Littérature scientifique sur le sujet « 1954-2014 »

L’industrie automobile française est présente en Russie depuis plus d’un siècle. Les constructeurs français maintient leur présence sur le marché russe, malgré les nombreux bouleversements que connaît le pays au XXe siècle. La thèse étudie les activités des entreprises automobiles françaises en Russie dans les années 1954 – 2014. Elle couvre deux périodes bien distinctes : soviétique et post-soviétique et montre une continuité dans la stratégie des constructeurs automobiles français sur le marché russe. L’étude couvre la coopération franco-russe dans le domaine automobile sous le prisme des relations tant économiques et politiques que technologiques entre les pays. Cette coopération résulte d’une volonté bilatérale de la part de la France et de l’Union soviétique d’élargir les champs de leur coopération et de s’engager dans des projets industriels à long terme. Il est possible ainsi de mettre en lumière l’importance du transfert de technologies réalisé dans le cadre des projets automobiles franco-russes. Enfin, l’analyse du marché automobile russe permet de mesurer le rôle de la France dans le développement de l’industrie automobile soviétique puis russe. L’exemple de l’implantation de Renault en Russie post-soviétique illustre bien la stratégie du Groupe Renault-Nissan envers les pays émergents. L’usine « Renault Russie » à Moscou devient en 2014, la 4e usine du Groupe Renault pour le volume de la production
The French automobile industry has been present in Russia for more than a century. French manufacturers have maintained their presence on the Russian market despite the many upheavals that the country experienced in the 20th century. The thesis analyses the activities of French automobile companies in Russia in the years 1954 - 2014. It covers two very distinct periods: the Soviet and the post-Soviet and shows continuity in the strategy of French car manufacturers on the Russian market. The study presents Franco-Russian cooperation in the automobile field under the prism of economic, political and technological relations between the countries. This cooperation is the result of a bilateral will on the part of France and the Soviet Union to widen the scope of their cooperation and to engage in long-term industrial projects. It is thus possible to highlight the importance of the technology transfer carried out within the framework of Franco-Russian automobile projects. Finally, the analysis of the Russian automobile market enables us to measure the role of France in the development of the Soviet and then Russian automobile industry. The example of Renault's presence in the post-Soviet Russia is a good illustration of the Renault- Nissan Group's strategy towards emerging countries. The "Renault Russia" plant in Moscow becomes the Renault Group's 4th largest plant in terms of production volume in 2014

En 1965, la présence de films indiens dans la région arabe fait débat. La popularité des films indiens est perçue comme une « invasion » par certains, tandis que les raisons de ce succès sont formulées en termes essentialistes, comme « une sorte de spontanéité innée » par l’historien du cinéma Georges Sadoul (Centre interarabe du cinéma et de la télévision 1965). Pour restituer ces ambivalences, l’objet de ce travail n’a pas été d’offrir les arguments d’une connivence culturelle entre les films indiens et les pays arabes, mais de documenter les circulations des films, participant d’une histoire globale des circuits cinématographiques Sud-Sud. Cette recherche articule les modalités de circulations des films indiens sur le temps long, de 1954 à 2014, afin de restituer à ces échanges cinématographiques toute leur historicité. Interroger le Moyen-Orient depuis l’industrie cinématographique indienne formule une vision alternative de cette région. Elle contribue à donner leur place à des acteurs méconnus, à faire une histoire des distributeurs et des salles de cinéma au regard des circuits des films indiens. Simultanément, entreprendre cette histoire nécessite de comprendre comment l’industrie de Bombay perçoit et investit les territoires étrangers pour la diffusion de ses films. Revenir aux processus de circulations en eux-mêmes sur une période de 60 ans ouvrait la porte aux aspérités, aux trébuchements des récits. Une ethnographie transnationale des réseaux de circulations des films hindis à Beyrouth, au Caire et à Dubaï, montre des territoires différemment perméables. Dans une démarche qui documente les circuits de cinéma et en distingue les agents, ce travail s’attache à faire une anthropologie historique de la filière de la distribution. La typologie des réseaux signale leur plasticité et montre toute l’ingéniosité des acteurs de la diffusion, s’adaptant, se modulant et anticipant même les mutations historiques de la région
