Tesis sobre el tema "-1965"
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Al, Kharusi Khalid. "Dhofar War, 1965-1975". Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/24029/.
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This project examines the nature of UK relations with the Omani Sultans, Sultan Said bin Taimur (1932-1970) and his son, Sultan Qaboos (1970- present), in the context of the Dhofar War (1965-1975). The internal and external circumstances of this conflict give valuable insights into Omani independence and sovereignty, thereby addressing the paucity of Omani writing on this conflict (e.g. Al Hamdani, 2010, Al Amri, 2012, Ja'boub, 2010; Muqaibl, 2002). This study utilises a qualitative descriptive analytical methodology to study documents from British, American, Egyptian, and Omani sources, including archival texts from government officials and the revolutionaries. Interviews were also conducted with key military and civilian figures in the Sultanate of Oman and Britain. Examination of the actions undertaken by Sultan Said and Sultan Qaboos in the war highlights a dichotomy between the need to ensure compatibility with British politics at that time and the desire of the Omani leaders to maintain independence in the face of British imperialism. Despite the profound differences between the policies of both Sultans, this study shows that both governments had a developing and negotiable autonomy, rather than existing as a direct colony or an informal colony (see Abdalsatar, 1989, p. 46; Fadel, 1995, p. 212; Halliday, 2008, p. 331; Miles, 1920, pp.222-230; Omar, 2008, pp. 6-7; Owtram, 2004, p. 16;Samah, 2016, p. 273; Sultan & Naqeeb, 2008, p. 26; Wilson, 2012, pp. 331-332). Importantly, the relationship with the British is shown to have been a less important factor in the events and should therefore not be over-stated as informal imperialism. The main political values in the conflict were: (1) the support of tribal leaders; (2) the role of Islam and communism; (3) the unity of the leadership; and (4) the relations between the Sultans and other Gulf leaders. Overall, the relationship between the Omani rulers and the British was one of friendship, cooperation, and exchange of interests, which the Sultans used to maintain the independent needs of Oman.
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Editorial, Comité. "Indice Themis: 1965-1967". THĒMIS-Revista de Derecho, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/108579.
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Puente, Candamo José Agustín de la. "Crónica de Claustro (1963-1965)". Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/114416.
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Barei, Geoffrey. "Britain and Algeria, 1945-1965". Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/28773/.
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Algeria's achievement of independence in 1962, after a bloody war served as an inspiration to the rest of Africa still under colonial rule. As a result, many studies have been done on French colonial rule in Algeria, and the latter's resistance to it. But, these studies have not fully attempted to link the implications of French decolonisation of Algeria to British decolonisation of her African territories, hence this study attempts to fill this gap. The thesis is about Britain and the Algerian war, with particular reference to Britain in Africa. It deals with decolonisation and the "wind of change" and presents the history of North Africa in the context of Africa as a whole. From its beginning in 1954, the Algerian war has occupied a unique place in the history of decolonisation. Its repercussions for French colonial policy were followed with keen interest by the British, who like the French had a huge empire in Africa, and also had potential trouble spots of the magnitude of the Algerian quagmire. The thesis begins with a description of the post-war international situation, in which America and the Soviet Union emerged as the two super-powers, while the resources of the old imperial powers of Britain and France did not match the growing needs of government in their colonial possessions. They were put on the defensive by nationalism in Asia and Africa, supported by American anti-colonialism. The outbreak of the Cold War and the fear of communism seemed to provide them with some justification for resisting demands for independence, but made America all the more anxious for the "end of empire," to win the battle of third world "hearts and minds." The thesis investigates the extent to which British and French colonial policies had an influence on each other during the period of decolonisation. Against this background, the thesis traces the history of the war in Algeria, 1954-62, and the post-war settlement down to 1965, together with the histories of French and British decolonisation in Africa over the same period, in order to follow the history of British concern with the problem. It shows how this concern was at its height under the Macmillan government, but came down to the promotion of British business interests after the end of the war, when Algeria's internal problems and continued dependence on France reduced the fear that it would seek to cause difficulties for the colonial powers in Africa.
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Koukoutsi-Mazarakis, Valeria E. 1962. "José Rafael Moneo Vallés: 1965-1985". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8667.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (leaves 249-260).
Rafael Moneo, a Spanish architect and educator who has been practicing architecture in Madrid since 1965, rose in the profession from local practitioner to designer of international reputation in the mid-1980s with his Museum of Roman Art in MWrida (1980-86) and into the highest ranks of academe when he assumed the chairmanship of the Department of Architecture at the Graduate School of Design at Harvard University (1985-1990). Moneo's work falls into three distinct periods: the pre-Harvard Spanish years (1965-85), the five Harvard years (1985-90), and the post-Harvard international years (1990-present). This dissertation traces the systematic and reflective character of Moneo's double practice up to 1985; it fits his uninterrupted professional practice into the context of his academic career, suggesting that his commitment to both professional practice and knowledge of the discipline is what led him to form a coherent philosophy of design. Throughout the years the contents of his teaching and writing have imbued his built projects with a programmatic character derived from his critique of modern architecture in the 1960s, investigations in architectural theory in the 1970s, and interpretation of the history of Western architecture in the early 1980s and allowed him to achieve a synthetic reading of the modern within the Western tradition of building.
(cont.) It is his drive to design and explain the building, not as part of a local tradition, but as the work of a cultured architect able to transcend national borders that has allowed him to have an all-encompassing career that combines practice and teaching. Moneo is generally considered to be the most independent thinker and the most intellectual of the architects of his generation. Through the influence of the Spanish philosopher Jose Ortega y Gasset Moneo's ability to "reabsorb his circumstances" was a source of necessity and freedom to connect practice with intellect: he could become both architect and educator furthering the cultural development of Spain. Using the Italian aesthete Luigi Pareyson's theory of "formativity," which regards material and form as inseparable, Moneo realized that the making of architectural form lay in its construction and formalized the principles of his philosophy of design.
by Valeria E. Koukoutsi-Mazarakis.
Ph.D.
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Beard, Alice. "Nova magazine 1965-1975 : a history". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12286/.
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This thesis provides an original case history of Nova magazine from 1965-1975, and analyses the magazine’s construction, content and consumption through material culture. Nova made a distinct offering to the world of women’s magazines in the Sixties and Seventies and can be defined by its unique synthesis of editorial breadth and visual innovation. The study considers the correlation between a magazine’s intended, implied and realised meanings. In my analysis of Nova, intended meanings are revealed through an examination of the production process; implied meaning is found within the magazine as an object and text; and Nova’s realised meanings are those articulated through oral history by its readers. Interviews with staff cover the four key areas of Nova’s production; Caroline Baker, Fashion Editor 1967-1975; Gillian Cooke, Editor 1970-1975; David Hillman, Art Director 1969-1975; Maggy Meade-King, Features Writer, 1970-1975. Analysis of these interviews and the design and content of Nova reveals the motivation and ambitions of individual production staff, and evaluates the crucial collaborative practice, creative conflicts and networks of production at the heart of Nova’s making. To better understand magazines, their histories and their futures, it is time that these individuals, working practices and creative networks are both acknowledged and critically evaluated. Recognising the nature and importance of the magazine as composite I adopt a holistic approach as a methodological model for Nova’s analysis. In this thesis I examine the magazine as a whole entity; I analyse its design and contents, alongside a narrative of the processes of its production from its staff and contributors, and consider the use and value of the magazine by its contemporary readers. The agenda for this work, is to plot the processes of production and consumption of Nova in order to reveal the various elements and practices that construct the identity and history of the magazine as a visual, textual and material object.
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Menezes, Flavio Marques. "A estratégia comercial brasileira: 1965/1985". reponame:Repositório Institucional do FGV, 1988. http://hdl.handle.net/10438/112.
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Giraud, Benoît. "Gérard Schneider : oeuvres de 1935 à 1965". Paris 1, 1998. http://www.theses.fr/1998PA010592.
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Gérard Schneider nait à Ste-croix (Suisse) le 28 avril 1896, fait ses études à Paris à partir de 1916 et s'y installe définitivement en 1922. Dès 1935 il refuse catégoriquement toute association entre sa peinture et la réalité, puis réalise des formes qui dépassent le sujet. En 1936 ses envois au salon des surindépendants sont des transpositions imaginatives. En 1937, influencé par ses amis surréalistes, il peint des compositions surréalistes. Sa création devient structurée dans le langage abstrait en 1938 et ses œuvres s'appellent compositions. De 1939 à 1940 il réalise des formes imbriquées entre 1941 et 1943 il suit l'enseignement de Gurdjieff. 1944 et 1945 voient l'apparition des abstractions et opus ; éliminant toute référence au réel en introduisant une notion musicale. Composition est acquise par l'état en 1945. En 1946 il expose chez D. René, de 1947 à 1950 chez l. Conti avec Hartung et Soulages, ce qui les fera surnommer le trio abstrait. Schneider est reconnu après la seconde guerre mondiale comme l'un des peintres les plus représentatifs de la jeune abstraction lyrique française. Le succès international vient vite. Il atteint sa période de grande maturité entre 1950 et 1965, époque où il fait des merveilles en développant une peinture originale née de l'inspiration spontanée. La mise en œuvre assez graphique, très gestuelle, formule une œuvre d'expression chromatique contenue, fruit d'une exceptionnelle maitrise techniqueGérard Schneider was born in Ste-Croix, Switzerland, in 1896. He spent his early years in Neuchatel (Switzerland) studying there and at the école des beaux-arts (1916) and école nationale supérieure des arts décoratifs (1918) in Paris. He held his first one-man show in Neuchatel in 1920. Since 1922 he has resided continuously in paris. After assimilating the various modern movements he came into contact with some of younger surrealist artists around 1935. His first non-figurative work dates from 1935 and in 1938 he arrived at a completely abstract expression. He exhibited with the first post-war abstract group in paris at the Denise René gallery in 1946 and his work rapidly became well-known in paris and internationally. He is generally considered to be one of the "chefs de file" of the post-war generation in France and a member of the "trio abstrait" with Hans Hartung and Pierre Soulages. Schneider can express himself fluently on his work: "abstract art is a prodigious movement, of constant diversity. In it, everything is creation without figural limitations imposed by the object, or, externally by the subject. " Post-war, gerard schneider is one of the greatest masters of the abstact expressionist painting
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Forriols, González Ricardo Javier. "Eusebio Sempere. La obra gráfica, 1965-1985". Doctoral thesis, Universitat Politècnica de València, 2003. http://hdl.handle.net/10251/54943.
