Dissertations / Theses on the topic '1967-1971'

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
In this study, we selected the College of Education (Faculdade de Educação) (FACED) from Federal University of Sergipe (Universidade Federal de Sergipe) (UFS) as an object of analysis, which represents the first FACED created in the state. The study was limited in time between 1967 and 1971, once these are the years that marked the creation of the College and the graduation of the first class of the Faculty of Education. In the case of a historical research work, the institution has been analyzed by methodological procedures involving documentary analysis and bibliographic review, both anchored in the assumptions of the New Cultural History. The Oral History supports semi-structured interviews and statements from former teachers, former employees and former students of the institution. After the initial analysis, the research reveals that the Faculty of Education of Federal University of Sergipe, legally established in 1967, was only installed in 1968 through the breakup of the Catholic Faculty of Philosophy of Sergipe. The creation and association of the FACED to the cited University was a requirement of the Federal Council of Education, by the reporter of the creation of the UFS, Newton Sucupira.
Neste estudo, foi selecionado como objeto de análise a Faculdade de Educação (FACED) da Universidade Federal de Sergipe (UFS), a qual representa à primeira FACED criada no Estado. O trabalho foi delimitado temporalmente entre 1967 e 1971, por serem estes os anos que marcaram a criação da Faculdade e a colação de grau da primeira turma do curso de Pedagogia. Em se tratando de um trabalho de pesquisa histórica, a instituição foi analisada mediante procedimentos metodológicos envolvendo a análise documental e a análise bibliográfica, ambas ancoradas nos pressupostos da Nova História Cultural. A História Oral ofereceu suporte a entrevistas semi-estruturadas e depoimentos de ex-professores, ex-funcionários e ex-alunos da instituição. Diante da análise, a pesquisa revelou que a Faculdade de Educação da Universidade Federal de Sergipe, criada legalmente em 1967, só foi instalada em 1968 através do desmembramento da Faculdade Católica de Filosofia de Sergipe. A criação e a integração da FACED à Universidade citada foi uma exigência do Conselho Federal de Educação, através do relator do processo de criação da UFS, Newton Sucupira.

The purpose of this thesis is to establish the contribution of the Soviet weekly, Literaturnaya gazeta, to the debunking of official dogmas during the Brezhnev years. Launched in 1967, the second section of Literaturnaya gazeta has frequently been dismissed as a mere safety valve, highly controlled by the authorities, to placate the educated middle classes demoralized by the conservative backlash. It is argued in this study that, although the paper accepted the political parameters of the post-Thaw conservative leadership, as evinced, in particular, by the extreme limitations of the economic debates and the absence of any material investigating the country’s Stalinist past, it nevertheless succeeded in promoting values which ran counter to the official ideology. The paper reflected the demoralization of Soviet society and its inability to change within the existing structures. Soviet society emerged as being morally corrupt, riddled with individualism, suspicion and petty authoritarianism. Individuals were shown at the mercy of faceless bureaucracies and overpowered by a judiciary system dominated by the state procuracy. The paper actively promoted a more individual-centred type of society by overtly challenging the collectivist ethos, campaigning for the recognition of consumer rights and arguing the case for a fairer judiciary system.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 19, 2010). Thesis advisor: Dr. Berkley Hudson. Includes bibliographical references.

O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades.
The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.

