Rozprawy doktorskie na temat „-1965”
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Al, Kharusi Khalid. "Dhofar War, 1965-1975". Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/24029/.
Pełny tekst źródłaEditorial, Comité. "Indice Themis: 1965-1967". THĒMIS-Revista de Derecho, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/108579.
Pełny tekst źródłaPuente, 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.
Pełny tekst źródłaBarei, Geoffrey. "Britain and Algeria, 1945-1965". Thesis, SOAS, University of London, 2003. http://eprints.soas.ac.uk/28773/.
Pełny tekst źródłaKoukoutsi-Mazarakis, Valeria E. 1962. "José Rafael Moneo Vallés: 1965-1985". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/8667.
Pełny tekst źródłaIncludes 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.
Beard, Alice. "Nova magazine 1965-1975 : a history". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12286/.
Pełny tekst źródłaMenezes, Flavio Marques. "A estratégia comercial brasileira: 1965/1985". reponame:Repositório Institucional do FGV, 1988. http://hdl.handle.net/10438/112.
Pełny tekst źródłaGiraud, Benoît. "Gérard Schneider : oeuvres de 1935 à 1965". Paris 1, 1998. http://www.theses.fr/1998PA010592.
Pełny tekst źródłaGérard 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
Forriols, González Ricardo Javier. "Eusebio Sempere. La obra gráfica, 1965-1985". Doctoral thesis, Universitat Politècnica de València, 2003. http://hdl.handle.net/10251/54943.
Pełny tekst źródłaForriols 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
Pape, Matthias. "Ungleiche Brüder : Österreich und Deutschland 1945-1965 /". Köln : Böhlau, 2000. http://catalogue.bnf.fr/ark:/12148/cb40954068n.
Pełny tekst źródłaBrillinger, Matthew. "Educational Park Planning in Berkeley, California, 1965-1968". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35312.
Pełny tekst źródłaКуцаєва, Т. О. "Розвиток вищої освіти в УРСР (1965-1985 рр.)". Rozprawa doktorska kandydata nauk historycznych, КНУТШ, 2007.
Znajdź pełny tekst źródłaBitar, 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.
Pełny tekst źródłaPandi, Diamantina. "Approches systémiques dans le dessin c. 1965-1975". Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100014.
Pełny tekst źródłaThis 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
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.
Pełny tekst źródłaArchitected 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.
Diener, Georges. "Résistance populaire et maquis en Roumanie (1945-1965)". Paris, INALCO, 2000. http://www.theses.fr/2000INAL0005.
Pełny tekst źródłaThe 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
Fauconnier, David. "L'esprit grotesque dans le cinéma espagnol, 1960-1965". Paris 8, 2003. http://www.theses.fr/2003PA082253.
Pełny tekst źródłaIn 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
Dorvidal, Jérôme. "Pacifisme et dissuasion nucléaire en Australie (1945-1965)". Montpellier 3, 2004. http://www.theses.fr/2004MON30041.
Pełny tekst źródłaHow 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
Weldy, Cindi Lee. ""My weekly reader" : a corporate history, 1965-1995 /". Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1510.html.
Pełny tekst źródłaThesis advisor: Charles Stephenson. "... in partial fulfillment of the requirements for the degree of Master of Arts in History." Includes bibliographical references (leaves 50-54).
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.
Pełny tekst źródłaDoctor of Philosophy
Roy, Rajarshi. "Crossing the Rubicon: LBJ and Vietnam 1963-1965". W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626129.
Pełny tekst źródłaMiladinović, Ana. "La arquitectura de los museos en Yugoslavia : 1945–1965". Doctoral thesis, Universitat Politècnica de Catalunya, 2015. http://hdl.handle.net/10803/316587.
Pełny tekst źródłaLa 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.
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.
Pełny tekst źródłaI 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.
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.
Pełny tekst źródłaKuchler, 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.
Pełny tekst źródłaHurst, 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.
Pełny tekst źródłaMistrano, 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.
Pełny tekst źródłaClemente, 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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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
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.
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.
Pełny tekst źródłaMétivier, Yves. "Les petits partis conservateurs en Allemagne occidentale (1945-1965)". Valenciennes, 2000. https://ged.uphf.fr/nuxeo/site/esupversions/905aea08-c101-437e-82ee-a74d7aa67bac.
Pełny tekst źródłaDuhamel, Éric. "L'Union démocratique et socialiste de la Résistance, 1945-1965". Paris 4, 1993. http://www.theses.fr/1993PA040054.
Pełny tekst źródłaThe 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
Christófoglou, Mártha-'Ellī. ""Avant-gardes" et politisation dans l'art néohellénique (1965-1975)". Paris 1, 1989. http://www.theses.fr/1989PA010508.
Pełny tekst źródłaBrunetta, Silvia. "A fase utópico-patriótica da poesia angolana (1965-1985)". Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13935.
Pełny tekst źródłaO 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.
Hope, Claire. "Cold War Educational Propaganda and Instructional Films, 1945-1965". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2416.
Pełny tekst źródłaThijsen, 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.
Pełny tekst źródłaBibliogr. p. 273-278. Résumé en anglais.
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.
Pełny tekst źródłaLiao, 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.
Pełny tekst źródłaCampos, 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.
Pełny tekst źródłaEl 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
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.
Pełny tekst źródłaDentro 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.
Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.
Pełny tekst źródłaThis 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
Дмитроченко, Михаил Федорович. "Партийное руководство организационно-хозяйственным укреплением колхозов Украины (1965-1985 гг.)". Rozprawa doktorska doktora nauk historycznych, МВ и ССО УССР, КГУ им. Т.Г.Шевченко, 1988.
Znajdź pełny tekst źródłaPandolfe, Frank Craig. "South American naval development 1965-1985 : a four nation study /". Thesis, Connect to Dissertations & Theses @ Tufts University, 1987.
Znajdź pełny tekst źródłaTypescript. Vita. Bibliography: leaves 538-564. Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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.
Pełny tekst źródłaSabin, Robert W. "Gary Peacock| Analysis of progressive double bass improvisation 1963-1965". Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3682319.
Pełny tekst źródłaAnalysts 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.
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.
Pełny tekst źródłaCOORDENAÇÃO 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.
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/.
Pełny tekst źródłaLum, 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.
Pełny tekst źródłaIncludes 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.
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.
Pełny tekst źródłaFauré, Valérie. "Le Centre culturel de Châteauvallon (1965-1995) : une institution atypique". Paris 1, 1997. http://www.theses.fr/1997PA010643.
Pełny tekst źródłaHistorical 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
Renouard, Michel. "Robert ruark (1915-1965), journaliste et romancier : l'echec d'une reussite". Paris 4, 1986. http://www.theses.fr/1986PA040245.
Pełny tekst źródłaThe 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