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[ES] Esta tesis doctoral supone un estudio descriptivo y analítico sobre la obra gráfica del pintor alicantino Eusebio Sempere Juan (onil, 1923-1985) a partir de dos objetivos básicos: la investigación, grabados, litografías y, esencialmente, serigrafías; y el esclarecimiento de las particulares relaciones que se establecen entre su desarrollo y la trayectoria biográfica y artística de Sempere, prestando especial atención a dos momentos clave: el aprendizaje de la técnica serigráfica junto al cubano Wifredo Arcay, en París, hacia 1995, y la relación de Sempere conAbel Martín y su papel como introductores de la serigrafía artística en España en la década de los sesenta. Así, enmarcándola en el conjunto de su producción artística y en relación con el contexto en el que surge, recorremos sus años de formación y los grabados realizados en la Escuela Superior de Bellas Artes de San carlos de Valñencia y, seguidamente, los diez años que reside en París; continuamos, tras su regreso a España en 1960, con la edición de las primeras carpetas y series originales, discurriendo por lo que hemos considerado sus periodos de afianzamiento y consolidación para desembocar en las últimas carpetas, realizadas a finales de los setenta y en la primera mitad de la década de los ochenta. Se contemplan además los ejemplares sueltos conocidos y la carpeta editada con carácter póstumo en 1988. Por último, ofrecemos una cronología en la que quedan consignados los hecmos más importantes al respecto junto con las exposiciones en las que su obra ha estado presente hasta la actualidad, y completamos la bibliografía y hemerografía sobre Sempere.Forriols González, RJ. (2004). Eusebio Sempere. La obra gráfica, 1965-1985 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/54943
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Pape, Matthias. "Ungleiche Brüder : Österreich und Deutschland 1945-1965 /". Köln : Böhlau, 2000. http://catalogue.bnf.fr/ark:/12148/cb40954068n.
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Brillinger, Matthew. "Educational Park Planning in Berkeley, California, 1965-1968". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35312.
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Promoted as state-of-the-art desegregation devices, educational parks were large campus-like schools designed and sited to draw students from many neighborhoods. In the mid-1960s, the educational park movement featured prominently in debates about race and education in the United States, winning the support of numerous influential individuals and organizations, yet today the educational park movement is nearly forgotten, akin to a wave that swelled, crested, and crashed, leaving only a muddy wash. How could so many thoughtful and energetic people—1960s educational park advocates—work so hard yet achieve so little? This question can only be answered by reference to a wide-ranging 1960s debate about the appropriate role of the federal government in public education, a debate during which educational parks became emblematic of a federal government intent on remaking public schools to advance its own socially progressive ends. Whereas advocates for an expanded federal role in public education portrayed educational parks as cutting-edge alternatives to outdated and inequitable neighborhood schools, opponents of federalism in education presented the parks as staging areas for federal invasions of old-line school districts. In the end it was the latter vision—with its scenes of federal officials revising textbooks and drawing up lesson plans—that won the day, transforming educational parks into menacing symbols of federal overreach.
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Куцаєва, Т. О. "Розвиток вищої освіти в УРСР (1965-1985 рр.)". Disertación de Candidato en Ciencias Históricas, КНУТШ, 2007.
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Bitar, Mona K. "The United States, Britain and Cambodia 1956-1965". Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367960.
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Pandi, Diamantina. "Approches systémiques dans le dessin c. 1965-1975". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100014.
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Ce projet de thèse vise à explorer les réalisations artistiques ainsi que les approches critiques et théoriques du concept complexe de « système » en lien avec les transformations du dessin entre 1965 et 1975. Le discours autour de la notion de « système » prévaut dans le monde de l’après-guerre, notamment dans les années 1960 et 1970. L’ « esthétique des systèmes » telle que théorisée par le critique d’art Jack Burnham dans son article « Systems Aesthetics » publié dans Artforum en 1968, qui signale la transition radicale d’une culture orientée vers les objets vers une culture orientée vers les systèmes, constitue notre point de départ. Nous examinons la notion du système en essayant de mettre en lumière les interconnexions entre les théories de l'information et des systèmes, le modèle cybernétique, le « tournant linguistique » dans la période 1965-1975. Au cours de cette période, le dessin devient un champ privilégié pour le développement des méthodologies systémiques. A travers les cas de onze artistes, Sol LeWitt, Mel Bochner, Hanne Darboven, Dorothea Rockburne, Robert Morris, Alighiero Boetti, John Latham, Bernar Venet, Lee Lozano, Stanley Brouwn et William Anastasi, nous examinons les expérimentations artistiques autour de « systèmes de dessins » : des systèmes linguistiques et arithmétiques, des systèmes auto-poïétiques, ainsi que des stratégies systémiques se déroulant dans le contexte spatiotemporel. En se focalisant sur l’hétérogénéité et la diversification de ces pratiques, nous analysons les traductions formelles et conceptuelles du dessin qui manifestent l’autonomisation et la reconceptualisation de ce medium durant la période examinéeThis thesis aims at exploring the artistic realizations as well as the critical and theoretical approaches of the complex and multidimensional concept of "system" in relation to the transformation of drawing between 1965 and 1975. The discourse around the notion of “system” prevails the post-war world, especially in the 1960s and 1970s. The aesthetics of systems, as theorized by art critic Jack Burnham in his article “Systems Aesthetics” published at the Artforum in 1968- which signals the radical transition from an object-oriented culture to a systems-oriented culture - is the starting point of this thesis. We examine the notion of the system by attempting to highlight the interconnections between information and systems theories, the cybernetic model, the “linguistic turn” and its implications for the development of conceptual artistic practices in the period 1965-1975. In this period, drawing became a privileged field for the development of systemic methodologies. Through the cases of eleven artists, Sol LeWitt, Mel Bochner, Hanne Darboven, Dorothea Rockburne, Robert Morris, Alighiero Boetti, John Latham, Bernar Venet, Lee Lozano, Stanley Brouwn and William Anastasi, this thesis examines the artistic experimentation on “systems of drawings”: linguistic and arithmetic systems of diagrammatic order, autopoietic systems, as well as systemic strategies that take place in the spatiotemporal context. By focusing on the heterogeneity, the diversification and the hybridization of these practices, the thesis analyzes the formal and conceptual translations of the drawing which demand the autonomisation and the reconceptualisation of this medium in the period that we examine
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Batistella, Alessandro. "O Partido Trabalhista Brasileiro no Paraná (1945-1965)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/104867.
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Arquitetado para ser um partido para os trabalhadores, o Partido Trabalhista Brasileiro (PTB) foi um partido bastante heterogêneo, acolhendo nas suas hostes lideranças sindicais, profissionais liberais, políticos profissionais, empresários, latifundiários, comunistas e líderes progressistas. Em virtude disso, o antigo PTB tornou-se um partido complexo, com diversas subunidades (ou frações) partidárias: os “pragmáticos-getulistas”, os “doutrinários-trabalhistas”, os “pragmáticos-reformistas” e os “reformistas radicais”. Constituindo-se, ao mesmo tempo, em um partido de fisiológicos e reformistas, de progressistas e conservadores, de sindicalistas e plutocratas (empresários e latifundiários), o antigo PTB foi um partido paradoxal, que contava com um poderoso arsenal de elementos simbólicos e mobilizadores – o carisma de Getúlio Vargas e a doutrina trabalhista, nacionalista e reformista – que contribuíram para o seu significativo crescimento eleitoral durante o período democrático de 1945-1964. Soma-se a isso o fato de que sobre o PTB sempre pairou certa mística, tanto que das três grandes siglas extintas com o Ato Institucional nº 2, em 1965, o PTB foi a única resgatada durante os anos finais da ditadura. Dessa forma, a presente tese pretende analisar a história e a atuação do antigo Partido Trabalhista Brasileiro do Paraná, focalizando-o em duas perspectivas: internamente e externamente. No que tange à análise interna, a presente pesquisa visa a responder a seguinte questão: qual era o caráter do PTB do Paraná? Foi um partido fisiológico ou reformista? Foi um partido progressista ou conservador? Quem eram os membros que integraram a elite partidária? Quais eram as alas que existiram dentro do partido e como se processou as disputas internas pelo poder nas hostes petebistas? Nesse sentido, deve-se salientar que o foco de análise será o Diretório Estadual do Partido Trabalhista Brasileiro do Paraná, sediado em Curitiba, e, mais especificamente, a sua elite partidária, isto é, os dirigentes e as pessoas influentes dentro da agremiação. Externamente, o objetivo é verificar a atuação e a importância do PTB na política paranaense entre os anos de 1945 a 1965. E mais, também se pretende investigar quais são os fatores que explicam o crescimento eleitoral do partido no Paraná no período em foco.Architected to be a party for the workers, the Brazilian Labor Party (PTB in Portuguese) was a very heterogeneous party, welcoming in their hosts union leaders, liberal professionals, professional politicians, businessmen, landowners, communist and progressive liberal leaders. As a result, former PTB has become a complex party, with several parties’ subunits (or fractions): the "pragmatic-getulistas", the "doctrinal-labor", the ‘pragmatic-reformist” and the “radical reformers”. Constituting at the same time, into a physiological and reformist party, of progressives and conservatives, of trade unionists and plutocrats (businessmen and landowners), former PTB was a paradoxical party, which had a powerful arsenal of symbolic elements and mobilizes - the charisma of Vargas and labor, nationalist and reformist doctrine - which contributed to its significant electoral growth during the democratic period of 1945-1964. Summing to this the fact that the PTB always hovered over certain mystique, so that the three large extinct acronyms with the Institutional Act No. 2 in 1965, the PTB was the only rescued during the final years of the dictatorship Thus, this thesis aims to analyze the history and activities of former Brazilian Labor Party of Paraná, focusing on the two perspectives: internal and external. Regarding internal analysis, this research aims to answer the following question: what was the character of the PTB of Paraná? Was it a physiological or a reformist party? Was it a progressive or a conservative party? Who were the members who joined the party elite? What were the wings that existed within the party and how were processed the internal power struggles in PTB hosts? In this sense, it should be noted that the focus of analysis will be the Diretório Estadual do Partido Trabalhista Brasileiro do Paraná (State Board of Brazilian Labor Party of Paraná), based in Curitiba, and more specifically, its party elite, which means, the leaders and influential people within the guild. Externally, the objective is to verify the performance and the importance of PTB in Paraná state politics between the years of 1945-1965. And more, it is also intended to investigate what are the factors that explain the electoral growth of the party in Paraná in the period in focus.