An infinite gray roof with different degrees of transparency is displayed with authority on a Scandinavia made of pieces, fragmented. However, the sky that covers these lands unifies it. The light passes through it and reaches the level of human development in an ethereal way, like an intense white mist, with an almost liquid consistency that allows it to spill on every corner, object, person or building. These particular characteristics can be reflected through art in paintings, films, writings and architectural works. The sensitivity of some artists to this imprecise reality, this forbidden heaven and this invasive northern light was sometimes the real pattern to recreate their art. Vilhelm Hammershøi lived among grays, in a home with stripped interiors. The succession of one gray after in his paintings and images out of focus with fuzzy boundaries constitute a constant grisaille. This unreal light invades Hammershøi's exteriors and architectural paintings, creating a particular atmosphere that was the main inspiration for the films of Carl Theodor Dreyer. Black and white is manipulated in Dreyer's films. White prevails over black. The scale of lighter grays is used to show neutrality, purity, reality without sieves. The manipulation of the northern light in Dreyer's films creates oppressive or ethereal indoor spaces. It also creates backlight exterior scenes where the characters struggle against being dissolved by the intense light or quiet outdoors where the characters disintegrate and almost merge with the background. Poul Henningsen was obsessed with the manipulation of artificial light. He searched the warmth that the Nordic daylight was deprived of. The perfect balance between light and shadow was his goal in order to achieve quiet environments and meeting places. He searched for the vibration of fire in his lamps, longing for the colour of sunlight and feeling nostalgia for his childhood which had passed around an oil lamp light. The search for this vibration can also be found in the Faaborg Museum, designed by Carl Petersen, and it is also mentioned in his three conferences "Textures", "Contrasts" and "Colours." The light passes through the sieve of colour to generate a feeling of warmth characteristic of other latitudes. Red, blue and yellow invade the art galleries, and create the background where the works of art are exhibited. Petersen considers light as the source of colour, all colours are present in it. Erik Gunnar Asplund materialized the transition between tradition and modernity, having a critical and selective look over the new trends. With a tendency to stand out the functionally most important spaces of each building, he gave them relevance morphologically and with the use of light. Arne Jacobsen follows Asplund's steps. A distinct identity emerges and Jacobsen is one of the architects that build on an anonymous Danish architecture background and the prospects of modern architecture. The northern light in the Scandinavian buildings is filtered through designed openings, gaps through which the light slips creating domes, walls and beams, defined by the shadow gradually gaining ground. From light to darkness there is an innumerable range of tonalities, curves and planes, in other words, architectural forms. The simplicity and minimalism present in these artists is unintentional. The light fills their paintings, cinematic landscapes, objects and architecture. The density of the northern light compensates the characteristic nudity of their works; emptiness does not have a place in the Nordic reality.
Una cubierta en infinitos grises y con distintos grados de transparencia se despliega autoritariamente sobre una Escandinavia hecha de trozos, partida, fragmentada. Sin embargo el cielo que sobre ella se extiende la unifica. La luz la atraviesa y llega al plano del desarrollo humano de forma etérea, como una neblina de color blanco intenso, con un carácter casi líquido que le permite derramarse sobre cada rincón, objeto, persona o edificio. Estas características particulares pueden verse plasmadas a través del arte en lienzos, películas, escritos y obras arquitectónicas. La sensibilidad de algunos artistas a esta realidad imprecisa, a este cielo prohibido y a esta invasiva luz del norte, fue, en algunos casos, el motivo elegido para recrear su arte. Entre grises Vilhelm Hammershøi recorrió su hogar, vivió junto a Ida en interiores despojados. La sucesión de un gris tras otro es lo que se retrata en sus lienzos, imágenes fuera de foco con límites borrosos que constituyen una constante grisaille. La onírica luz de Hammershøi invade también sus exteriores y sus pinturas de arquitectura, creando un particular clima, que constituyó la principal inspiración para el cine de Carl Theodor Dreyer. El blanco y negro del cine de Dreyer es manipulado, el blanco está mucho más presente que el negro. La gama de grises más claros es utilizada como medio para plasmar la neutralidad, lo puro, la realidad sin tamices. La manipulación de la luz del norte en el cine de Dreyer, genera ambientes interiores oprimentes o espacios etéreos, exteriores a contraluz en los que los personajes luchan para no ser disueltos por la intensa luminosidad sobre la cual se recortan, o exteriores apacibles en los que las figuras se disgregan y casi funden con su fondo. La manipulación de la luz artificial obsesionó a Poul Henningsen, buscando en la iluminación de la noche nórdica la calidez de la cual la luz diurna estaba privada. El perfecto equilibrio entre luces y sombras era su objetivo para lograr ambientes apacibles y de reunión. Buscó la vibración del fuego en sus lámparas, añorando el color de la luz del sol, y con nostalgia de su infancia que había transcurrido alrededor de la lámpara de petróleo. Lo mismo ocurre en el Museo de Faaborg, diseñado por Carl Petersen, y en lo expuesto en sus tres conferencias "Texturas", "Contrastes" y "Colores". La luz es pasada por el tamiz del color para ser modificada, para generar una sensación de calidez propia de otras latitudes. Rojos, azules, ocres, invaden las salas de exposición y sobre ellos se recortan las obras expuestas. Para Petersen la luz es la fuente del color, en ella todos los colores están presentes. Erik Gunnar Asplund concreta la transición entre tradición y modernidad, teniendo siempre una mirada crítica y selectiva de las nuevas corrientes. Con una tendencia a resaltar los espacios, que por funcionalidad son los principales de cada obra, se los jerarquiza morfológicamente y con el uso de la luz. Arne Jacobsen sigue los pasos de Asplund. Una identidad diferenciada surge y Jacobsen es uno de los exponentes que construye con el bagaje de una arquitectura danesa anónima y las perspectivas de la arquitectura moderna. La luz del norte se filtra en las obras escandinavas a través de aberturas diseñadas, huecos por los que la luz resbala creando cúpulas, muros, jácenas, que quedan delimitadas por la sombra que gana terreno progresivamente. De la luz a la sombra hay una infinidad de tonalidades, curvas y planos; en definitiva, formas arquitectónicas. Lo sobrio y minimalista de los artistas que se han mencionado es intencionado, la luz llena sus pinturas, sus paisajes cinematográficos, sus objetos y su arquitectura. La densidad de la luz del norte compensa la desnudez que caracteriza a sus obras, la vacuidad no tiene lugar en la realidad nórdica.