In 1965, the presence of Indian films in the Arab region is sparking debate. While some perceive the popularity of Indian films as an “invasion”, the reasons for this success are formulated in essentialist terms by the film historian Georges Sadoul, as “a kind of innate spontaneity” (Inter-Arab Center for Cinema and of television 1965). To render these ambivalences, the purpose of this work was not to offer the arguments of a cultural connivance between Indian films and Arab countries, but to document the circulation of films, contributing to a global history of South-South cinematographic circuits.This research articulates the circulation modes of Indian films over a long period, from 1954 to 2014, in order to give to these cinematographic exchanges all their historicity. Questioning the Middle East from the perspective of the Indian film industry formulates an alternative vision of this region. It contributes to give their place to unsung actors, to make a history of distributors and cinemas in light of the circuits of Indian films. At the same time, undertaking this story requires understanding how the Bombay film industry perceives and invests foreign territories in broadcasting its films. Returning to the process of circulation in themselves over a period of 60 years opened the door to asperities, to the stumbling of stories. A transnational ethnography of circulation networks of Hindi films in Beirut, Cairo and Dubai, shows differently permeable territories. In an approach that documents film circuits and distinguishes its agents, this work focuses on a historical anthropology of the distribution field. The typology of the networks indicates their plasticity and shows all the ingenuity of the actors of the diffusion, adapting, modulating and anticipating even the historical mutations of the region

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Analiza los cambios en los patrones de distribución y abundancia de merluza, a partir de la estandarización de la tasas de captura de una serie temporal de 2004 a 2014, utilizando un modelo lineal generalizado cuyas variables explicativas son año, mes, flota, sector, estrato y la variable ambiental ONI (Oscillation El Niño Index). Las variaciones espaciales y temporales de la tasa de captura estandarizada, como indicador de abundancia relativa, indican que el stock disponible de merluza experimentó cambios en su distribución y abundancia entre 2004 y 2014, mostrando tres escenarios: el primero entre 2004 y 2006 con tendencia descendente de los niveles de abundancia y distribución, integrado por merluzas con talla media que decayó de 31 a 26 cm, un segundo escenario entre 2007 y 2011 con niveles de abundancia casi constantes y notorias fluctuaciones estacionales en su abundancia, distribución y talla media, influenciados por la variabilidad estacional de la ESCC, y un tercer escenario entre marzo de 2012 y mitad de 2014 con niveles de abundancia superiores a los escenarios anteriores, los más altos del periodo analizado, integrado por ejemplares con talla media de 35 cm. En general, a partir de 2007 la población de merluza frente a la costa norte del Perú, mostró tendencias positivas en su distribución, abundancia y estructura poblacional, atribuibles a la presencia de condiciones favorables del medio marino y a las medidas de ordenamiento pesquero implementadas en este periodo.
Tesis

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
On July 15, 2016, there was a military coup attempt in Turkey by a faction within the Turkish Armed Forces that presented themselves as the "Council of Peace at Home", but, this time - different from what happened with the previous ones, such as 1960, 1971, 1980 and 1997 coup d'état - was not successful. The attempted coup is considered the most important event since 1946 by its political and social results. In this sense, the Brazilian press published a great volume of news on the subject, due to the international impact generated by the coup. The aim of this work is to analyze the coverage of the newspaper Folha de S. Paulo, O Estado de S. Paulo and O Globo, from July 16 to August 30, 2016
No dia 15 de julho de 2016, houve uma tentativa de golpe militar na Turquia, por uma facção dentro das Forças Armadas turcas que se apresentaram como o “Conselho da Paz na Pátria”, contudo, desta vez – diferentemente do que ocorreu com os anteriores, como os golpes de 1960, 1971, 1980 e 1997 – este não foi bem-sucedido. A tentativa de golpe é considerada o mais importante acontecimento desde 1946 por seus resultados políticos e sociais. Nesse sentido, a imprensa brasileira publicou um grande volume de notícias sobre o assunto, devido ao impacto internacional gerado pelo golpe. O objetivo deste trabalho é analisar o enquadramento da cobertura dos jornais Folha de S. Paulo, O Estado de S. Paulo e O Globo, no período de 16 de julho a 30 de agosto de 2016