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Diener, Georges. "Résistance populaire et maquis en Roumanie (1945-1965)". Paris, INALCO, 2000. http://www.theses.fr/2000INAL0005.
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La résistance populaire à la collectivisation en Roumanie est un phénomène singulièrement méconnu, tant en Occident qu'en Europe Centrale et Orientale. Dans ce pays qui s'est fait connaître par la férocité de sa police politique - la redoutable Securitate - et la traditionnelle passivité de sa société face au joug soviétique et communiste héritée d'une histoire jalonnée par une succession d'occupations, une farouche opposition populaire au régime communiste de la première période s'est pourtant manifestée. En effet, de 1945 à 1965, de nombreuses révoltes paysannes éclatèrent, relayées par des maquis parsemés sur tout l'arc carpatique. La présentation de cette résistance - vie quotidienne dans les maquis ; typologie des résistants ; révoltes villageoises, etc. - est mise en situation par l'étude des forces politiques et de leur évolution, de l'occupation soviétique à la domination sans partage du Parti Communiste Roumain et l'analyse des mécanismes de la collectivisation de l'agriculture, principale cause du mécontentement paysanThe popular resistance to the collectivization in Romania is a distinct unknown phenomenon both in the West and in Central and Eastern Europe. In this country which has become known by the ferocity of its political police - redoubtable Securitate - and by the traditional passivity of the society versus soviet and communist enslavement inherited from a history of sequential occupations, a blustering popular opposition to the communist dominance emerged however. Indeed, from 1945 to 1965, several peasant riots burst out, joined by underground rebels, the partisans (maquis) spread out on the whole Carpathian arc. The presentation of this resistance - daily life of the partisans ; the typology of rebels ; rural riots etc - underlines the study of political forces and their evolution from soviet invasion to the unlimited domination, of the Romanian Communist Party and analyzes mechanisms of the collectivization in agriculture, main cause of the peasant discontent
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Fauconnier, David. "L'esprit grotesque dans le cinéma espagnol, 1960-1965". Paris 8, 2003. http://www.theses.fr/2003PA082253.
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Il existe dans le cinéma espagnol des films se caractérisant par une représentation du monde et une forme de dérision singulières. On en trouve des manifestations dans l'histoire de l'art et de la littérature espagnoles. De nombreux commentaires critiques se réfèrent au grotesque pour décrire les sujets représentés et analyser l'esthétique de ces oeuvres. Cette thèse consiste à montrer que, de Buñuel à Almodovar, des réalisations significatives du cinéma espagnol relèvent d'un esprit grotesque. Son expression est particulièrement manifeste dans la période 1960-1965. C'est au début de cette décennie que furent réalisés El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) et El extraño viaje (Fernando Fernan-Gomez, 1964). L'analyse de ces œuvres tend ainsi à étudier le dispositif de mise en scène par lequel s'exprime un esprit grotesque au cinémaIn Spanish cinema there are movies characterised by a representation of the world and a form of derision which are unusual. They can be found in art history and Spanish literature. Several critical commentaries refer to the grotesque to describe the subject which are represented and to analyse the aesthetic of those art works. This thesis consists in showing that, from Buñuel to Almodovar, significant films of Spanish cinema comes within a grotesque spirit. It was particularly expressed from 1960 to 1965. It was at the beginning of this decade that were directed El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) and El extraño viaje (Fernando Fernan-Gomez, 1964). Therefore, the analyse of those works aims at studying the set of production through which the grotesque spirit in cinema is expressed
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Dorvidal, Jérôme. "Pacifisme et dissuasion nucléaire en Australie (1945-1965)". Montpellier 3, 2004. http://www.theses.fr/2004MON30041.
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Le pacifisme, idéologie influente sur le continent australien, a connu un bouleversement avec l'apparition des armes nucléaires. Jusqu'à quel point ? Cette thèse ambitionne d'étudier le péril atomique dans les premières années de la Guerre froide à travers le prisme australien (1945-1965). Depuis Hiroshima, le mouvement de la paix a affiché une hostilité farouche à la dissuasion nucléaire. Toutes ses manifestations ont été contestées en Australie : les essais atomiques, la prolifération nucléaire. . . Et bien d'autres aspects, comme les recherches balistiques. Des expérimentations atmosphériques britanniques (1952-1957) à celles annoncées par la France en Polynésie, l'évolution de la contestation antinucléaire a été significative sur le cinquième continent : il a été nécessaire de prendre en compte ses diverses sources d'inspiration, la tradition libérale et internationaliste (Federal Pacifist Council, World Government Movement) comme l'impulsion soviétique, perceptible avec la formation de l'Australian Peace Council. Surtout, les pacifistes n'étaient pas isolés et ils ont bénéficié des soutiens des féministes, des ecclésiastiques, des syndicalistes, des antimilitaristes et parmi eux, les adeptes de l'action directe non violente. Dans ces conditions, la lutte contre la dissuasion nucléaire n'a cessé de gagner du terrain au sein de la société dans les années cinquante. Loin des récits embellis de ses partisans, cette étude retrace l'histoire récente du pacifisme en AustralieHow has Australia's pacifism changed with the introduction of nuclear weapons? This thesis seeks to evaluate the threat to Australia posed by the atomic peril during the First Cold War (1945-1965). After Hiroshima, the Australian peace movement demonstrated the persistence of hostility to the nuclear deterrent: anti-nuclearism or “nuclear pacifism” was mainly directed against the arms race and atomic testing. . . But not only. Effectively, dissidence presented several visages from the beginning of the British Tests on the Fifth Continent (1952-1957) to the French decision to conduct several experimentations in Polynesia. Thence, distinctions have been made between the liberal pacifist tradition (Federal Pacifist Council, World Government Movement) and pro-soviet peace movements (Australian Peace Council, Peace Quest Forum, Australian assembly for Peace). But pacifists welcomed also assistance from others pressures groups: anti-militarists, feminists, radical non-violent activists, labour unions and religious circles. Therefore, calls for controls or elimination of such weapons of mass destruction became increasingly popular in Australia since the fifties. This is the history of the contemporary pacifism in Australia seen from an impartial viewpoint
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Weldy, Cindi Lee. ""My weekly reader" : a corporate history, 1965-1995 /". Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1510.html.
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Thesis (M.A.)--Central Connecticut State University, 1997.Thesis advisor: Charles Stephenson. "... in partial fulfillment of the requirements for the degree of Master of Arts in History." Includes bibliographical references (leaves 50-54).
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Butler, Nicholas. "Anti-war, radical youth revolt, Victoria, 1965-1975". Thesis, Federation University Australia, 2018. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/166770.
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This thesis is a political history of the emergence and evolution of selected radical, left, student and workers movements in Victoria between 1965 and 1975. It examines the development of radical alliances, demonstrations and public actions using documentary materials and oral accounts provided during interviews. It argues that the radical left movement in Victoria began within the Monash University Labor Club, which subsequently generated radical groups outside the university. During this timeframe, both military conscription for the Vietnam War and the war itself became focal points for oppositional political mobilisation in Victoria. In 1967, the Monash Labor Club’s disruptive campaign against university authority was sufficiently popular for the club to turn its attention to disrupting the war effort. Soon, its locus of operations shifted into the general anti-war movement and the Labor Club established new, non-student, and avowedly communist and revolutionary organisations. Roughly termed the “Maoists,” by 1970 these organisations coalesced into the Worker Student Alliance (WSA), which grew rapidly to become a “left-wing” body that challenged the leadership of the established “left” organisations. The cessation of Australia’s involvement in the Vietnam War removed a major cause for radical action and, despite the generation of some important campaigns to replace it, the WSA dissolved itself in 1974.Doctor of Philosophy
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Roy, Rajarshi. "Crossing the Rubicon: LBJ and Vietnam 1963-1965". W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626129.
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Miladinović, Ana. "La arquitectura de los museos en Yugoslavia : 1945–1965". Doctoral thesis, Universitat Politècnica de Catalunya, 2015. http://hdl.handle.net/10803/316587.
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This study investigates modern Yugoslav architecture in the 1945-1965 period, taking an analysis of museum projects as a basis.
Rebuilding of the country and urban development in Yugoslavia after the World War II enabled planning the construction of a significant number of museums. This period is also characterized by the fact that, in addition to seven museums that were built, there were a significan! number of projects that have never been realized. Ali of them, the realized and those which were only designed, made a significant contribution to the development of museum architecture. Moreover, some of them are pointed out as the culmination of a period rich in architectural construction and represent the best Yugoslav architecture.
The intention is to thoroughly analyze the criteria and ideas that govern the development of the architectural language of all these projects and to explain, on the basis of that, whether there are or not the original features defining the museum architecture of the mentioned historical period in Yugoslavia. In particular, we do not intend to limit our analysis to the study of specific types of
buildings, nor to those museums that are historical examples, but rather to emphasize and insist on influences and relationships that are reflected, within the subject we are dealing with, within the Yugoslav context. ldentification of these complex relationships occurring within a specific modernity is analyzed based on four approaches. The first approach consists of a museum study observed under the prism of socio-political reality of the newly founded socialist state. The second principle describes the environment, evolution and consequences of architectural competitions for museums. The third principle focuses on museum
buildings and puts them in the framework of the general context of intense urban transformation. Finally, the fourth principle analyzes the characteristics of functional and formal aspects. Now, we can conclude that the mutual relationships that exist among the different approaches create a common place and specific characteristics of the museum architecture. Also, they cause that the principles and strategies of the international architecture in this period, which were very well known then, obtained in Yugoslavia a personal touch that sets them apart from others.
