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1
Broh, Dagobert. „The history of the newspaper Aufbau : 1934-1948“. Thesis, privately printed, 1996. http://spectrum.library.concordia.ca/6219/1/NN10827.pdf.
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Castillo-Serrano, Deyanira. „Afro-Caribbean schools in Costa Rica, 1934-1948 /“. Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Pillai, Nicolas. „The happy couple : American marriages in Hollywood films 1934-1948“. Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/50024/.
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This thesis examines Hollywood narratives of married life produced between 1934 and 1948. Using Stanley Cavell’s seminal Pursuits of Happiness as a point of departure, I compare the depiction of benign domesticity across four chapters. Combining textual analysis, genre criticism and studio archival research, I re-evaluate Cavell’s notion of ‘films in conversation’, and suggest that narratives of marriage call for an approach that considers intertextuality, audience address and the interaction of star personae. My first two chapters focus on MGM’s six Thin Man films, discussing an ongoing series’ portrayal of a continuous marriage. In my analysis of The Thin Man, After the Thin Man and Another Thin Man, I argue that the mystery plots of these films inform and inflect the depiction of marriage in private and public space. In contrast to previous studies that view Shadow of the Thin Man, The Thin Man Goes Home and Song of the Thin Man as signaling the onset of domesticity and the format’s decline, I view these films as proposing alternative ways of attending to the problem of the male child. The third chapter compares Penny Serenade and Mr. Blandings Builds his Dream House, films in which the happiness of a family is made contingent upon the construction of a home. In this chapter, I suggest that building a home for one’s daughters permits the films’ mise-en-scene to be invested with possibility of renewal. My fourth chapter discusses three films in which a partner returns to marriage after a period of absence – My Favourite Wife, The Best Years of Our Lives and Tomorrow is Forever. With particular attention to the role of ‘the other woman’, I note ways in which these narratives propose the future of their couples.
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Jabbari, Eric. „Pierre Laroque and the origins of French social security 1934-1948“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393128.
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Clarke, Peter. „The Land Settlement Association 1934-1948 : the evolution of a social experiment“. Thesis, London School of Economics and Political Science (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281892.
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Nynäs, Josefina. „Trogen intill döden : Ungdomens roll i Nordisk Ungdoms ideologiska kamp 1934–1948“. Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184943.
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Around the turn of the century 1800-1900, “youth” became an important concept in politics and society at large. Across Europe political parties and other groups founded their own youth organizations. This also occurred in Sweden. This study examines the fascist and national socialist youth movement Nordisk Ungdom (Nordic Youth), active 1933 until the early 1950s. Nordic Youth was part of the fascist party NSAP/SSS, also known as Lindholmsrörelsen (the Lindholm Movement). This study deals with Nordic Youth’s upbringing of the ‘New Youth’, an ideal youth sharing many similarities with the fascistic theory of the “New Man”. In their eyes, the Swedish youth were destined to become the protectors and defenders of both the nation and the future. The study also takes a closer look on Nordic Youth’s view on gender and the different ways boys and girls were to be raised according to their ideology. Furthermore, this study explores the role of youth in the ideological struggle Nordic Youth advocated for. This ideological struggle was intended to result in a new nation reborn from the ashes of the previous society.
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Duffy, Joanne Louise. „Afrikaner unity, the National Party, and the Afrikaner nationalist radical right in Stellenbosch, 1934-1948“. Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365655.
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ALMEIDA, FILHO Edgard Patrício. „A voz do Ceará - Comunicação e Educação na Trajetória da Ceará Rádio Clube entre 1934 e 1948“. : http://www.teses.ufc.br, 2006. http://www.repositorio.ufc.br/handle/riufc/3074.