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O presente trabalho propõe um estudo sobre uma personagem singular em toda obra de Dalcídio Jurandir (1909-1979): Luciana. A história dessa personagem é encontrada de modo fragmentado no sexto, sétimo e oitavo romances da série Extremo Norte, na ordem: Primeira manhã (1967), Ponte do Galo (1971), Os habitantes (1976). Essa fragmentação é motivada pelas mudanças das “instâncias produtivas do discurso narrativo” (GENETTE, 1995) e pela constante participação do discurso das personagens – “characters’ discourse” (SCHMID, 2010) - na constituição da história de Luciana. Por essa razão, entende-se que Luciana é uma personagem cuja configuração precisa ser melhor estudada, a fim de compreender de que maneira o discurso do narrador, dos personagens e da própria Luciana contribuem para a sua composição enquanto personagem. As teorias no campo da narratologia de Gérard Genette (1995) e Wolfgang Schmid (2010) e a teoria do romance polifônico de Mikhail Bakhtin (2010) desempenham, neste trabalho, a importância de descrever os fenômenos responsáveis pelos diferentes discursos sobre Luciana e de ajudar a pensar o status dessa personagem no discurso narrativo dos três romances.
This paper proposes a study of a singular character in every work of Dalcídio Jurandir (1909- 1979): Luciana. The story of this character is found fragmented in the sixth, seventh and eighth novels of the Extremo Norte series, following the order: Primeira manhã (1967), Ponte do Galo (1971), Os habitantes (1976). This fragmentation is driven by changes in "productive instances of narrative discourse" (GENETTE, 1995) and the constant participation of the speech of the characters - "characters' discourse" (SCHMID, 2010) – in the constitution of Luciana's story. For this reason, it is understood that Luciana is a character whose setting needs to be further studied in order to understand how the discourse of the narrator, of the characters and of Luciana herself contribute to her composition as a character. The theories in the field of narratology of Genette (1995) and Wolfgang Schmid (2010) and the polyphonic novel theory of Mikhail Bakhtin (2010) play in this work the importance of describing the phenomena responsible for the different discourses on Luciana and assist to think of the status of this character in the narrative discourse of the three novels.

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Universidade Estadual Paulista (UNESP)
Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962).
From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).

