city’ proposed by Nikolai Miliutin in 1930: a scheme for the parallel disposition of industrial and living spaces, which are divided by a green zone along the lines of transport infrastructure. The three parts that form this thesis are accordingly structured around the following conceptual entities: dispositif (philosophical and film theory concepts; its application towards the railway, city and the cinema); living spaces of the socialist city (architectural and screen byt [way of life]); working spaces of the socialist city and the dialectics of technology on the cinema screen. The main findings of my work are: the explication of the affinities between the New Soviet Subject and the production strategies of urbanism and cinema; establishing the stylistic, ideological and rhetorical similarities between the modernisms of the 1920s and 1960s; and analyzing the panoply of utopian impulses embodied in urban and film material which are easily missed if the Soviet experience is only viewed as the cultural production of totalitarianism.
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Culler, Jeremy Neal. "Toward a noncommercial technology the development of image-processed video in the 1960s and 1970s /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0003100.
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White, Margaret. "Ideas, representations and relationships : communities of practice in art, early childhood, and education, 1900s-1960s." Thesis, The University of Sydney, 2001. https://hdl.handle.net/2123/27705.
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This history of ideas in art and education considers social and cultural
preoccupations that informed the precursors of early childhood practice in
Australia in the 19603. During the twentieth century, the practice of individuals
and communities in art and early childhood education, occurred within a
modernist dynamic of change. In this thesis, these changes are conceptualised
within a social learning framework of a constellation of communities of practice.
An interest in, and consideration of, the personal experience of 'the child', is
found to connect these communities across time and place. The framework
facilitates consideration of a breadth of disciplinary areas that inform the
exploration of ideas. Attention to details of practice throws light on the lived
experience of practitioners in both the arts and education.
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Neves, Ana Catarina da Palma. "Empresas e sistemas de informação em perspectiva histórica - a Fábrica Saupiquet em Setúbal (1960s-1980s)." Master's thesis, Universidade de Évora, 2006. http://hdl.handle.net/10174/16307.
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O objectivo deste estudo é averiguar a intensidade e o ritmo das adaptações no sistema de informação interno de uma grande empresa multinacional, observada a partir de uma unidade situada na periferia da economia europeia. O estudo centra-se na empresa Compagnie Saupiquet, uma empresa francesa de conservas que se expandiu internacionalmente e consiste numa análise do arquivo histórico da sua fábrica de Setúbal. Tomando-se como referência o ano de 1963, com base nos documentos analisados, fez-se uma reconstituição do sistema de informação interno desse ano. A análise dos anos 70 e 80 é comparativa, isto é, pretende mostrar as diferenças e as semelhanças destes anos relativamente ao ano de 1963. Durante os anos 70, a empresa transformou-se numa organização diversificada, reforçando a departamentalização e a hierarquia de gestores profissionais e promovendo a descentralização das responsabilidades. A informação foi institucionalizada e passou a ser partilhada por todos os gerentes das fábricas e presidentes das empresas do Grupo. /ABSTRACT - The aim of this study is to examine the intensity and the rhythm of the adaptations of the internal information system in a large multinational enterprise. The enterprise is observed from a unity which is located in the periphery of the European economy. The study is focused on Compagnie Saupiquet, a French enterprise, which expanded at an international level. It consists of an analysis of the historical archive of the Setúbal factory of that enterprise. 1963 was established as a reference with the internal information system of this year being reconstructed on the basis of the analyzed documents. The analysis of the seventies and eighties is comparative, i.e., it intends to present the differences and similarities of these years as compared to 1963. During the seventies the enterprise became a diversified organization by reinforcing departmentalization and hierarquical professional management and by promoting responsibility decentralization. The information became institutionalized and shared by all the factory managers and presidents of the Group enterprises.