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ALMEIDA FILHO, Edgard Patrício - A voz do Ceará: comunicação e educação na trajetória da Ceará Rádio Clube entre 1934 e 1948. 2006.227f. Tese (Doutorado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2006.Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-05T17:55:58Z No. of bitstreams: 1 2006_tese_EPAFilho.pdf: 1633934 bytes, checksum: 9781cb0c58384d5f861f65e89f774987 (MD5)
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The most spread historiography about the begining of the radio activities in Brazil disseminates their educative orientation, standing for Edgard Roquette-Pinto actuation. He was an educator from Academia de Ciências da Escola Politécnica - Rio de Janeiro -, who managed the first brazilian radio station, Rádio Sociedade do Rio de Janeiro, in 1923. By knowing that, it sounds that the relation between comunication and education is not new on brazilian scenarium. This widely spread historiography about national radio, however, was influenced by the states of Rio de Janeiro and São Paulo´ economic and political centralism - the history has nearly always been told by the rich. Former radio´s actuation in other regions and states is a said-to-be story. Once in a while, there is a little initiative that tries to fill this empty. This work is a try to fill it, still on, about the radio´s history in Ceará state. And it tries to understand how this comunication vehicle was introduced in the state exactly from the relation between comunication and education. In order to do that, it analyzes the year of 1934, when the very first official radio station began to work, Ceará Rádio Clube, to the year of 1948, when the second official radio station was installed, Rádio Iracema de Fortaleza. The main point that analyses the relation between comunication and education in Ceará radio are the Ceará Rádio Clube programs, wich kept pace with their divulgation through the newspaper Correio do Ceará. At the same time, these historic registers are complemented by depoiments of one reasercher in journalism history and five broadcasters who lived during the beginning of the first radio station in the state. The relation with Vargas government (1930-1945) central politics, mainly the ones related to communicational and educational basis, is essential to understand this process. This is the history that wants to be told here
A historiografia mais difundida sobre o início das atividades do rádio no Brasil dissemina sua orientação educativa, compreensível pela atuação de Edgard Roquette-Pinto, um educador da Academia de Ciências da Escola Politécnica, à frente da primeira emissora brasileira, a Rádio Sociedade do Rio de Janeiro, já em 1923. A partir desse reconhecimento, depreende-se que a relação entre comunicação e educação não é algo novo no cenário brasileiro. Mas essa historiografia mais difundida sobre o rádio nacional foi influenciada pelo centralismo econômico e político dos estados do Rio de Janeiro e São Paulo –aos ricos, quase sempre cabe contar a história. A atuação dos precursores do rádio em outras regiões e estados é uma história ainda por contar. Aqui e ali se levanta alguma iniciativa que tenta preencher essa lacuna. Esse trabalho é uma tentativa de começar a preencher a lacuna, ainda existente, sobre a história do rádio no Ceará. E tenta compreender como se deu a introdução desse veículo de comunicação no estado a partir exatamente da relação entre comunicação e educação. Para isso, analisa o período que vai de 1934, quando começa a funcionar sua primeira emissora oficial, a Ceará Rádio Club, até 1948, ano de instalação da segunda emissora oficial, a Rádio Iracema de Fortaleza. O elemento básico de análise sobre a relação comunicação e educação no limiar do rádio no Ceará é as grades de programação da Ceará Rádio Clube, acompanhadas através de sua divulgação pelo jornal Correio do Ceará. Ao mesmo tempo, esses registros históricos são complementados pelos depoimentos de um pesquisador do jornalismo cearense e de cinco radialistas que vivenciaram os anos iniciais do funcionamento da primeira emissora radiofônica no estado. A relação com as políticas centrais do governo Vargas (1930-1945), principalmente as relacionadas às áreas de comunicação e educação, é fundamental para se compreender esse processo. É essa história que se quer contar aqui.
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Filho, Edgard PatrÃcio de Almeida. „A voz do Cearà - ComunicaÃÃo e EducaÃÃo na TrajetÃria da Cearà RÃdio Clube entre 1934 e 1948“. Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=490.