lntending to place these specific issues in the appropriate ideological, cultural and geographical context, this study presents opinions of the protagonists of these events and of the period (architects, commissioners. panelists, politicians). Thus. this study presents a text that serves as a "choral'' thinking about this period of Yugoslav architecture, while maintaining a critical spirit of
this group of opinions.La presente tesis analiza la arquitectura moderna yugoslava entre 1945 y 1965 tomando como eje vertebrador el estudio de los proyectos museísticos. La reconstrucción del país y el desarrollo urbano que tiene lugar en Yugoslavia tras la guerra, hacen posible planificar la construcción de un importante número de museos. Este período es también característico porque, además de los siete museos que se construyen, hay un significativo número de proyectos que no se llegan nunca a realizar. Todos ellos, los construidos y los únicamente proyectados, contribuyen en gran manera al desarrollo de la arquitectura de los museos. Es más, algunos de ellos destacan como la culminación de un período rico en construcciones arquitectónicas y son representativos de la mejor arquitectura yugoslava. El propósito es conocer en profundidad los criterios y las ideas que rigen el desarrollo del lenguaje arquitectónico de todos estos proyectos y en base a ello dilucidar si existen, o no, rasgos genuinos que definan la arquitectura museística de dicho período histórico en Yugoslavia. En concreto, no se trata de limitar nuestro análisis al estudio de un tipo determinado de edificio. ni al de aquellos museos que sean ejemplos históricos, sino más bien resaltar e insistir en las influencias y conexiones que se reflejan, en el tema que nos ocupa, dentro del ámbito yugoslavo. La identificación de estas complejas relaciones que acontecen en el marco de una contemporaneidad específica, se analiza a partir de cuatro enfoques. El primero consiste en el estudio de los museos contemplado bajo el prisma de la realidad político social del recién fundado Estado Socialista. El segundo describe el ambiente, la evolución y las consecuencias de los concursos arquitectónicos para museos. El tercero centra su atención en los edificios museísticos enmarcándolos dentro de un contexto general de intensas transformaciones urbanas. Finalmente el cuarto enfoque analiza las características de los aspectos funcionales y formales. Y así podemos concluir que son precisamente las interrelaciones que se dan entre estos diferentes enfoques, las que crean el discurso común y los rasgos específicos de la arquitectura museística. También influyen en que los principios y estrategias de la arquitectura internacional de aquel momento, que por entonces son ya bien conocidos, adquieran en Yugoslavia el acento personal que los distingue. La tesis con el propósito de encuadrar estas cuestiones específicas en su adecuado contexto ideológico, cultural y geográfico da voz a las opiniones de los protagonistas de aquellos hechos y época (arquitectos, comisarios, miembros de los jurados, políticos). Así, la tesis, manteniendo un espíritu critico sobre este conjunto de opiniones, construye un texto que funciona como reflexión "coral" sobre este periodo de la arquitectura yugoslava.
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Lundström, Karin. "UNGDOMARS FLYTT HEMIFRÅN : – EN ANALYS AV KOHORTERNA 1965-1985". Thesis, Stockholm University, Department of Sociology, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-30879.
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I denna uppsats undersöks hur tidpunkten för flytten hemifrån har förändrats mellan kohorterna 1965 och 1985. Här undersöks framför allt hur åldern vid flytten hemifrån har förändrats över tid samt skillnader och förändringar mellan kvinnor och män, ungdomar i olika delar av landet samt ungdomar med svensk respektive utländsk bakgrund.
Resultaten visar att åldern vid flytten hemifrån har ökat för kvinnor men minskat för män. Detta har lett till att skillnaderna mellan könen har minskat. Förutom att medianåldern vid flytten hemifrån har förändrats mellan kohorterna har också mönstret för flytten hemifrån ändrats. En allt större andel flyttar i åldrarna kring 20 år, både bland kvinnor och män. Detta är en fortsättning på en trend som observerats tidigare och kan vara ett tecken på att ungdomars väg mot vuxenlivet blir mer likformig.
Samtidigt visar resultaten att de regionala skillnaderna och skillnader mellan ungdomar med olika bakgrund har ökat. Unga kvinnor och män i storstäder och förorter lämnar föräldrahemmet senare jämfört med ungdomar i övriga delar av landet. Medianåldern vid flytten hemifrån har ökat över tid i storstäder och förortskommuner, både för kvinnor och män. De ökade regionala skillnaderna beror främst på att en allt större andel bor kvar hemma i högre åldrar i storstäderna och deras förorter. En trolig förklaring till denna utveckling är att det blivit svårare att komma in på bostadsmarknaden i dessa områden.
I uppsatsen visas att personer med utländsk bakgrund flyttar hemifrån senare än de med svensk bakgrund, men att det är stora skillnader mellan olika ursprungsländer. Ungdomar med nordisk bakgrund följer i stort sett samma flyttmönster som ungdomar med svensk bakgrund, medan ungdomar med bakgrund från övriga delar av världen flyttar markant senare. Skillnaderna mellan personer med svensk och med utländsk bakgrund har också ökat mellan de kohorter som undersöks. Det är särskilt personer som är födda i Sverige med båda föräldrar födda utanför Norden som lämnar föräldrahemmet allt senare jämfört med ungdomar med svensk bakgrund. Detta kan bero på sämre möjligheter att komma in på arbets- och bostadsmarknaden och att fler i denna grupp väljer att flytta hemifrån först när de bildar familj.
Sammansättningen av gruppen ungdomar har förändrats på flera sätt mellan de kohorter som undersöks i denna uppsats. Exempelvis har andelen ungdomar med utländsk bakgrund ökat och en större andel unga har varit med om att deras föräldrar separerat under uppväxten. Resultat av en analys där det kontrollerats för region, bakgrund, familjetyp och antal syskon visar att skillnaderna i relativ risk att flytta hemifrån mellan olika kohorter endast förändras marginellt jämfört med en analys utan kontrollvariabler.
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Fenton, Damien Humanities & Social Sciences Australian Defence Force Academy UNSW. "SEATO and the defence of Southeast Asia 1955-1965". Awarded by:University of New South Wales - Australian Defence Force Academy, 2006. http://handle.unsw.edu.au/1959.4/39436.
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Despite the role played by the South East Treaty Organisation (SEATO) in the defence of Western interests in that region during the Cold War, there has to date been no scholarly attempt to examine the development and performance of the organisation as a military alliance. This thesis is thus the first attempt to do so and as such seeks to take advantage of the recent release of much SEATO-related official material into the public domain by Western governments. This material throws new light upon SEATO???s aims and achievements, particularly in regard to the first ten years of its existence. Because SEATO was eventually rendered irrelevant by the events of the Second Indochina War (1965-1975) a popular perception has arisen that it was always a ???Paper Tiger??? lacking in substance, and thus easily dismissed. This thesis challenges this assumption by examining SEATO???s development in the decade before that conflict. The thesis analyses SEATO???s place in the wider Cold War and finds that it was part of a rational and consistent response within the broader Western strategy of containment to deter, and if need be, defeat, the threat of communist aggression. That threat was a very real one for Southeast Asia in the aftermath of the First Indochina War and one that was initially perceived in terms of the conventional military balance of power. This focus dominated SEATO???s strategic concepts and early contingency planning and rightly so, as an examination of the strength and development of the PLA and PAVN during this period demonstrates. SEATO developed a dedicated military apparatus, principally the Military Planning Office (MPO), that proved itself to be perfectly capable of providing the level of co-ordination and planning needed to produce a credible SEATO deterrent in this regard. SEATO enjoyed less success with its attempts to respond to the emergence of a significant communist insurgent threat, first in Laos then in South Vietnam, but the alliance did nonetheless recognise this threat and the failure of SEATO in this regard was one of political will rather than military doctrine. Indeed this thesis confirms that it was the increasingly disparate political agendas of a number of SEATO???s members that ultimately paralysed its ability to act and thus ensured its failure to meet its aims, at least insofar as the so-called ???Protocol States??? were concerned. But this failure should not be allowed to completely overshadow SEATO???s earlier achievements in providing a modicum of Western-backed stability and security to the region from 1955-1965.
25
Kuchler, Christian. "Kirche und Kino katholische Filmarbeit in Bayern (1945 - 1965)". Paderborn München Wien Zürich Schöningh, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2650189&prov=M&dok_var=1&dok_ext=htm.
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Hurst, Mark. "British human rights organisations and Soviet dissent, 1965-1985". Thesis, University of Kent, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591929.
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This thesis develops the literature on the role of human rights in the Cold War by highlighting the impact of British human rights organisations in the response to Soviet dissent. It argues that human rights groups played an essential role in compiling and distributing information on Soviet dissenters to all levels of British society. These groups all held empiricism at the centre of their campaigns, utilising an array of information to support their activism. This approach entailed the development of relationships between groups, which led to a network of activists, all working towards supporting Soviet dissenters. The first chapter of th is thesis assesses Amnesty International's output on Soviet dissenters, focusing on the groups publications. Amnesty's translation of the samizdat journal The Chronicle of Current Events and its own publication Prisoners of Conscience in the USSR were influential on journalists and other human rights groups. The high level of research produced by Amnesty in this period was in deep contrast to its overstretched research department, who are considered in depth. The second chapter focuses on groups formed to respond to the Soviet political abuse of psychiat ry as a way to suppress political dissidents. It explores how groups such as the Working Group on the Internment of Dissenters in Mental Hospitals and the Campaign Against Psychiatric Abuse campaigned on behalf of dissidents, and demonstrates the influence that they had on official groups such as the Royal College of Psychiatrists. The final chapter examines the response to religious persecution in the Soviet Union, focusing on the demonstrative campaigning of the Women's Campaign for Soviet Jewry (the 35's) and the more academic Keston College. This chapter demonstrates how despite the outward differences between these two organisations, they held much in common such as a reliance on an empirical method in their campaigns.
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Mistrano, A. "Images of America in the Sunday Telegraph : 1965-1995". Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268869.
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Clemente, Vanessa. "História nova do Brasil (1963-1965): uma nação "imaginada"". Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/5313.
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By noticing the very few researches in programs in Graduate History having as the main object the textbook of history, this dissertation investigates the collection of textbooks for Brazilian secondary education New History of Brazil - published in March 1964 by the Campaign Student Assistance (CASES). The collectionwas conceived within at the National University of Philosophy of Brazil (FNFI), peculiarly by the students responsible for publishing the Bulletin of History (BH) under the guidance of Nelson Werneck Sodré and directly involved the activities of the Institute for Brazilian Studies (ISEB). The book criticized the traditional historiography presented in textbook used in Brazil and aimed an innovation int he context thereof. Extolled the need for social reforms - mainly educational ones - framing up on the political prospect that the country was experiencing during the Goulart government, had a political dimension and was the object of struggle. With the establishment of the military regime, the voluems were burnt and New History banned and their authors targets of persecution.
Diante da constatação de pouquíssimas pesquisas em programas de Pós-graduação em História que apresentem como objetivo principal o livro didático de História, este trabalho investiga a coleção de livros didáticos destinados ao ensino secundário brasileiro História Nova do Brasil - publicada em março de 1964 pela Campanha de Assistência ao Estudante (CASES). A coleção foi concebida no seio acadêmico da Universidade Nacional de Filosofia do Brasil (FNFI), peculiarmente pelos alunos responsáveis pela edição do Boletim de História (BH) sob a orientação de Nelson Werneck Sodré, e envolveu diretamente as atividades do Instituto Superior de Estudos Brasileiros (ISEB). A obra criticava a historiografia tradicional apresentada nos manuais escolares utilizados no Brasil e objetivava uma inovação no seu conteúdo. Exaltava a necessidade de reformas sociais - principalmente educacional - enquadrando-se no prospecto político que o País vivenciava durante o governo João Goulart; possuía uma dimensão política e foi objeto de luta. com a instauração do regime militar, os volumes da História Nova foram queimados e proibidos e seus autores alvos de perseguição.