This doctoral study focuses on a literary and cultural analysis of contemporary Spanish literature starting from the 1990. Historias del Kronen (Mañas, 1994) and its four sequels, represent a starting point for the analysis, through punk novels that challenge the present, depicted as cyclical, outside of history. Mañas’s literary rebellion is linked to Proyecto Nocilla (Fernández Mallo, 2013) where the objects become protagonists, and in which time, the perpetual present, is filled with hypertexts. The investment in metafiction in Mañas and Fernández Mallo is linked to the aesthetics of Javier Cercas who, since Soldados de Salamina (2001), has researched the role of the past in the present and has masked the limits of biography and imagination. In this sense, Cercas’s work, extended here to include El punto ciego (2016), and the novel El impostor (2014), is bound to the concept of truth, and historical memory
El objetivo del presente estudio es llevar a cabo un análisis sobre la novela española contemporánea a partir de los años noventa del siglo XX. La novela Historias del Kronen (Mañas, 1994) y sus cuatro secuelas representan el punto de partida de la investigación mediante textos literarios “punk” que desafían al presente retratado como cíclico. La rebelión literaria de Mañas se conecta al Proyecto Nocilla (Fernández Mallo, 2013) donde los objetos se convierten en protagonistas, y el presente perpetuo es ritmado por medio de hipertextos. El recurso metaliterario en Mañas y Mallo conecta con la estética de Javier Cercas, que, a partir de Soldados de Salamina (2001), investiga sobre el rol del pasado en el presente, confundiendo los límites entre biografía e imaginación. El análisis del trabajo de Cercas se extiende hasta El punto ciego (2016), y El impostor (2014), para acercarse a conceptos como “verdad literaria” y memoria histórica

Etudié à travers un corpus composé de six œuvres contemporaines – celles de Vinaver, Lemahieu, Kermann, Kane, Fosse et Schimmelpfennig –, Le Théâtre des voix permet de dresser les contours d’un paysage théâtral où l’organisation poétique de différentes voix constitue la charpente du drame. Une première partie traite de dramaturgies fondées sur des compositions rythmiques qui prennent en compte une réception auditive. Une deuxième partie déplace l’analyse sous l’angle du personnage et examine comment ce dernier se retire dans des voix qui le constituent en le déliant. L’ensemble des études réunies dans cette recherche s’appuie en outre, épisodiquement, sur des pièces d’autres auteurs comme Novarina ou Crimp. De la sorte, le propos ambitionne de mettre à jour un théâtre où la priorité est donnée à la vibration sonore des corps et où le lecteur-spectateur se trouve d’abord touché par l’écoute
The Theatre of Voices will study a corpus of six contemporary plays – those of Vinaver, Lemahieu, Kermann, Kane, Fosse and Schimmelpfennig. This thesis will allow us to draw up the outlines of a theatrical landscape where the framework of the drama is the poetic organization of different voices. The first part of the thesis will deal with dramatic forms that rely on rhythmical compositions, which takes into account an auditory reception. The second part will move the analysis to the point of view of characters. This part will examine how characters withdraw themselves in voices that makes them and untie them at the same time. Most of the studies gathered in this research will rely occasionally on plays by other playwrights such as Novarina or Crimp. In a way our goal will be to reveal a form of the theatre where the priority is given to the ringing vibration of bodies and where the readers and the audience are first moved by their own listening of the text