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A historiografia mais difundida sobre o inÃcio das atividades do rÃdio no Brasil dissemina sua orientaÃÃo educativa, compreensÃvel pela atuaÃÃo de Edgard Roquette-Pinto, um educador da Academia de CiÃncias da Escola PolitÃcnica, à frente da primeira emissora brasileira, a RÃdio Sociedade do Rio de Janeiro, jà em 1923. A partir desse reconhecimento, depreende-se que a relaÃÃo entre comunicaÃÃo e educaÃÃo nÃo à algo novo no cenÃrio brasileiro. Mas essa historiografia mais difundida sobre o rÃdio nacional foi influenciada pelo centralismo econÃmico e polÃtico dos estados do Rio de Janeiro e SÃo Paulo âaos ricos, quase sempre cabe contar a histÃria. A atuaÃÃo dos precursores do rÃdio em outras regiÃes e estados à uma histÃria ainda por contar. Aqui e ali se levanta alguma iniciativa que tenta preencher essa lacuna. Esse trabalho à uma tentativa de comeÃar a preencher a lacuna, ainda existente, sobre a histÃria do rÃdio no CearÃ. E tenta compreender como se deu a introduÃÃo desse veÃculo de comunicaÃÃo no estado a partir exatamente da relaÃÃo entre comunicaÃÃo e educaÃÃo. Para isso, analisa o perÃodo que vai de 1934, quando comeÃa a funcionar sua primeira emissora oficial, a Cearà RÃdio Club, atà 1948, ano de instalaÃÃo da segunda emissora oficial, a RÃdio Iracema de Fortaleza. O elemento bÃsico de anÃlise sobre a relaÃÃo comunicaÃÃo e educaÃÃo no limiar do rÃdio no Cearà à as grades de programaÃÃo da Cearà RÃdio Clube, acompanhadas atravÃs de sua divulgaÃÃo pelo jornal Correio do CearÃ. Ao mesmo tempo, esses registros histÃricos sÃo complementados pelos depoimentos de um pesquisador do jornalismo cearense e de cinco radialistas que vivenciaram os anos iniciais do funcionamento da primeira emissora radiofÃnica no estado. A relaÃÃo com as polÃticas centrais do governo Vargas (1930-1945), principalmente as relacionadas Ãs Ãreas de comunicaÃÃo e educaÃÃo, à fundamental para se compreender esse processo. à essa histÃria que se quer contar aqui.The most spread historiography about the begining of the radio activities in Brazil disseminates their educative orientation, standing for Edgard Roquette-Pinto actuation. He was an educator from Academia de CiÃncias da Escola PolitÃcnica - Rio de Janeiro -, who managed the first brazilian radio station, RÃdio Sociedade do Rio de Janeiro, in 1923. By knowing that, it sounds that the relation between comunication and education is not new on brazilian scenarium. This widely spread historiography about national radio, however, was influenced by the states of Rio de Janeiro and SÃo Paulo economic and political centralism - the history has nearly always been told by the rich. Former radioÂs actuation in other regions and states is a said-to-be story. Once in a while, there is a little initiative that tries to fill this empty. This work is a try to fill it, still on, about the radioÂs history in Cearà state. And it tries to understand how this comunication vehicle was introduced in the state exactly from the relation between comunication and education. In order to do that, it analyzes the year of 1934, when the very first official radio station began to work, Cearà RÃdio Clube, to the year of 1948, when the second official radio station was installed, RÃdio Iracema de Fortaleza. The main point that analyses the relation between comunication and education in Cearà radio are the Cearà RÃdio Clube programs, wich kept pace with their divulgation through the newspaper Correio do CearÃ. At the same time, these historic registers are complemented by depoiments of one reasercher in journalism history and five broadcasters who lived during the beginning of the first radio station in the state. The relation with Vargas government (1930-1945) central politics, mainly the ones related to communicational and educational basis, is essential to understand this process. This is the history that wants to be told here
10
Antébi, Elizabeth. „Edmond de Rothschild (1845-1934) : un itinéraire religieux ?“ Paris, EPHE, 1999. http://www.theses.fr/1999EPHEA002.
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Komarchesqui, Bruna Mayara. „Retratos de uma cidade : a fotografia no jornal Paraná-Norte (1934-1953) e na revista A Pioneira (1948-1954)“. Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2013. http://www.bibliotecadigital.uel.br/document/?code=vtls000183205.