Cette thèse a pour objet l'histoire de la transposition française du réalisme socialiste, sur le double plan du discours et des œuvres. Louis Aragon en est l'acteur principal, c'est lui qui, dès le congrès fondateur de l'Union des écrivains soviétiques en 1934, engage le pari d'en inventer une traduction adaptée à l'héritage littéraire et au contexte social de la France. De 1934 à 1939, il n'est pas entendu, mais il écrit les premiers romans du "Monde Réel". La référence au réalisme socialiste s'estompe entre 1939 et 1947, mais des écrivains communistes donnent des œuvres engagées, poèmes de la Résistance, puis romans militants. C'est dans le contexte de l'affrontement idéologique de la guerre froide et du jdanovisme que s'écrit, de 1947 à 1954, une abondante "littérature de parti", sous le signe du réalisme socialiste. Les œuvres les plus importantes sont les cycles romanesques de Pierre Daix, Classe 42, d'André Stil, Le Premier Choc, et d'Aragon, Les Communistes
This thesis deals with the French transposition of Socialist Realism, from the double perspective of speech and literary production. Louis Aragon is the main actor of this movement. Already during the establishing Congress of the Union of Soviet Writers in 1934, he took the challenge of inventing a translation of Socialist Realism, which would match the French literary heritage and social context. His call remained unheard from 1934 to 1939, however he wrote the first novels of "Le Monde Réel". Between 1939 and 1947, his reference to Socialist Realism faded away, while other communist writers produced militant pieces of work, first poems on the Resistance, then militant novels. The Cold War's ideological confrontation and the Jdanovism period were the most fruitful time for the production of "party literature", under the auspices of Socialist Realism. The three major pieces of work from this period are the romanesque cycles by Pierre Daix's Classe 42, Andre Stil's Le Premier Choc and Aragon's Les Communistes

碩士
中原大學
宗教研究所
104
It has been 362 years since George Fox first received the vision from God in 1652. Fox set this mission to be Gospel centered; he had tried to respond the calling of God through medical treatment, education, humanitarian assistance and so on. The spread of Christianity in the history falls into the similar trend. Friends Churches（Quakers）also bring contributions to the spread of Gospel in Chinese sphere for identifiable ways; and it has inspired the researcher’s motivation for writing chapter one. In chapter two, besides illustrating Friends Churches'' initial history and the spirit of “The Inner Light of Christ”, the chapter would also explain an eye opening event of a sister from the Evangelical Friends Church - Eastern Region in America, who in 1887 opened a new page for the spread of Gospel in China. At the end of 1953, three pioneer missionaries arrived Keelung, Taiwan and began with the local mission works. In chapter three, it introduces how the missionaries set up the model and the organization. Within sixty years, Friends Churches established over sixty churches in Taiwan; starting from Chia-yi Province to the North, and then to the Middle. In chapter four, it describes the development of Friends Churches in Taiwan. Around twenty years ago, Friends Churches in Taiwan have reached out to Southeast Asia, Southern Asia, and Mainland China continuing the spread of the Gospel. In chapter five, it summarizes the whole article and in hope of providing valuable reflections enable to apply for further usages. On May 17th , 2014, Friends Churches held the sixty-year anniversary Thanksgiving Worship Service at Chung Cheng Hall, Chung Yuan Christian University. Friends Churches in Taiwan was established by the Eastern American Friends Church, which is only one of the 27 Friends Churches in America. This small size church branch has facilitates evangelization nearly 120 years in the Chinese sphere; humbly make endeavor and has no means to let know. Until now, she still stands firmly in the Chinese society. As the Bible says “Your beginnings will seem humble, so prosperous will your future be.” (Job 8:7 NIV). Friends Churches in Taiwan is ordinary and simple, most locate in the country sides and among the streets and lanes. As Pastor Sheng-Chu Chou and Chung-Chien Shia once made a note on Friends Churches: “ They often time choose the trivial works to serve when they are in the union of the different churches’ congregations. ” Hope this research could be a small screw under the big mission’s construction. Keywords: Friends Church（Quakers）, Mission History, Gospel