Orientador: Robert Wayne Andrew Slenes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O Candomblé é uma religião cujos sentidos, ações rituais e cosmologia possuem vínculos com várias tradições religiosas do oeste e centro da África, e divide-se em subgrupos que se autodenominam nações: Ketu (ou Nagô), Jeje e Angola, entre outras. Os estudos sobre essa religiosidade privilegiaram, desde o seu início, o culto de origem nagô, que acabou sendo tomada como modelo ideal, em detrimento das outras, estabelecendo um importante paradigma que viria influenciar decisivamente os estudos afro-brasileiros, desde a transição do século XIX para o XX. Somente a partir da década de 1970, com o surgimento de novos estudos africanistas, foi possível traçar novos argumentos para analisar a presença africana nas Américas, e estabelecer bases para a discussão sobre um diálogo possível entre centro-africanos e africanos ocidentais na formação do candomblé. Joãozinho da Goméia (1914-1971) foi um pai de santo do Candomblé Angola, que iniciou sua trajetória na Bahia e se deslocou para Caxias, na Baixada Fluminense, na década de 1940. Personagem controvertido em sua época pelas constantes aparições na mídia, Joãozinho teve uma grande fotorreportagem veiculada pela revista o Cruzeiro, em 1966, que retratou as vestimentas das divindades cultuadas em seu candomblé, em um conjunto de 26 fotografias, além da capa da edição. O recorte temporal, que privilegia o período compreendido entre 1937-1966, diz respeito às primeiras aparições de Joãozinho na imprensa, até a veiculação da fotorreportagem em O Cruzeiro. Esse trabalho se propõe a analisar, a partir das imagens veiculadas em O Cruzeiro, as contribuições da presença centro-africana na formação de uma religiosidade negra no Brasil, lançando mão do uso complementar de fontes de diversas naturezas, como periódicos, imprensa, relatos de missionários e etnografias, para permitir uma análise mais aprofundada do tema abordado
Abstract: Candomblé is a religion whose meanings, ritual actions and cosmology are linked to various religious traditions from West and Central Africa. Its practitioners are divided into subgroups that call themselves nations: Ketu (or nagô), Jeje and Angola, among others. The studies about this religion gave priority, since their inception, to the cult that had a nagô (yoruba) origin, which, because of this, became the ideal model, to the detriment of the others. In this way an important paradigm was created, which would decisively influence Afro-Brazilian studies from the end of the 19th to well into the 20th century. It was only from the 1970s, with the renovation of studies on Africa, that it became possible to elaborate new arguments for analyzing the African presence in the Americas and for thinking about a possible dialogue between Central and West Africans in the formation of Candomblé. Joãozinho da Goméia (1914-1971) was a priest (pai de santo) from Candomblé-Angola, who began his career in Bahia and moved to Caxias, in the Baixada Fluminense, in the 1940s. A controversial figure in his time because of constant appearances in the media, Joãozinho was featured in a widely divulged piece of photo journalism that appeared in O Cruzeiro magazine in 1967, portraying the vestments of the divinities cultivated in his candomblé in a set of 26 pictures, plus the image on the issue?s cover. The temporal limits of the study, which focuses largely on the period from 1937 to 1966, are defined by Joãozinho?s first appearances in the press and by the making of the photo report for O Cruzeiro. The aim is to explore the images that appeared in O Cruzeiro in order to analyze the contributions of Central Africans to the formation of black religiosity in Brazil. The thesis uses complementary sources of different natures, such as periodicals, newspapers, missionary reports and ethnographies, to provide a deeper analysis of the question studied
Mestrado
Historia Social
Mestre em História

Entrer dans les poèmes par le concept de voix, c’est s’engager dans une poétique de l’écoute au plus près des corps : corps écrivant, oralisant, performant, traduisant, corps du lecteur, du spectateur. Dès lors qu’on entreprend de déconstruire la métaphore de la voix et d’en observer les modalités de passage, on révèle les liens décisifs qui existent entre le langage comme force physique et la poétique comme éthique et politique. Le concept de passage de voix produit des leviers critiques qui impliquent d’autres déconstructions, rebattant les cartes de nombreux dualismes qui empêchent le plus souvent d’apercevoir l’activité relationnelle du langage, au premier rang desquels l’opposition entre oral et écrit. Envisager les voix non telles des signatures, comme le font souvent la stylistique ou l’histoire littéraire, mais comme des processus, c’est écouter des rythmes de subjectivations dont l’énergie se déploie depuis la vie énonciative du langage, avec leur valeur transformatrice voire émancipatrice. Cela implique des découvertes sur notre conception des lieux et de la temporalité, non comme des catégories thématiques ou ontologiques mais anthropologiques. Questionnant des textes théoriques ayant à cœur d’explorer les enjeux conceptuels de la voix, du rythme, du sujet (Meschonnic, Martin, Rabaté, Dessons, Bernadet), et en s’appuyant sur un corpus principal composé des œuvres protéiformes des poètes français contemporains Stéphane Bouquet, Christophe Manon et Frank Smith (textes, performances, vidéos), la thèse explore trois grandes modalités des passages de voix, en définit les enjeux et les effets : mouvements de diffraction, de spatialisation, de présentation
To enter poems through the concept of voice is to engage in a poetics of listening intently to bodies: the bodies which write, speak aloud, perform and translate, as well as the bodies of the reader and the spectator. When we undertake to deconstruct the metaphor of the voice and observe its forms of passage, we discover the decisive links that exist between language as a physical force and poetics as ethics and politics. The concept of the passage of voice gives rise to critical levers which involve other deconstructions, thereby changing the way we think about many dualisms. These latter usually prevent us from perceiving the relational activity of language, foremost among which is the opposition between oral and written language. To consider voices not as signatures – as stylistics or literary history often do – but as processes is to listen to the rhythms of subjectivations whose energy unfolds from the enunciative life of language, with their transformative or even emancipatory value. This implies discoveries about our conception of places and temporality, not as thematic or ontological categories, but as anthropological ones.This thesis explores three main forms of voice passages and sets out their issues and effects: movements of diffraction, spatialisation and presentation. To do so, it questions theoretical texts which focus on investigating the conceptual issues of voice, rhythm and subject (Meschonnic, Martin, Rabaté, Dessons, Bernadet), based on a main corpus (in the form of texts, performances and videos) made up of the protean works of the contemporary French poets Stéphane Bouquet, Christophe Manon and Frank Smith