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A cidade de Londrina (norte do Paraná) se emancipou politicamente em 10 de dezembro de 1934, cinco anos após a chegada dos desbravadores da Companhia de Terras Norte do Paraná (CTNP) - empresa de capital majoritariamente inglês que iniciou a colonização em 1929. Em outubro de 1934, dois meses antes de ser elevada à condição de município, Londrina viu nascer seu primeiro veículo de comunicação, o jornal Paraná-Norte. Presente desde o início, a imprensa registrou em suas páginas as transformações pelas quais a cidade passou ao longo dos anos, sendo um documento de importante valor histórico. Este trabalho, portanto, tem como objetivo analisar a trajetória dos primeiros anos da imprensa londrinense a partir do lugar ocupado pela imagem nas páginas do primeiro jornal da cidade, o Paraná-Norte (1934-1953) e da revista A Pioneira (1948-1954). Para entender a importância da fotografia publicada nesses veículos como vestígio para a escrita da história de Londrina, lançou-se mão de algumas metodologias de pesquisa. A primeira delas foi o levantamento bibliográfico, seguido da análise documental (MOREIRA, 2009) de todas as edições do jornal e da revista disponíveis à consulta pública, que possibilitou escrever sobre a trajetória dos dois meios de comunicação pioneiros. Já o estudo comparativo da fotografia no Paraná-Norte e na revista A Pioneira foi feito por meio da análise iconográfica, proposta por Kossoy (2001). Diante da impossibilidade de se estudar o universo de fotografias publicadas pelos dois periódicos, optou-se por selecionar, por meio de sorteio randômico, um exemplar por ano de circulação do jornal e da revista. Assim, o estudo centrou foco em 18 edições do Paraná-Norte (já que para os anos de 1951 e 1952 não há exemplares disponíveis) e 7 da revista A Pioneira. Apoiando-se em referenciais teóricos que versam sobre interfaces entre história e imagem, fotografia de imprensa e memória, retratos e álbuns de família, conclui-se que, embora o recurso imagético tenha sido explorado de maneira diferente pelos dois veículos, até mesmo por dificuldades de ordem técnica e financeira, em ambos, o objetivo era o mesmo: propagandear feitos, pessoas, o progresso e o desenvolvimento local.The city of Londrina (north of Paraná State) emancipated politically on December 10, 1934, five years after the arrival of the pioneers of the Companhia de Terras Norte do Paraná (CTNP) - mostly English owned company that began colonization in 1929. In October 1934, two months before being elevated to the status of municipality, was born the first communication vehicle in the city, the newspaper Paraná-Norte. Present from the beginning, the press reported on its pages the transformations that city suffered through the years, being a document of important historical value. This study therefore aims to analyze the beginning of the trajectory of Londrina's press from the place occupied by the image in the pages of the city's first newspaper, Paraná-Norte (1934-1953) and the magazine A Pioneira (1948-1954). To understand the importance of photography published in such vehicles as trace for writing the history of Londrina, it employed some research methodologies. The first was the literature, followed by the documentary analysis (MOREIRA, 2009) for all editions of the newspaper and magazine available to the public consultation, which allowed to write about the history of the two media pioneers. Already a comparative study of photography in Paraná-Norte and A Pioneira was done by iconographic analysis, proposed by Kossoy (2001). Faced with the impossibility of studying the universe of photographs published by two journals, we chose to select, via random draw, one copy per year of circulation newspaper and magazine. Thus, the study focused on 18 editions of Paraná-Norte (for the years 1951 and 1952 there are no copies available) and 7 of the magazine A Pioneira. Drawing on theoretical frameworks that deal with interfaces between story and image, press photography and memory, portraits and family albums, we conclude that, although the use of imagery has been explored differently by the two vehicles, even because of difficulties technical and financial, in both, the goal was the same: propagandize personal contributions, people, progress and local development.
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Loebl, H. „Government-financed factories in the North East of England in the context of the evolution of regional policy : 1934-1948“. Thesis, University of Newcastle Upon Tyne, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356164.
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Mathieu, Stéphane. „La photographie en Tunisie et le protectorat français entre 1881 et 1914“. Paris 8, 2006. http://www.theses.fr/2006PA083614.