Michel Tournier e Sylvie Germain, dois dos mais aclamados escritores franceses contemporâneos, são frequentemente aproximados pela crítica literária, especialmente pelos temas abordados e, em particular, pelo recurso a motivos bíblicos, o que se pode explicar pelo facto de ambos os escritores terem recebido uma educação católica e feito estudos de filosofia. Le Roi des Aulnes, Le Livre des Nuits e Nuit-D’Ambre são três dos seus romances mais conhecidos e apreciados, romances que conquistaram vários prémios literários. Le Roi des Aulnes conta a história de um mecânico de Paris, Abel Tiffauges, e segue o estranho destino da personagem desde o início da sua vida, enquanto aluno no colégio de Saint Christophe, até ao fim, altura em que se torna comandante duma escola nazi paramilitar, na Alemanha, durante a Segunda Guerra Mundial. Le Livre des Nuits e Nuit-d’Ambre contam, cronologicamente, a história da família Péniel, acompanhando-a desde a guerra franco-prussiana de 1870 até a guerra de descolonização na Argélia (1954-1962). Mais do que dois romances diferentes, os dois livros em questão serão sobretudo dois volumes do mesmo romance, razão pela qual este estudo se concentrou sobre os protagonistas dos dois livros: Victor-Flandrin, personagem principal do Livre des Nuits, e o seu neto, Charles-Victor, protagonista do Nuit-D’Ambre. O contexto de guerra e os acontecimentos do século XX representam o quadro da acção romanesca dos três romances. Como o próprio Tournier nota, o século XX foi o século das grandes guerras e dos grandes monstros (como Hitler, Stalin ou Mao), referindo os 3 acontecimentos históricos como os conflitos que criaram esses monstros. Naturalmente, uma literatura inspirada nesses acontecimentos terá também a sua galeria de monstros. Essa premissa torna pertinente a interpretação dos protagonistas destes livros enquanto monstros. Partindo de teorias sobre monstruosidade desenvolvidas por José Gil, Julia Kristeva ou Sigmund Freud, a primeira parte deste estudo tenta mostrar quais as características que tornam as três personagens monstruosas. Com nomes e apelidos que aludem, pelos "traços" que os aproximam da etimologia da palavra “monstro”, ao seu carácter extraordinário, Abel Tiffauges, Victor-Flandrin e Charles-Victor são seres fora do comum, tanto do ponto de vista físico como do comportamental, dando mostras de crueldade e violência, tendências de dominação e mesmo aniquilação do próximo. Na sequência de um tabu - o incesto no caso de Victor-Flandrin; o crime, no caso de Abel Tiffauges e Charles-Victor -, os protagonistas serão rejeitados pela comunidade (inadaptados que são das normas sociais e culturais) sendo representados nos romances em meios fechados, à margem da restante sociedade. Num ponto do estudo que se concentrará sobre teorias desenvolvidas por Susan Neiman e Hannah Arendt, analisar-se-á a evolução da monstruosidade nas personagens de acordo com o desenvolvimento do conflito exterior. A Segunda Guerra Mundial é decisiva para a transformação de Abel Tiffauges. É a altura em que se torna comandante duma escola nazi paramilitar, em que retira crianças dos seus pais e os fecha na escola, sacrificando-os sobre o altar da guerra e do nazismo - altura em que a sua natureza de ogre atinge o apogeu. No mesmo conflito se concretizará também o momento da desumanização de Victor-Flandrin que, assistindo ao massacre da sua família, perde a razão e o domínio da língua (atributos próprios do homem, possibilidade de humanidade), que nunca recuperará completamente. Charles-Victor, crescido num meio influenciado profundamente pelos horrores da guerra, atinge o seu apogeu monstruoso na traição e no crime do jovem Roselyn, crime cometido simbolicamente na mesma altura em que decorria a guerra na Argélia. 4 Se as manifestações de monstruosidade nos homens são facilmente identificáveis durante os períodos de guerra, muito poucas personagens na literatura serão completamente monstruosas, cometendo um mal puro e gratuito. A segunda parte deste estudo mostrará como se manifesta nos três protagonistas o conceito de plasticidade humana, conceito caracterizado pela oscilação entre os momentos ligados ao lado animal, instintivo, e aqueles que ligam o homem à humanidade. Esta secção apoiar-se-á em teorias humanistas de Ângela Fernandes e Emmanuel Lévinas. Os lados "luminosos" das personagens estudadas, relacionados com a sua humanidade, podem ser adivinhados na inclinação artística das personagens, embora este factor não seja suficiente para falar da sua humanidade. Os momentos em que expressam humanidade estarão relacionados, sobretudo, com a relação que mantêm com o próximo. Isto é, apesar dos acessos de violência que o caracterizam, Victor-Flandrin dará constantemente mostras da sua humanidade, através do contacto com os seus filhos e mulheres. Para as suas mulheres (marcadas, como as