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In 1995, the Brazilian government promulgated the Law 9,140 that aims at the moral reparation to the victims of the military dictatorship in the country and reparation through indemnity to their families. This law also established the creation of the Special Committee of Killed and Political Missing (CEMDP) with the objective of promoting the recognition of the State through the responsibility of crimes committed during the period of political repression. Currently to the immediate enactment of this law, the State recognized 136 people as missing, according to the Dossier of killed and political missing, prepared by the Committee of Relatives. The other cases were referred to CEMDP, whose task was to analyze, investigate and judge the cases related to the victims. During the process of assessment of the cases, it was under the responsibility of each family the lifting of sufficient evidence to blame the State in the crimes. During the 11 years of action (1996-2007) to CEMDP received files relating to 475 victims. Of this total, 136 names were already listed in Annex I of Law 9.140/95, related to the missing. The other 339 cases were subject to review by the Committee. Of this number, 221 cases were accepted and families could be indemnified, and 118 cases were dismissed. Although it has been expanded in the years of 2002 and 2004, the Law 9.140/95 does not solve the case of the political missing, it does not allow the location of their remains and it does not guarantee punishment for those who practiced crimes at the time. Even today, it is a law of restricted nature
Em 1995, o governo brasileiro promulgou a Lei 9 140 que visa à reparação moral às vítimas da ditadura militar no país por meio de indenização as suas famílias. Essa Lei estabeleceu ainda a criação da Comissão Especial de Mortos e Desaparecidos Políticos (CEMDP), com o objetivo de promover o reconhecimento Estado mediante a responsabilidade dos crimes cometidos durante o período da repressão política. No momento imediato à promulgação dessa Lei, o Estado reconheceu 136 pessoas como desaparecidas, conforme Dossiê de mortos e desaparecidos políticos, elaborado pela Comissão de Familiares. Os demais casos foram encaminhados para a CEMDP, cuja tarefa foi analisar, investigar e julgar os processos relacionados às vítimas. Durante o processo de apreciação dos casos, ficou sob responsabilidade de cada familiar o levantamento de provas suficientes para responsabilizar o Estado nos crimes. Durante os 11 anos de atuação (1996-2007), a CEMDP recebeu processos referentes a 475 vítimas. Desse total, 136 nomes já constavam no Anexo I da Lei 9 140/95, relacionado aos desaparecidos. Os outros 339 casos foram objeto de análise da Comissão. Desse número, 221 casos foram deferidos e as famílias puderam ser indenizadas, e 118 casos foram indeferidos. Embora tenha sido ampliada nos anos de 2002 e 2004, a Lei 9 140/95 não soluciona o caso dos desaparecidos políticos, não permite a localização de seus restos mortais e não garante punição aos que praticaram crimes na época. Ainda hoje, é uma lei de caráter restrito