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La photographie s'est implantée en Tunisie avec le protectorat français en 1881. Cette thèse tente de mesurer les conséquences de cette interpénétration photographie / société sur l'esthétique et l'ambition des photographies réalisées dans ce contexte. Comment dans ces conditions la photographie n'a-t-elle pas succombé à la facilité ? Quelle(s) image(s) de la Tunisie les photographes ont-ils montrée(s) ? Partant des photographies elles-mêmes, l'analyse montre comment, venant photographier la Tunisie en se reposant sur d'anciennes représentations, les photographes européens ont fait le jeu de certains desseins politiques. Les pratiques de Samama Chikli, le premier photographe tunisien et de Lehnert et Landrock, un duo germanique, montrent cependant qu'il était possible de se détacher de cette optique orientée. Finalement, le parcours suivi par ces photographies aux ambitions premières variées (esthétiques, documentaires, commerciales) témoigne de leur participation à l'Histoire. Il est ainsi montré que dans ces conditions, la photographie, dans tout ce qu'elle a de photographique et de para-photographique, s'est avérée l'instrument esthétique servant à l'invention d'une TunisieThe photography began in Tunisia during the French protectorate started in 1881. The target of this thesis is to estimate the consequences of the reciprocal actions between the photography and the society on the aesthetics and the ambition of the pictures made during the period. How could the photography develop normally in spite of the traps due to the complexity of the political situation? What kind of pictures and which image of Tunisia did the photographers show? Based on pictures, the analysis shows how European photographers played the game of some political plans, as they made pictures of the country according to old representations of it. However, the examples of the first Tunisian photographer Samama Chikli and the Germans Lehnert and Landrock prove that it was possible to work in abstraction of this slanted vision. Finally, the story of these pictures (taken for diverse reasons like aesthetic, documentary or commercial reasons) testifies to their participation to the History so that the photography and the world around it became an aesthetic instrument used for inventing a certain Tunisia
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Toniato, Giulia [Verfasser]. „Late Pleistocene Environments and Hominin Ecology at Schafstall Rock Shelter in Southwestern Germany. An Archaeological Study based on E. Peters’ Excavations (1934-1948) and New Fieldwork / Giulia Toniato“. Tübingen : Universitätsbibliothek Tübingen, 2021. http://d-nb.info/122792450X/34.
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Santos, Paula Cristina Basílio dos. „Exames nacionais no Ensino Primário (1948 – 1974)“. Master's thesis, FCT - UNL, 2008. http://hdl.handle.net/10362/1934.
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Dissertação apresentada para obtenção do Grau de Mestre de Bolonha em Ensino da Matemática pela Universidade Nova de Lisboa, Faculdade
de Ciências e TecnologiaEste trabalho de investigação teve como objectivos, recolher exames do Ensino Primário entre 1948 a 1974 e documentos relacionados com exames; apresentar géneros de exames do Ensino Primário que eram realizados nesses anos; identificar a quem eram destinados esses exames; qual a escolaridade obrigatória que as crianças deviam ter e, por fim, analisar os programas adoptados nas escolas. No estudo verificou-se que os exames do Ensino Primário se dividiam em exames do primeiro grau e segundo grau, sendo os exames do primeiro grau destinados às crianças que frequentavam a terceira classe e os do segundo grau, às crianças que estudavam na quarta classe. Os exames não tiveram sempre a mesma estrutura ao longo desse período, tendo a maior mudança ocorrido na década de 60. Mas,todos estavam em conformidade com o programa leccionado na escola e continham sempre problemas relacionados com o dia-a-dia da criança,qualquer que fosse o ano ou mudança na estrutura dos exames. Neste estudo, também é analisada a escolaridade obrigatória na época de 1948 a 1974, foi na década de 40 e 50 era obrigatório frequentar a escola até às três primeiras classes, passando em 1956 a ser obrigatória, somente para as crianças do sexo masculino, até às quatro primeiras classes. Em 1960, passou a ser obrigatório frequentar a escola até à quarta classe, independentemente do sexo da criança, sendo depois alargada esta obrigatoriedade até às seis classes.
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Nickles, Kimberly. „Stratégies subversives pour la survie : la littérature contemporaine des amérindiens : une étude comparative des oeuvres inter-tribales, pan-tribales, aborigènes et post-coloniales“. Nice, 2002. http://www.theses.fr/2002NICE2031.