personagens estudadas, pela condição solitária e pela exclusão social), o homem terá manifestações de amor, tolerância, aceitação e solidariedade - sentimentos próprios do ser humano. Por isso, contrariamente a Abel Tiffauges e Charles-Victor, Victor-Flandrin não poderá ser considerado um monstro moral. Tiffauges e Charles-Victor inscrever-se-ão nessa categoria, na medida em que ambos procuram a dominação do outro (como Tiffauges, que serve o regime nazi), ou a destruição do próximo (como Charles-Victor, que comete um crime na tentativa de se salvar). Nestes casos, a única salvação vem do encontro com o outro, o próximo, no sentido que Emmanuel Lévinas dá ao conceito: o outro que nos chama e que exige a nossa responsabilidade, forma que coincidirá com o amor do próximo. Nesta resposta face ao outro, o homem define-se enquanto ser humano. Se, para Victor-Flandrin, será sobretudo a consciência do outro a preservar a sua humanidade ao longo dos romances (ainda que seja atravessada por momentos de obscuridade 5 e violência), no caso de Abel Tiffauges e Charles-Victor, será o encontro redentor com o outro - respectivamente Ephraïm e Cendres -, a desencadear a transformação das personagens, ou a sua humanização. Se a evolução do comportamento monstruoso das duas personagens acompanha a evolução das guerras e da violência externa, esses encontros (redenção) acontecerão para lá do período das guerras - quando a transformação positiva se torna possível. A transformação das personagens é anunciada nos romances pelo recurso a mitos e referências intertextuais, que reforçam a carga ambivalente das personagens e a ideia da plasticidade do homem, o entrelaçamento entre os seus momentos luminosos e as obscuridades da alma. Assim, Tournier deixa a sua personagem oscilar entre Erlkönig e San Cristóvão, colocando o seu romance sob o conceito de “phoria”, que o autor inventa, referindo a acção de transportar uma criança nos ombros. Quanto a Germain, como a autora confessou em varias entrevistas, ambos os seus livros se encontram sob a imagem bíblica da luta de Jacob com a anjo, que dá forma à sua narração. A banalidade da condição das personagens retratadas - Tiffauges é um simples mecânico, Victor-Flandrin um pai de família e Charles-Victor um estudante de filosofia - não impedirá o seu destino trágico, ou a sua transformação em criminosos (casos de Tiffauges e Charles-Victor). É o facto de as personagens desempenharem tarefas banais que fará pensar no monstro como alguém próximo de nós (ou talvez alguém em nós mesmos), como algo ou alguém que poderá ser desencadeado por um contexto de guerra. Os três romances podem assim ser interpretados como um apelo à vigilância, uma advertência para o leitor demasiado confiante na sua natureza humana, na razão. Mas, como os livros acabam num tom optimista, com a recuperação da humanidade perdida, podem também ser lidos como uma guia para a manutenção da humanidade, para o domínio das obscuridades da alma, garantidos através da solidariedade e da assunção de responsabilidade para com o próximo.
Abstract: Le Roi des Aulnes, Le Livre des Nuits et Nuit-D’Ambre have as a background for their narrative the great wars of the twentieth century, historical period that shaped a wide range of monsters. It is therefore relevant to analyse Abel Tiffauges, the protagonist of Tournier’s novel, Victor-Flandrin and Charles-Victor, the main characters of Germain’s books, from the perspective of the monster. Bearers of significant names and surnames, the characters make proof of behavioural peculiarities and particular appearance, which are characteristics of a monster, according to theories on monstrosity developed by José Gil, Julia Kristeva, and Sigmund Freud. Moreover, there is a tight connection between the progress of their monstrosity and the development of exterior violence, statement based on theory by Susan Neiman and Hannah Arendt. However, human nature is characterized by plasticity and the human being is the product of the oscillation between the instinctive, animal side and the human side. This ambivalence characterizes as well the three main characters that cannot be perceived exclusively from a monstrous perspective. The second part of this thesis analyses the aspects related to the humanity of the characters that trigger their positive transformation, focusing on the relationship of the protagonists with the Other fellow-man, as theorized by Ângela Fernandes and Emmanuel Lévinas. With the help of myths and intertextuality, both authors guide their characters from the monstrous side to the human one, closing the novels on a serene note, but providing the reader, too confident in the human nature, with a warning and an appeal for vigilance, regarding the monstrous side that can easily emerge in times of exterior violence.