Souvent conceptualisée comme l’envers ou l’opposé de la raison, la folie, presque toujours synonyme de débordement, semble vouée à outrepasser toute limite définitoire ou conceptuelle posée par la pensée rationnelle. Cette pulsion de délimitation ou de classification inhérente à la rationalité, trouve dans le genre l’une de ses expressions les plus représentatives. Partant du constat que la folie ne cesse de transgresser les frontières traditionnelles de genre, ce travail étudie les liens entre les représentations littéraires de la maladie mentale et les questions de genre sexué (« gender ») comme littéraire, dans un corpus composé de romans, nouvelles et pièces de théâtre de six auteurs (Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson et Will Self), publiés entre 1951 et 2004. Animées par une dynamique toujours renouvelée de subversion des catégories établies, ces oeuvres invitent à une réflexion sur le rapport particulier qu’entretient la folie à la frontière, qui de simple ligne de démarcation ou de séparation se fait point de contact, puis espace à part entière. À travers leurs représentations de la folie, les récits étudiés privilégient le plus souvent, en effet, une esthétique et une épistémologie de l’entre. Cette réflexion s’articule donc principalement autour des images et des usages de la liminalité dans ces histoires de fous et de folles qui, au fil de leur (re)définition de l’appartenance et de l’identité des textes et des individus, esquissent une cartographie mobile des « contrées à venir » dont Deleuze et Guattari font la destination de toute écriture
Traditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing

This dissertation analyzes that peculiar political front that in the 1970s called itself, and was generally called «revolutionary left», in alternative to the «official», «traditional», or «historical» left represented by the Italian Communist Party (Pci) and the Italian Socialist Party (Psi). The research, however, embraces a longer time span of Italian socio-political history and the international labor movement, starting with the anarchist movement and the dissident organizations that in 1943-44 appeared within the socialist-communist traditions (Trotskyites, Bordigists, socialist left, etc.), and ending with the Marxist-Leninist and operaista (“workerist”) organizations of the sixties and seventies. The cross-sectional analysis of the sources has revealed both continuities and discontinuities in the political activism of the revolutionary left before and after 1968. In any case, the former seem to outnumber the latter
Questa ricerca analizza quella peculiare area politica che negli anni settanta si rappresentò, e in genere venne rappresentata, come «sinistra rivoluzionaria», alternativa a quella definita «ufficiale», «tradizionale» o «storica» (Partito comunista italiano e Partito socialista italiano). La ricerca, tuttavia, abbraccia un arco temporale relativamente ampio della storia politico-sociale italiana e del movimento operaio italiano e internazionale. Partendo dal dissidentismo anarchico e social-comunista (trockisti, bordighisti, sinistra socialista, ecc.), che si manifesta a partire dal 1943-1944, si arriva alle organizzazioni rivoluzionarie degli anni sessanta e settanta: marxisti-leninisti e operaisti. Dallo studio incrociato delle fonti è emerso come il rapporto tra il Sessantotto e la militanza politica nei gruppi della sinistra rivoluzionaria pre e post-sessantottina fosse caratterizzato sia da elementi di continuità-omogeneità sia da elementi di rottura-eterogeneità. In ogni caso, i primi sembrano sopravanzare i secondi

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration
Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show

This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971–1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden’s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist’s early career into developmental stages. In light of a wealth of new information about Burden and the atmosphere in which he was working in the late 1960s and early 1970s, this dissertation examines the artist’s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having informed his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden’s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works. Benefitting from access to the artist’s estate, as well as archives collected at various institutions in Southern California, this dissertation is the first authoritative coverage of Chris Burden’s early career.

This thesis deals with the relations between Czechoslovakia and Israel in 1967-1971. It is specifically concerned with anti-Zionist policies of the socialist regime, which reflected themselves not only in the anti-Israeli stance of Czechoslovakia, but also in the relations of state authorities towards Jewish minority, and bore antisemitic characteristics. Contrary to lasting rigorous refusal of antisemitism since 1940s/50s, Czechoslovakia manifested its hostility towards Israel on regular basis. Struggle against Zionism was one of the aims of the Czechoslovak ideological war against alleged or real adversaries. For the regime, Israel represented West, and West was full of so called centres of ideological diversion. One of such centres was also Radio Free Europe (RFE). Author of the thesis assumes that RFE not only reflected the ideological struggle concerning Jews and "Zionists," in Czechoslovakia, but also played a role of a counter-balancing force in the matter. By means of analysis of RFE situation reports, the thesis evaluates the extent of RFE counter-balance of the Czechoslovak anti-Zionist ideology. After theoretical introduction (chapter one), changes in the relations of Czechoslovakia towards Israel and local Jewish community in 1945-1967 are described. Second chapter also debates tension...