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Tikkanen, H. (Henry). "Pääjohtaja Eino S. Repo Yleisradion ohjelmapolitiikan uudistajana 1965–1969". Master's thesis, University of Oulu, 2013. http://urn.fi/URN:NBN:fi:oulu-201305201298.
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Kirjallisuuden maisteri Eino S. Repo (1919–2002) nousi Yleisradion pääjohtajaksi presidentti Urho Kekkosen ja hänen lähipiirinsä ehdokkaana, kulttuurihenkilönä ja kekkoslaisen ulkopolitiikan aktiivisena tukijana vuonna 1965. Pääjohtajana Revon tavoitteena oli Yleisradion ohjelmatoiminnan vapauttaminen konservatiivisesta hegemoniasta, johon yhtiö oli jähmettynyt toisen maailmansodan jälkeen. Tässä tutkimuksessa pyrin selvittämään, millä tavoin Repo kehitti Yleisradion ohjelmapolitiikkaa ja mitkä olivat uudistusten vaikutukset niin ohjelmapolitiikassa että julkisessa keskustelussa.
Keskeisenä tutkimuskirjallisuutena olen käyttänyt Raimo Salokankaan ansiokasta yleisradiohistoriikkia Aikansa oloinen sekä lähdekirjana aikalaiskirjallisuuteen lukeutuvaa Pertti Hemánuksen teosta Reporadion nousu ja tuho. Lisäksi Eino S. Revon muistelmateos Pihlajanmarjat on tärkeä lähdeteos tutkimukseni kannalta kuten myös Yleisradion suunta -mietintö, jossa määriteltiin informatiivisen ohjelmapolitiikan ihanteet. Kontekstualisoimalla Revon muistelmia ja muita aikalaislähteitä taustoittavaan tutkimuskirjallisuuteen pyrin löytämään punaisen langan Revon ohjelmapolitiikan takana. Lähdekriittinen ongelma on se, että Repo ei ole suppeissa muistelmissaan juurikaan kertonut julki aatteellisia vaikuttimiaan. Etsin niistä johtolankoja tekemällä päätelmiä Revon sosiaalisen suhdeverkoston sekä hänen henkilö-, koulutus- ja ammattihistoriansa perusteella. Informatiivisen ohjelmapolitiikan teoriapohjaa tulkitsen vertaamalla sitä muun muassa pragmatismiin ja valistusajattelun ihanteisiin. Valtateorioiden avulla hahmottelen Revon johtajaprofiilia ja hänen suhteitaan muihin Yleisradion päättäviin elimiin ja johtajiin.
Yleisradion valistus- ja sivistystehtävän täyttämiseksi Repo ryhtyi kehittämään niin kutsuttua informatiivista ohjelmapolitiikkaa, joka perustui tieteellisen tutkimuksen tuloksiin. Se leimattiin julkisuudessa marxilaiseksi retoriikaksi ja aivopesuksi, koska informatiivisen ohjelmapolitiikan päätavoitteena oli yksilön oman ajattelun aktivoiminen. Marxilaisen dialektiikan tavoin Revon johtaman Yleisradion ohjelmistossa etsittiin ratkaisuja ristiriitojen kautta ja hylättiin normiajattelun kahleet. Havaintojeni mukaan Revon ohjelmapoliittinen lähestymiskulma mukaili kuitenkin lähemmin liberalismia ja pragmatismia kuin marxismia, joka oli propagandistisena terminä oikeistolaisten kriitikoiden käytössä. Informatiivisessa ohjelmapolitiikassa oli nähtävissä myös valistusihanteita, jotka liittyivät Yleisradion haluttuun osallistuvaan rooliin kasvatuksessa ja opetuksessa.
Niin kutsutun Reporadion historia on täynnä toistuvia kiistoja siitä, mikä on sallittua suomalaisessa radio- ja televisiojulkisuudessa. Mitä voi julkaista ja mitä ei ja mitkä ovat oikean ja mitkä väärän todellisuuskokemuksen tulkintoja. Eino S. Repo oli liberaali ja salliva johtaja, joka antoi toimittajille entistä enemmän vapauksia toteuttaa ohjelmia. Reporadion toimittajat ja ohjelmantekijät kyseenalaistivatkin aktiivisesti niitä rajoja, joita poliitikot olivat Yleisradion toimintaan asettaneet.
Reporadio mielletään usein radikalismin ja vasemmiston airueksi, mutta näkemykseni mukaan Eino S. Revon johtama Yleisradio oli varsin edistyksellinen. Ohjelmapoliittinen sisältö sai kuitenkin käytännön tasolla yksipuolisesti porvarillisesta ideologiasta poikkeavia muotoja, millainen tilanne on historiallisesti esiintynyt vain kerran aiemmin Hella Wuolijoen johtaman Yleisradion aikana 1940-luvun loppupuolella. Samankaltaisuutta on havaittavissa myös Revon ja Wuolijoen ammatillisissa kohtaloissa — poliittiselle eliitille epämieluisista pääjohtajista hankkiuduttiin eroon.
Uskon tutkimukseni havainnollistavan, että Eino S. Revon käynnistämä ohjelmapoliittinen murros oli erittäin merkittävä tapahtuma Suomen aatehistoriassa. Kenties Revon salliva ja kokeileva asenne avasi sellaisia henkisiä patoja, jotka olisivat aiheuttaneet muussa tapauksessa suurempia yhteiskunnallisia ongelmia.
30
Métivier, Yves. "Les petits partis conservateurs en Allemagne occidentale (1945-1965)". Valenciennes, 2000. https://ged.uphf.fr/nuxeo/site/esupversions/905aea08-c101-437e-82ee-a74d7aa67bac.
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Cette étude est une analyse de l'évolution du système des partis en Allemagne occidentale de la période d'occupation interalliée à la fin de l'ère Adenauer (1945-65). Elle se caractérise par une réduction des partis représentés au Bundestag, aux dépens notamment des petits partis conservateurs proches de la CDU. La première partie évoque leur émergence et leurs racines historiques, car ils furent en fait la refondation de partis de l'époque de Weimar, mais sous un nouveau vocable. Il s'agit du parti bavarois (BP), du parti de la Basse-Saxe (NLP) - qui s'est ensuite appelé Parti Allemand (DP) - , du parti conservateur (DKP/DRP), de l'Association pour le Renouveau Economique (WAV) et du Centre Catholique (Zentrum). Seule la fédération des refugiés et spoliés (BHE) constituait vraiment un nouveau parti. Malgré la diversité de leur origine et de leur implantation - essentiellement régionale -, ces partis avaient des affinités doctrinales (défense du fédéralisme et des classes moyennes), mais présentaient aussi des différences importantes en politique sociale et nationale, si bien que des stratégies collectives n'ont pas été mises en œuvre. A Bonn comme dans les Landers, ils ont appartenu à des majorités gouvernementales différentes, mais le plus souvent dans le cadre de blocs bourgeois, mais leur influence est restée cependant limitée. Leur déclin après la création de la R. F. A. Fut irrémédiable, mais se fit selon des rythmes différents. La dernière partie en analyse les causes ainsi que les conséquences sur l'évolution des trois grands partis CDU/CSU, SPD et FDP.
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Duhamel, Éric. "L'Union démocratique et socialiste de la Résistance, 1945-1965". Paris 4, 1993. http://www.theses.fr/1993PA040054.
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Cette these porte sur la seule formation politique issue exclusivement de la resistance. Federation de mouvements de resistance avant de devenir un parti politique, l'udsr est alors l'expression et l'instrument du projet d'une partie de la resistance de renover la vie politique en creant un vaste parti travailliste dont le leader aurait ete c. De gaulle. Elle fut le plus vaste rassemblement jamais realise reunissant des hommes de sensibilites diverses a l'exlusion des communistes. Son echec renvoie a la nature de la resistance, eclaire l'histoire de l'immediat apres-guerre et explique l'evolution ulterieure de la iv republique. L'udsr devenue un parti politique, pleven, son president, apres cherche en vain a rapprocher de gaulle et la troisieme force contribue a l'elargir sur sa droite. L'analyse de scrutins remarquables indique que l'udsr a joue un role de groupe charniere, inversement proportionnel a son poids numerique, de 1947 a 1951. L'etude de la prise en mains du parti par f. Mitterrand entre 1950 et 1953 a revele une strategie, une clientele (les prisonniers de guerre) et un veritable clivage. C'est au nom du prealable africain que f. Mitterrand monte a l'assaut des positions europeennes de pleven. Attachant son destion a l'experience mendes-france, son echec accelere le declin de l'udsr qui vole en eclats en 1958. Des lros, f. Mitterrand l'utilise pour regrouper la gauche non-communiste dans le cadre des insitutions de la ve republique. L'etude des structures a revele que l'udsr etait moins un parti de cadre qu'une formation irreductible a toute comparaison. L'udsr est "un parti specialise" dans la defense de la cause europeenne et plus encore dans la construction d'une communaute franco-africaine. Au total, ce travail livre la monographie d'un parti au role central, met a jour des reseaux, et eclaire d'un jour nouveau bien des aspects de l'histoire de la iv et de la ve rebupliquesThe subject of this doctoral theis is the only french political formation exclusively issued from the resistance mouvements. Initially a federation, it later took the form of a party, dedicated to the expression and promotion of the projects of many "resistants" : to reniew the french political life around a great "labour party" under c. De gaulle's leadership. Udsr was then the largest conglomerate ever called together, merging people of many different tendancies, except the communists. The story of its failure reflects the very nature of "la resistance". It sheds light of the period of the first pst war years. Rene pleven, who was the first president of the new party, tried out unsuccesfully to bring together de gaulle and the "third force". Doing so he contributed to the extension of this "third force" toward the right, all the more sso because it was a pivot group. From the analysis of several remarquable polls it appears obviously that, from 1947 to 1951, the role plyaed by udsr in the assembly was invesrsely proportional to its numerical strength. F. Mitterand took advantage of the large number of his clients in the "mouvement de prisonniers de guerre" to exert a leadership in the party. He attacks pleven's proeuropean positions on behalf of african priorities. He became preisdent in 1953. After the come back of de gaulle in 1958, the party was used by mitterrand as in instrument to group togother all non communists left wingers, under the framework of the 5th republic institutions. The study of the udsr demonstrates that it was no so much a "parti de cadre" than an original, specific and original formula. Finally, this thesis is more than a detailed monography of a party that played a central role. It reveals several facts and new points, enlighting this history with various unknow aspects
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Christófoglou, Mártha-'Ellī. ""Avant-gardes" et politisation dans l'art néohellénique (1965-1975)". Paris 1, 1989. http://www.theses.fr/1989PA010508.