In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the significance of the Nouvelle Vague directors’ engagement with the world beyond metropolitan France, through formal analyses of seminal films by Jean-Luc Godard, Chris Marker, Alain Resnais, and Jean Rouch, as well as close readings of archival documents pertaining to their promotion and reception. I contend that the directors of the Nouvelle Vague were concerned with the shifts in national, transnational and colonial dynamics that marked their era. I demonstrate that their texts and films are structured by a dialectical relationship between a gaze turned outwards onto the world beyond metropolitan France, and a gaze turned inwards, onto the French. In my first three chapters, I inscribe the Nouvelle Vague in a cultural longue durée by examining its formal and thematic continuities with the tradition of French ethnography; the inter-war artistic movement, Surrealism; and the cinéma vérité documentary tradition of the early 1960s. I illustrate that the films of the Nouvelle Vague were fundamentally shaped by their directors’ engagement with the decolonization of the French empire. In my final chapter, I reexamine the most conspicuous example of foreign influence on the Nouvelle Vague, American cinema, in light of my preceding demonstrations. I determine that there are two levels of foreign influence on the Nouvelle Vague, and that the influence of American cinema was above all textual and superficial, whereas a grappling with the end of the French empire was, though far less conspicuous, fundamental to the form of the Nouvelle Vague films themselves.

No matter if inhuman, nonhuman, or superhuman, villains continue to inspire directors and viewers to think in new dimensions. I argue that they also represent a broader cultural symptom of problems growing on a global scale and becoming increasingly difficult to grasp. In this context, gigantic villains provide a space for the safe (and often unconscious) engagement with both these larger than life problems and what I call, in reference to Julia Kristeva, the abject-posthuman. Using the example of both the original 1954 and 2014 movie, the article explores how Godzilla, by now a veritable pop culture icon, represents a variety of approaches to the topic of scale, monstrosity, villainy, and posthumanism. It traces what, if anything, has changed in our imagination during the 60 years of Godzilla’s existence and what the continued success of giant heroes and villains can teach us about ourselves.

When and why do political elites publicly frame groups as fifth columns? While some argue that geopolitical factors explain when states identify groups as fifth columns, others emphasize domestic political concerns. This chapter finds that, although geopolitical dynamics are central in defining groups as fifth columns, the decision to frame groups in this way tends to reflect domestic political interests. This chapter unpacks these interests and argues that political elites can frame groups, whether citizens or not, strategically as fifth columns to securitize and avoid introducing new policies. However, when political elites favor a new policy, they will avoid securitizing it and engaging fifth-column frames—even when these frames are easily accessible. This chapter unpacks these arguments by examining variations in Jordan’s framing of Palestinians as fifth columns over time by using process tracing to examine two cases of nationality law reform in Jordan in 1954 and 2014.