This thesis deals with Czechoslovak Beat Festivals which were held in the years 1967, 1968 and 1971. The work presents a musical atmosphere which prevailed in Czechoslovakia in the days of their birth and depicts the conditions in which our musicians built their first bands and started with their own music production. Emphasis is placed on Western musical models whose influence on Czechoslovak artists and authors is undeniable. The paper is processed using oral history on the basis of which interviews with co- organizers, journalists, musicians and spectators were recorded. Their findings and impressions are integrated into the information drawn from historical materials and literature. Therefore, they serve as a supplement to known information and bring a new and sometimes unexpected view of events nearly fifty years ago. Key words Czechoslovak Beat Festival, beat and "big beat", Anglo-American music, The Beatles, rhythm & blues, oral history.

碩士
國立臺南大學
體育學系碩士在職專班
105
This study adopted the historical research methods to discuss the data of the baseball organization training in Tainan Yu-Jing Elementary School and players’ career development from the year of 1967 to 1971. Interviewed baseball student-athlete is the main source of data. The reliability is based on the minor data which are from literature review, interviewers check, interviewers cross matching and peers check. Correlation data after reorganization induction analysis, construct the contents of this article. On the baseball team's organization training, The Yu Jing Elementary School baseball team in Taiwan little baseball for the most popular years, because the teacher's enthusiasm and students to participate actively was established. The baseball team's organization operation, all from the teacher's own money and community populace's sponsor, at the same time also get the recognition of students parents. Although the lack of more formal professional training, but in the traditional rigorous training and the intensive competitions，still training one by one the national elite, participates in the Taiwan important baseball history. The players through the narrative, put theirs life course by story form,through researcher's transformation, presents in the research content.The results of the study found, at that time the little baseball player was less due to baseball training in high school, it is generally difficult to extend baseball life. The conversion of these baseball players' career,usually affected by physical health and the pressure of schooling and employment. The player's ability to self-adjust is the key to career conversion adaptation. At that time professional baseball school, employment channels are few, teaching is the favorite of most players. Players think that the impact of little baseball experience on them is to lay their future physical fitness, and develop a lifelong hobby, become a bridge of social communication.By different player's different life development course, we can by peep the little player different profession conversion and Their different life story.In shares in these baseball senior's life experience process, reads the listener to be possible to inherit the different age the baseball team's organization training and players’career development, accumulation life wisdom. In the development of basic unit baseball movement,and the player profession development plan can have the inspiration

This Project Work aims to discuss and understand the importance of typography in visual arts and its relationship with the emerging cultural movements of the 20th Century. It starts with an analysis of the early decades, and the appearance of so-called modern typography, as well as the use of collage techniques in artistic works. Following that, the discussion moves on to the advent of typographic poetry and its contribution to the renewal of the art of writing during this period, especially in what regards the transformation of language into image; also, the cultural phenomena affected at the end of the century by the inclusion of typography in contemporary art will be under analysis. One of the main theses of this Work supports the idea of combining elements, using verbal and visual codes, and reflecting on artistic movements, and their historical origins, that involve the universes of collage, typographic poetry and arts. This is done by observing and studying how the ideologies of the beginning of the century tended to break paradigms, something borne fruit from the need for a socio-political and cultural redefinition, a factor that became a mainstay thereon in the practice of art, and ended up infiltrating and reshaping several artistic, with typography as a fundamental guideline with which to legitimize these new trends. Finally, after completion of the theoretical research, a practical physical project will be carried out and presented, in which some intervention typographic and prints techniques applied on paper and fabric. The will culminate in an exhibition of works created during the graduate research period, representing an empirical proof of concept that will serve as a proper conclusion of the work presented here.