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Le principal objectif de cette thèse est de contribuer à l'examen de la réalité culturelle de la Grèce contemporaine. La période: 1965-1975, a été choisie pour son exemplarité: c'est pendant cette décennie que le rapport art-politique acquiert une importance fondamentale dans la vie artistique grecque. La place des formes d'art dites d'avant-garde, dans l'art néohellénique, doit être évaluée par rapport à certains facteurs propres à la culture grecque. Ces facteurs sont: 1. Le rôle idéologique et esthétique des modelés tirés de la tradition locale. 2. L'influence de l'art moderne occidental et, plus particulièrement, parisien. 3. L'émigration des artistes. 4. L'engagement politique très apparent pendant les années 1960 et 1970, c'est à dire avant, pendant, et après la dictature de 1967-1974. 5. La prédominance de l'individualisme des artistes grecs, qui défavorise les mouvements collectifs. L'étude de ces problèmes devrait permettre l'approche d'un aspect important de la culture grecque d'aujourd'hui.
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Brunetta, Silvia. "A fase utópico-patriótica da poesia angolana (1965-1985)". Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13935.
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Doutoramento em LiteraturaO presente trabalho propõe-se analisar a poesia dos autores angolanos que publicaram entre 1965 e 1985, identificando este segmento temporal como uma fase literária da literatura angolana (designada como utópico-patriótica), a qual exprime os princípios anticoloniais e projeta um espaço utópico genuinamente angolano. Tendo em conta a evolução da literatura angolana, subjaz à produção poética dos autores estudados um certo sentido de continuidade, o qual, estimulado pela difusão do nacionalismo, passa pela poesia «da terra» dos mensageiros e continua com os versos encriptados e anticoloniais das décadas de 60 e 70. O espaço utópico projetado na primeira parte da fase utópico-patriótica encontra a sua possibilidade de concretização com a independência de Angola, em 1975, participando os escritores da construção do recém-nascido Estado-Nação. A produção poética da segunda parte da fase utópico-patriótica é, assim, caraterizada pela celebração dos heróis, na ótica de uma (re)perspetivação da história nacional. A partir de 1985, quando se torna evidente o falhanço da utopia, a poesia angolana ensaia um novo rumo pela mão da «geração das incertezas». Ao longo deste percurso, a poesia angolana publicada entre 1965 e 1985 representa um meio de consciencialização ético-política dos cidadãos e concorre para a construção da identidade político-literária da nação angolana, cuja legitimação decorre do processo de conquista da independência.
The main goal of this dissertation is to provide an analysis of the poetry and the poetic identity of the Angolan authors who published varied works between 1965 and 1985. This time frame is recognised as a literary phase designated as utopianpatriotic, a designation which encompasses the anti-colonial principles and projects a utopian space whose characteristics are genuinely Angolan. When analysing the evolution of Angolan literature, it is possible to perceive a continuity line on the poetry works of the studied authors, stimulated by the gradual spread of nationalism, which focuses firstly on the messengers’ poetry «of the earth» and then moves on to the encrypted and anti-colonial verses from the 60’s and 70’s. After the independence of Angola in 1975, the utopian space devised on the first part of the utopian-patriotic period gets its chance of fulfilment and the writers join in the foundation of the newly born nation. The poetical production of the second part of the utopian-patriotic phase is shaped by the acclaim of the heroes, within the scope of a (re)consideration of the national history. From 1985 onwards, when utopia clearly begins to fail, Angolan poetry seeks a new orientation, this time led by the «generation of uncertainty». Within this context of continuity, Angolan poetry published between 1965 and 1985 represents a way of raising selfconsciousness. Furthermore, it promotes the construction of a national identity, both on a literary and a political level, validated by the advent of independence.
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Hope, Claire. "Cold War Educational Propaganda and Instructional Films, 1945-1965". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2416.
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This thesis will examine the response of educators to the use of the American public school system for ideological management during the early Cold War period. Through an assessment of instructional films, this work will show that the objectives of educational propaganda fell into three main categories: to promote Americanism as the national ideology, to deter students from communism or communist sympathy, and to link the potential for nuclear warfare to ideological lassitude. It will be argued that although the majority of educators accepted these goals, as films became increasingly extreme in their presentations, a critical minority revealed discontent with the use of the school for the purposes of indoctrination. By the mid-1960s, a number of factors would result in the dismantling of the Cold War consensus and a reinvigoration of the critical perspective in education.
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Thijsen, Mirelle Kempers Bram Martis Adi. "Het bedrijfsfotoboek 1945-1965 : professionalisering van fotografen in Nederland /". Rotterdam : uitg. 010, 2002. http://catalogue.bnf.fr/ark:/12148/cb38894565n.
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Texte remanié de: Proefschrift--Kunstgeschiedenis--Utrecht--Universiteit, 2000. Titre de soutenance : Humanistische fotografie en het geluk van de alledaagsheid : het Nederlandse bedrijfsfotoboek 1940-1965.Bibliogr. p. 273-278. Résumé en anglais.
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Simons, Leah Valerie. "Princes men : masculinity at Prince Alfred College 1960-1965". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs6114.pdf.
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Bibliography: leaves 264-273. Ch. 1: Introduction -- Ch. 2: Religion -- Ch. 3: Princes men -- Ch. 4. School culture and impact -- Ch. 5: Discipline -- Ch. 6: Competition and success -- Ch. 7: Conclusions. "This study is an oral history based on interviews with fifty men who left Prince Alfred College (PAC) between 1960-65. The aim was to define the codes of masculinity that were accepted and taught at the school and any other definitions of masculinity that were occurring simultaneously" -- abstract.
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Liao, Kesha. "Framing and International News Flows in Time Magazine's Coverage of the United Nations, 1945-1965, 1995-2015". Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1450487109.
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Campos, Arévalo María Antonia. "La voluntad moderna en la vivienda unifamiliar : Caracas 1945-1965". Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/383064.
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The first political trame of the Venezuela urban history, established by "La Comisión Municipal de Urbanismo"in 1937;"La Dirección de Urbanismo","El Plan Monumental de Caracas' in 1939 and the 1952 and 1954 Caracas planimetry regulation plan, ruled the urban planning development and appointed a new social and institutional order.With the single-family house concept as a study unit, the first city densification process was established, following an open connected set of statutes and urban plans, during the 1945-1965 period.For which it is of undoubtedly testimonial value in the city's morphological growth. From the simplicity of Armando Reveron's El Castillete in 1920 and Carlos Raúl Villanueva's Caoma 1951-1952 and Sotavento 1957-1958 at the littoral central coast; as well as Dirk Bornhorst's Hato Hamburgo1956 and Klaus Heufer's Quinta 'H' 1960 in Caracas, are clear examples of the constructive outthrust in which the house is built using the single-family house concept.lnitial demonstrations that compose the spirit of the time and the starting point of this study. The analysis explores processes architectonic, considering as a fact what belongs to the local place. A method that will prove,which ones are the great 'invariants' that a culture transmits and how they can be used as materials of the project. The single-family house concept developed by a group of foreigners architects, concretes the notion of modern will. Some of them lived in Venezuela ,in the United States; others went back to Europe; but, all of them made multiple contributions out of the experience they brought from their countries of origin.The method (means,way) of interaction with the local scenery sets the introduction to the first steps of the project activity between the local people, the outsiders and the landscape. However,it is just only through the single-family house concept that the following personalities stand out: Jan Gorecki (1914), Russian origin; Klaus Heufer (1923) and Dirk Bornhorst (1927), both born in Germany; Richard Neutra (1892-1970), Austrian origin;Arthur Khan (1910) born in lstanbul, Turkey and finally: Gio Ponti (1897-1970), Domenico Fillipone(1903-1976), Athos Albertoni (1905-1977) and Guido Guazzo (1930), all of ltalian precedence.The significance of the whole process goes far beyond the constructive assorted offer; there existed a concentrated and significant amount of architectural requests at national level; mainly, impelled by and as a consequence of an intense and profitable oíl activity, between 1945 and 1965. During this period, the European architects, the Venezuelan ones and their clients, showed an ostensible national leadership. They constitute a generation that prompted the construction of a new stage in the local architecture.The typology of the single-family house projected by these professionals was driven in a particular way during the mentioned period, reached an important grade of development and a great conceptual and formal quality.Their own houses play a main role in the repertory that composes this investigation (investigative work) and with them,through them; we reach the point of defining the modern will in the single-family house concept. Over this ordered plan and putting into execution,we recognized the customs transmitted from one generation to another-the requirements and the mixture.The passing from the landed property colonial house toward the 'Quinta' and the modern single-family house concept, as a model of expansion of the city and under a plastic focalization at which the open plant is recognized as a principie of spatial organization, open forms, as a general concept.The court, as an architectonic element susceptible to new possibilities of interpretation.The modern will in the single-family house it's a permanent invitation to bring an interior habitable space to the exterior, which is so typical from Caracas and that indeed extended the space farther beyond the own limits of the volume.El primer marco político de la historia urbana venezolana que constituye la Comisión Municipal de Urbanismo en 1937, la Dirección de Urbanismo, el Plan Monumental de Caracas de 1939 y la información planimétrica del plan regulador de Caracas 1952 y 1954 regularon el desarrollo la planificación urbana del país y señalaron un nuevo orden social e institucional. Con la vivienda unifamiliar unidad de estudio se estableció la primera densificación de la ciudad siguiendo un conjunto abierto de ordenanzas y planes urbanos, durante el periodo de 1945 a 1965. Por lo que es indudable su valor testimonial en el desarrollo morfológico de la ciudad. Desde el sencillo Castillete 1920 de Armando Reverán, las casas de la ciudad y del litoral central tales como: Caoma 1951-52 y Sotavento 1957-58 de Carlos Raúl Villanueva, el Hato Hamburgo 1956, de Dirk Bornhorts y la Quinta "H" 1960, de Klaus Heufer son ejemplos del empuje constructivo en el que se hace la ciudad con la vivienda unifamiliar. Demostraciones iniciales que componen el espíritu de la época y el punto de partida de este estudio. El análisis explora procesos específicamente arquitectónicos, considerando como hecho clave lo que pertenece al lugar o viene de otro país. Un método que comprobará, cuáles son las grandes "invariantes" que una cultura transmite y de qué manera se pueden utilizar como materiales de proyecto. La vivienda unifamiliar desarrollada por un grupo de profesionales foráneos concretan la noción de voluntad moderna. Algunos se radicaron en Venezuela, en los Estados Unidos; otros regresaron a Europa, pero todos hicieron múltiples contribuciones a partir de la experiencia que traían desde sus lugares de origen. El medio de interacción con el paisaje es la introducción de los primeros pasos de la actividad proyectual entre el hombre local, los forasteros y el paisaje. Sin embargo, solo a través de los proyectos de viviendas unifamiliares se destacan las siguientes personalidades: Jan Gorecki (1914) de origen ruso; Klaus Heufer (1923) y Dirk Bornhorst (1927) -ambos nacidos en Alemania; Richard Neutra (1892-1970), de origen austríaco; Arthur Kahn (1910) nacido en Estambul, Turquía; y finalmente, Gio Ponti (1897-1970), Domenico Fillipone (1903-1976), Athos Albertoni (1905-1977) y Guido Guazzo (1930), todos de procedencia italiana. La significación va más allá del surtido constructivo: existió una concentración de encargos a nivel nacional como una consecuencia impulsada por la actividad petrolera entre 1945 y 1965. Durante este periodo los arquitectos europeos, los arquitectos venezolanos y junto con los clientes, ostentaron un sólido liderazgo nacional. Constituyen la generación que impulsó la construcción de una nueva etapa de la arquitectura local. La tipología de la vivienda unifamiliar proyectada por estos profesionales fue impulsada de forma particular en el lapso señalado, alcanzó un importante grado de desarrollo y gran calidad conceptual y formal. Sus propias viviendas forman parte del repertorio de esta investigación y con ellas se logra definir la voluntad moderna en la vivienda unifamiliar. Sobre este planteamiento de ordenación se reconocen las costumbres que se trasmitieron de generación en generación -los resquisios y la mezcla-. El paso de la casa de hacienda colonial hacia la quinta y la casa unifamiliar moderna como modelo de expansión de la ciudad bajo un enfoque plástico en el que se reconoce el empleo de la planta libre como un principio organización espacial, las formas abiertas, como un concepto general. El patio, como elemento arquitectónico susceptible a nuevas posibilidades de interpretación. La voluntad moderna en la vivienda unifamiliar. La benevolencia del clima tropical constituye una invitación a llevar el espacio habitable del interior al exterior que son tan caraqueños como tropicales y que en efecto extendieron el espacio más allá de los propios límites del volumen
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Weibel, Fernández Hugo Eduardo. "Vivienda moderna en chile 1945-1965, Bresciani, Valdes, Castillo, Huidobro". Doctoral thesis, Universitat Politècnica de Catalunya, 2008. http://hdl.handle.net/10803/6817.