The above quote from a recent Hollywood film presentation of Colonel Percival Fawcett’s obsessive early twentieth-century search for the remains of the Lost City of Z (Gray, 2016) highlights the effort that it has taken to convince the academic world and the public alike that large urban forms can be developed in tropical forest settings. While the film, and the book by David Grann (2009) upon which it was based, grossly overplay the exploration credentials, respect for Indigenous peoples, and scientific abilities of Colonel Fawcett (Hemming, 2017), this quote encapsulates the difficult working conditions and environmental determinism in western thought that have led to perceptions of ‘impossibility’ of extensive settlements and social complexity in tropical forests. Beyond searches for debated ‘lost’ cities, even where the clear ruins of ancient urban sites have been found in tropical forests, as with the Classic Maya in North and Central America and the Khmer Empire in Southeast Asia, their collapse has been seen as almost inevitable given necessary forest clearance, soil erosion, and population pressure on these delicate environments (Webster, 2002; Diamond, 2005; Chen et al., 2014; Lentz et al., 2014). In particular, the intensive agriculture seen as necessary to fuel the ‘urban revolution’ (Childe, 1950) and the development of cities and elite structures familiar to most archaeological definitions of cities (Adams, 1981; Postgate, 1992), has been considered impossible on the fragile, low nutrient soils of tropical forest habitats (Meggers, 1954, 1971, 1977, 1987). Other, less-discussed threats include natural disasters, such as mudslides and mass-flooding, that continue to trouble tropical regions prone to high annual or seasonal rainfall (Larsen, 2017). Nevertheless, new methodologies and theoretical shifts are highlighting the clear emergence of social complexity and extensive human populations prior to the arrival of European settlers in many of the world’s tropical forest settings. Here, I review the growing dataset of past ‘urban’ forms in tropical forests. As with ‘the origins of agriculture’ in Chapter 5, tropical forests have been crucial in demonstrating that traditional ideas of ‘urbanism’ in archaeology–namely ‘compact’, bounded, and dense populations documented in early Mesopotamia and the Mediterranean, and that dominate European thought—do not capture the whole wealth of ‘urban’ diversity and settlement networks that began to develop from the Middle Holocene.

Sand, or fines as some may call it, entering currently producing wells is one of the earliest problems faced by the Oil and Gas Industry in hydrocarbon recovery [Rogers, 1954; Carlson et al. 1992; McLeod 1994; JPT Staff 1995; Barrilleaux et al. 1996], and one of the toughest to solve in general [McLeod 1997]. Every year the petroleum industry spends significant capitol in cleaning and disposal costs, repair problems related to sand production, and lost revenues due to lower production rates due to mitigation efforts [Mathis 2003; Palmer et al. 2003]. Thus, sand control is, and should be, an integral part of well planning [Guerrero 2014] in unconsolidated reservoirs [Willson et al 2002; Chang 2006; Jaimes 2012], i.e., reservoirs where the rock has little or no natural inter-grain cementation. Sand production [Veeken et al. 1991; Subbiah et al. 2021] is caused by structural failure of the borehole wall rock due to drilling, degree of consolidation (very low compressive strength), the interaction between the rock and flowing fluids (production creates pressure differential and frictional drag forces that can combine to exceed the formation compressive strength), excessive drawdown causing fines and sand grain movement to the wellbore, or reduction of reservoir pressure. Sand production leads to adverse effects on various components in the wellbore and near wellbore area [Zamberi et al. 2014], such as tubing, casing, flowlines, and pumps, as well as surface equipment [Peden et al. 1984; Lidwin et al. 2013]. In addition, sand production may allow for the creation of downhole cavities [Peden et al. 1985] resulting in loss of structural integrity of the reservoir around the wellbore and ultimately possible collapse of the wellbore. Along with these possible issues, there is an additional economic impact in that sand must be separated out and disposed of at the surface and can be a few liters to several hundred cubic meters [Lidwin et al. 2013]. Decisions around sand production are not purely economic these days because regulatory and environmental restrictions have come to play a significant role in the decisions of how sand production will be handled. In general, what constitutes an acceptable level of sand production depends on operational constraints such as the ability to use erosion resistant materials, fluid separator capacity, sand disposal capability, and artificial lift equipment's capability to remove slurry from the well, but with that said, sand control methods that allow unconsolidated reservoirs to be exploited often reduce production efficiency. Thus, an effective design is always a balance between keeping formation sand in place without unduly restricting current and future productivity [Saucier 1974; Mathis 2003; Palmer et al. 2003; Lastre et al. 2013]. There are two primary methods of sand control these days, namely passive and active, where passive sand control uses perforation orientation and placement to try and mitigate sand production, while active sand control uses a more intrusive approach utilizing downhole filters [Tibbles et al. 2020]. Currently, the most popular and successful method of negating sand production is gravel packing around a downhole filter. In this method, gravel is deposited downhole by pure beta wave deposition in slightly deviated wellbores, i.e., wellbores having a deviation angle in the screen section less than about 50 degrees, or by what is normally referred to as alpha/beta wave deposition in highly deviated wellbores, i.e., wellbores where the screen section maximum deviation is greater than 50 degrees.