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El objeto de estudio de esta tesis es la vivienda unifamiliar de la oficina chilena Bresciani, Valdés, Castillo, Huidobro. Dentro del conjunto de su obra, dicha temática -que dio origen a sus encargos y cuyo diseño tuvo una regularidad prácticamente ininterrumpida durante toda su trayectoria- puede ser vista como un claro y representativo objeto de estudio y una pieza fundamental de su "laboratorio" de arquitectura, fundado a partir de una concepción vanguardista, basada en los postulados del movimiento moderno.
Una primera hipótesis planteada señala que tales diseños fueron desarrollados atendiendo a la ecuación de evolución y continuidad, ecuación sobre la cual se habrían sentado las bases de la construcción de su propia línea de acción. Pero dicha ecuación no hubiera sido completamente fructífera si es que la oficina no hubiese contado con la adecuada elección y utilización de aquellos recursos arquitectónicos modernos que les permitieran una interpretación local. Así, surge una segunda hipótesis, que señala que la vivienda unifamiliar moderna, diseñada atendiendo a la ecuación de evolución y continuidad, fue paralelamente dotada de los mecanismos y la flexibilidad necesaria para adecuarse a las condicionantes y particularidades locales.
Inicialmente, en el primer capítulo de introducción, se expresaron algunas interrogantes y se enunciaron los objetivos, a la vez que se dejaron sentadas las bases de la metodología de investigación utilizada y se plantearon las hipótesis.
En un segundo capítulo, se expuso un panorama general de la arquitectura de vivienda unifamiliar moderna, tanto latinoamericana como chilena, del período de estudio que va entre 1930 y 1965, el que incluyó tanto su estado de situación y particularidades como a los protagonistas y sus obras. Este capítulo permite situar el escenario en que se desarrolla la obra de la oficina estudiada.
Luego, en un tercer capítulo, se presentó una visión general acerca de la oficina estudiada: primeramente se presentó a sus integrantes, luego se estableció la naturaleza de los vínculos observados entre ellos, posteriormente se señaló las fuentes de los referentes de su labor, se enseñó su quehacer arquitectónico; su trayectoria y obra destacada, y, finalmente, se determinó el rol que tuvo la temática de vivienda dentro de ella.
Posteriormente, un cuarto capítulo enfocó en el tema de la vivienda unifamiliar diseñada por la oficina, estableciéndose el lugar que dicha temática ocupaba dentro de su obra y evidenciando su importancia relativa. Asimismo, aquí se hizo una revisión cronológica de ejemplos de viviendas unifamiliares de la oficina y se establecieron los períodos en los que tal producción se puede clasificar.
En el capítulo quinto se efectuaron los análisis a seis viviendas unifamiliares representativas del período estudiado. El asunto que enfocó el interés fue el de reconocer los criterios y valores que emanaban de las obras mismas, en orden a verificar las hipótesis planteadas.
En el capítulo seis, se concluyó la investigación y se dejó planteada la posibilidad de revisar con mayor profundidad esta y otras facetas significativas de la obra de la oficina estudiada. Finalmente, se expusieron los textos anexos y se hizo referencia a las fuentes de investigación.
Este trabajo debe ser visto como una contribución al esfuerzo mayor de profundizar en el conocimiento de la historia de la Arquitectura Moderna latinoamericana, emprendida a través del estudio de la particular experiencia de una oficina chilena, diseñando en Chile a mediados del siglo pasado, ayudando así a esclarecer y difundir algunas de las formas en las que este movimiento cristalizó en esta parte del planeta.
This thesis subject matter deals with the Chilean Firm Bresciani, Valdés, Castillo, Huidobro single -member house Project.
Within the spectrum of its work, such issue - which gave birth to its orders and whose design had a practically complete uniformity all the time - can be seen as a clear and representative subject matter and a crucial issue of its architecture "laboratory", grounded from a pioneering understanding, based on the principles of the modern movement.
The first proposed hypothesis points out that such designs were developed taking into account the evolution and continuity equation upon which the basis of the construction of its own line of action would be set. Nonetheless, such equation wouldn't have been completely succesful if the firm had not had the right choice and use of such modern architectonic resources which allow it a local interpretation. Thus, a second hypothesis appears, which points out that a modern single - member house, developed taking into account the evolution and continuity equation was concomitantly endowed with the mechanisms and flexibility necessary to fit the local constraints and peculiarities.
Initially, in the first introduction chapter, some questions were expressed and the objectives enunciated; at the same time, the basis of the investigation methodology used was set and the hypothesis was posed.
In the second chapter, a general view of the architecture of the modern Chilean as well as Latin - American simgle - member house of the study period, betwen 1930 and 1965 was exposed, this incluided its status report and peculiarities as well as the protagonists and their works. This chapter places the scenario in which the work of the studied firm is developed.
Then, in the third chapter, a general view of the studied firm was presented. The members were introduced in the first place, then, the nature of the relationship observed between them was established; subsequently, the sources of the referents of their work were pointed out, their architectonic chores were showed, its record of achievement and work underlined, and finally, the role that the housing theme had within it was determined.
Then, the fourth chapter focused on the single - member house theme designed by the firm, establishing the importance that such issue had within its work and showing its relative importance. Similarly, a chronological review of the examples of the firm's single - member house was carried out and the phases in which such production can be classified were established.
In the fifth chapter, the analysis to six representative single - member houses of the studied period was made. The issue intended to recognize the criteria and the values that derived from the works themselves so as to verify the hypothesis proposed.
The investigation concluded in the chapter six. Here, the possibility of a further checking of this and other major facets of the studied office's work were proposed. Finally, the adjunct texts were exposed and the sources of investigation were mentioned.
This work must be seen as a contribution to the major effort of going deeply into the knowledge of the history of Latin - American Modern Architecture, which was undertaken through the study of the particular experience of a Chilean firm which designed in Chile around the middle of the past century, helping in a way to clarify and spread some of the ways in which this movement crystallized in this corner of the planet.
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Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.
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Ce travail cherche à comprendre comment le cinéma d’animation en Tunisie, une pratique artistique « en marge », à la fois dans son monde de l’Art et dans la société dans laquelle elle est produite, puisse s’ériger en tant que vecteur de contestation dans un contexte autoritaire. Il s’agit de tracer l’histoire méconnue de cet art depuis sa genèse et sur toute la période étudiée (1965-1995). Une histoire qui se confond avec celle des changements sociopolitiques du pays sous les deux régimes autoritaires postindépendance. Nous entendons dégager la ou les forme(s) de contestation en interrogeant, d’une part le matériau filmique etd’autre part les sources orales, mémoires vivantes de cet art. Nous confrontons deux discours celui du régime (du centre) et celui de l’art (la périphérie) afin de révéler le mécanisme de formulation du propos contestataire dans le cinéma d’animation tunisienThis work seeks to understand how animation in Tunisia – an artistic activity on the fringes, both in the art world and in the society in which it is produced - became a vehicle for political protest within an authoritarian context. It recounts the hitherto untold history of this art form together with the socio-political changes under the two post-independence authoritarian regimes. We intend to reveal the form(s) of protest by examining, on the one hand, the cinematic material and, on the other, live testimonials, first-hand memories of the art form. We confront two different types of rhetoric, that of the regime (core values) and the art of animation(marginal culture) to reveal the mechanisms used to formulate the protest statements in Tunisian animation
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Дмитроченко, Михаил Федорович. "Партийное руководство организационно-хозяйственным укреплением колхозов Украины (1965-1985 гг.)". Disertación de Doctor en Ciencias Históricas, МВ и ССО УССР, КГУ им. Т.Г.Шевченко, 1988.
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Pandolfe, Frank Craig. "South American naval development 1965-1985 : a four nation study /". Thesis, Connect to Dissertations & Theses @ Tufts University, 1987.
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Thesis (Ph.D) -- Fletcher School of Law and Diplomacy, 1987.Typescript. Vita. Bibliography: leaves 538-564. Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Tučev, Nataša. "Unutrašnji emigrant viđenje poezije u stvaralaštvu Šejmasa Hinija 1965 - 1985". Maintal Multimediaverl. Valovic, 1999. http://deposit.d-nb.de/cgi-bin/dokserv?idn=985883685.
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Sabin, Robert W. "Gary Peacock| Analysis of progressive double bass improvisation 1963-1965". Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3682319.
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Analysts and historians have documented the techniques associated with the avant-garde jazz styles of the 1960s while omitting a serious analysis of a central collaborator from this period--bassist Gary Peacock. This work documents the techniques and contexts surrounding of Peacock's revolutionary and virtuosic performance practices while establishing him as a principal innovator of the era.
This investigation examines Peacock's singular idiom through a mixed-methods investigation into a three-year period (1963-1965). The examination uncovers the bassist's unorthodox career, discography, and style during his emergent years in the New York City avant-garde. New methods of notation and analysis uncover Peacock's innovative improvisational style via transcription of five complete performances. These tracks epitomize Peacock's singular use of rhythm, harmony, motive, and independence while documenting the exceptional interactive and virtuosic nature of his idiom. The conclusions of this analysis are the subject of lengthy interviews with Peacock himself, placing these findings in the appropriate personal and historical context. This inquiry lays the groundwork for a better understanding of Peacock's creative output, the era, double bass performance practice, the interactive nature of jazz improvisation, and the creative process of one of the bass' most enigmatic virtuosos.
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MARCHETTI, GUSTAVO. "DESIGN REVIEW: ARCHITECTURE AND PHOTOGRAPHY IN MÓDULO MAGAZINE (1955-1965)". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=32491@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente trabalho apresenta uma reflexão sobre a relação entre arquitetura e fotografia no contexto das revistas especializadas ao longo do período de modernização acelerada que se deu no Brasil a partir da década de 1950. Com o amparo de uma investigação sobre o histórico da fotografia de arquitetura e da consolidação do modelo de revista ilustrada moderna, foi realizada uma breve análise gráfica da revista Módulo em seu primeiro período de circulação (1955-1965), com o objetivo de verificar na publicação elementos identificados na pesquisa e discutir a importância da memória gráfica na historiografia da arquitetura moderna brasileira.
This work presents an examination on the relationship between architecture and photography concerning the specialized magazines through the rapid process of modernization that took place in Brazil from the 1950s. Supported by an investigation on the history of architectural photography and the development of the modern illustrated magazine standard, we conduct a brief graphical analysis of the first circulation phase of Módulo magazine (1955-1965), aiming to relate some of the publication aspects to the research made and ratify the importance of graphic memory to the Brazilian modern architecture historiography.
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Watts, Carl Peter. "The Rhodesian crisis in British and international politics, 1964-1965". Thesis, University of Birmingham, 2006. http://etheses.bham.ac.uk//id/eprint/314/.
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This thesis uses evidence from British and international archives to examine the events leading up to Rhodesia’s Unilateral Declaration of Independence (UDI) on 11 November 1965 from the perspectives of Britain, the Old Commonwealth (Canada, Australia, and New Zealand), and the United States. Two underlying themes run throughout the thesis. First, it argues that although the problem of Rhodesian independence was highly complex, a UDI was by no means inevitable. There were courses of action that were dismissed or remained under explored (especially in Britain, but also in the Old Commonwealth, and the United States), which could have been pursued further and may have prevented a UDI. Second, the thesis argues there were structural weaknesses in the machinery of government of each of the major actors, but particularly in Britain. This made the management of the Rhodesian Crisis more difficult, contributed to the likelihood of a UDI, and exacerbated tension in relations between Britain and its international partners. In stressing these themes the thesis builds upon some of the earlier literature that was critical of the Labour Government’s foreign and Commonwealth policies. Although this thesis is primarily an international history, it also makes use of theories from political science and international relations to frame certain aspects of the empirical research.
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Lum, Eric Kim. "Architecture as artform : drawing, painting, collage, and architecture, 1945-1965". Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9492.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1999.Includes bibliographical references (p. 319-329).
The development of an American architectural avant-garde after the Second World War is examined in relation to the formal properties and institutionalized cultural authority of modern art. Rather than looking to the artwork of their American artistic contemporaries, architects and critics appropriated the early European avant-garde as typological precedents, guided by a pedagogical approach steeped in Bauhaus teaching methods. Drawing became the common conduit between the abstract work of art and its transformation into modern architecture. Architecture was seen as a problem that could be studied diagrammatically, and consequently also thought of as a fundamentally conceptual, immaterial artifact. At the same time that architecture was moving towards a flattened artistic condition, however, abstract expressionist painting began to take on the material and dimensional properties of the architectural object, demarcating volume and structure. Modernist collage techniques were also introduced into postwar architectural design, but again the material aspects of the medium were suppressed in favor of its purely visual qualities.
by Eric K. Lum.
Ph.D.
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Ljunggren, Mattias. "Den sista flickscouten? : Medborgarideal i den svenska flickscoutrörelsen 1945-1965". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158672.
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The aim of this study is to examine the ideal of citizenship as presented in the Swedish Girl Scout movement 1945-1965. Through the examination of periodicals aimed at Girl Scout leaders, the study attempts to elucidate how the presented ideals shifted in the years leading up to, and following, the merger between the largest Swedish Girl Scout and Boy Scout associations in 1960. As a theoretical background, the model of the Belgian scout researcher Sophie Wittemans is used, according to which citizenship in the scout movement contains both a universalistic tendency, emphasizing and geared towards creating citizens that are equal in an abstract sense, as well as particularizing instruments that aim to mold the singular individual. Wittemans claims that the Girl Scout movement has generally focused on the later aspect. The concept of citizenship is found to be linked to duty rather than to the freedom of the individual, especially in the sphere of home life. In professional life the individual is afforded a greater measure of freedom. At the time of the merger in 1960, the idea of citizenship is to some extent gendered. The Girl Scout is to be prepared to take part in a society where feminine and masculine values are both needed. There is no consensus, however, on what the difference between the sexes consists of. Neither sex, nor citizenship, seems to be the main focus of the training of Girl Scouts during the studied period. The cultural and societal tensions are contained by religion, universalizing tools like the scout law, and concepts such as ‘humanity’. Through the study of a relatively scarcely researched area, this study attempts to shed light upon the Swedish Girl Scout movement in the post-war-era, as well as the larger shift in gender roles in Swedish society during the same period.
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Fauré, Valérie. "Le Centre culturel de Châteauvallon (1965-1995) : une institution atypique". Paris 1, 1997. http://www.theses.fr/1997PA010643.
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Chronique historique du centre culturel de Châteauvallon, situé dans le departement du Var (France), depuis sa création en 1965 à la célébration de son trentenaire en 1995: - étude de la singularité du lieu, des personnalités fondatrices, des sources d'inspiration du projet et du concept initial : - monographie architecturale et artistique du centre, description de l'oeuvre et du programme d'Henri Komatis, l'artiste : - analyse de la démarche culturelle du centre, description de l'inscription dans le temps menée par Gérard Paquet; description et synthèse de l'histoire culturelle, artistique et sociale de Châteauvallon, axée sur la transversalité et la diversité de la démarche et des actions ; illustration des évènements et personnalités "phares" qui ont jalonné cette aventure unique en France, née de l'initiative privée: arts plastiques, théâtre, poésie, musique, danse, image, réflexion, sciences de l'homme, animation socioculturelle etc. . . - étude des différents publics et de leur croisement, de leur fidélisation : - étude analytique et thématique de l'évolution du contexte institutionnel, juridique, administratif et financier : - à travers cinq grandes périodes, observation du mode de fonctionnement et de structuration du "projet" Châteauvallon, basé sur la mutation et le renouvellement permanentsHistorical chronicle of the cultural center of Chateauvallon, situates in the department of Var (France), since its creation in 1965 until the celebration of its thirtieth anniversary in 1995 : - study of the peculiarity of the place, the founders personalities, sources of inspiration and initial concept; - artistic and architectural analysis, description of the henri komatis's work and program : - analysis of the cultural project managed by gerard paquet during more than thirty years : description and synthesis of the cultural, artistic and social history of Chateauvallon, centred on transverse and various exchanges; illustration of importants events and personalities that have marked this unique adventure: arts, theater, poetry, music, dance, cinema and audio-visual, thought, sciences, sociocultural activities etc. . . - study of the differents publics and their crossing; - thematic and analytic study of the institutional, legal, administrative and financial evolution; - through five large periods, observation of the chateauvallon project's functionning, based on permanents transfers and renewals
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Renouard, Michel. "Robert ruark (1915-1965), journaliste et romancier : l'echec d'une reussite". Paris 4, 1986. http://www.theses.fr/1986PA040245.
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L'americain robert ruark fut sans conteste un des journalistes americains les plus celebres de son epoque, a la fois comme reporter et comme chroniqueur. Mais il fut aussi un romancier populaire et publia plusieurs best-sellers dont something of value, traduit en dix langues et adapte a l'ecran. Apres avoir rappele la vie de ruark et evalue l'importance politique de ses chroniques, cette these etudie les principaux themes de ses articles de presse et de ses livres: l'afrique (et, tout particulierement, le kenya a la veille de l'independance), la grande chasse et la quete de la virilite. Son succes commercial fut immense, ses dons de conteur et de chroniqueur indeniables, son talent representatif d'une nouvelle tendance dans l'edition americaine. Mais ses qualites litteraires, pourtant reelles, ne lui permirent pas de realiser l'ambition de sa vie: devenir un grand ecrivainThe american robert ruark was unquestionably one of the most famous journalists of his time, both as a reporter and as a columnist. But he was also a popular novelist and published several best sellers, notably something of value which was translated into ten languages and made into a film. After recalling the life of ruark and assessing the political significance of his columns, this thesis focuses on the main themes of his newspaper articles and books: africa (more particularly kenya on the eve of independence), big-game hunting and the quest for virility. Ruark's commercial success was enormous, his gifts undeniable and his talent was representative of a new trend in american publishing. But, however real, his literary qualities fell short of the calibre required to make him into a major writer, as was his lifetime ambition