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Cette étude comparative de la littérature amérindienne, aborigène et post-coloniale montre les stratégies subversives utilisées pour la survie de la voix amérindienne et aborigène. D'abord, sur un plan pantibal, nous étudions le réseau complexe des relations entre la terre, les contes et les peuples dans les oeuvres écrites par les écrivains amérindiens. Ensuite, sur un plan aborigène, nous étudions comment certains personnages servent à faire le lien entre le "réalisme" et les éléments mythiques dans Ceremony de Leslie Marmon Silko et Potiki de Patricia Grace, liant en même temps le présent au passé et à un présent mythique. Nous nous intéressons au trickster subversif chez Gerald Vizenor et Louise Erdrich pour montrer comment la chance et la bonne-fortune sont interprétées par deux écrivains anishinaabe. Enfin, sur un plan post-colonial, nous nous proposons d'élargir notre comparaison afin d'étudier les interrelations entre histoire, fiction et mythe concernant le personnage de Billy the Kid dans The Ancient Child de N. Scott Momaday et dans Billy the Kid de Michael OndaatjeA comparative study of Native American, aboriginal and post-colonial literature demonstrating the subversive strategies employed by these authors for the survival of their voice and their community. On a pan-tribal level, the study examines the complex interrelationship between the land, the stories and the people which forms the base of Native American literature. On an aboriginal level, in Ceremony by Leslie Marmon Silko and Potiki by Patricia Grace, certain characters serve as the link between realism and myth, tying the present both to the past and to a mythical present. In works by two Anishinaabe authors, Gerald Vizenor and Louise Erdrich, the trickster plays an integral part in the interpretation of chance and luck by each author. Finally, on a post-colonial level, the interrelation between history, fiction and myth are explored through two interpretations of Billy the Kid in The Ancient Child by N. Scott Momaday and Billy the Kid by Michael Ondaatje
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Lahanque, Reynald. „Le réalisme socialiste en France : 1934 - 1954“. Nancy 2, 2002. http://docnum.univ-lorraine.fr/public/NANCY2/doc115/2002NAN21025_1.pdf.
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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 CommunistesThis 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
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Ames, Ramello Natalia Graciela. „La revolución sí será filmada : análisis de la transmisión de ideologías en La huelga, de Sergei M. Eisentein, y La primera carga del machete, de Manuel Octavio Gómez“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2008. http://tesis.pucp.edu.pe/repositorio/handle/123456789/953.
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Chiaradia, Kátia 1978. „Ao amigo Franckie, do seu Lobato : estudo da correspondencia entre Monteiro Lobato e Charles Franckie (1934-37) e sua presença em O Escandalo do Petroleo (1936) e O Poço do Visconde (1937)“. [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270298.
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Orientador: Marisa LajoloDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Durante o período de 1934 a 1937, estreitaram-se as relações entre Monteiro Lobato e o suíço Karl Werner Franke, engenheiro do petróleo que, imigrado em junho de 1920, passa a chamar-se Charles Frankie. Lobato e Frankie trocaram nesse período de três anos mais de cem missivas1 além de alguns documentos técnicos relacionados à exploração do petróleo brasileiro. Nessas cartas, Lobato, além de se familiarizar com alguns termos técnicosgeológicos da exploração petrolífera, faz críticas contundentes ao Código de Minas de 1934 e ao "atraso brasileiro" e protagoniza a história das primeiras companhias petrolíferas do Brasil. Em outros momentos da correspondência, entram em discussão questões acerca da parceria na tradução e prefaciação de A luta pelo Petróleo, de Essad Bey, Lobato e Franckie discutem literatura e seus aspectos, como os requisitos para uma boa tradução, ou os critérios para um livro bem editado e bem distribuído. Os exemplares d'A luta são tidos, por ambos, como propulsores de uma nova Era para as pesquisas petrolíferas. Acabei A Luta do Petróleo. O editor daqui pagará 500 marcos ao editor alemão, de direitos, e nós daremos nosso trabalho de tradução de graça em troca de 1000 exemplares para distribuirmos pelo congresso federal e estadual e mais gente do governo que não tem a menor idéia do que seja o petróleo. Vou agora fazer o meu prefácio. Você fará o seu - e num apêndice porei no fim a Lei de Minas, precedida duma introdução maquiavélica em que se foi a Standart que mandou fazer aquela lei cheia de embaraços, para que ela pudesse sossegadamente ir adaptando as terras petrolíferas até o dia em que entenda-se em explorar petróleo.2 Aí então cairá a Lei de Minas atual, que se terá aproveitado a ela, e virá uma nova que a favoreça. ... O livro é que vai abrir os olhos dessa gente, mostrando a significação do petróleo. Ninguém sabe. Este país é uma burrada imensa...(...) Fundação de companhias, críticas a uma legislação falha e a busca de uma que privilegie os interesses nacionais da exploração do petróleo, relações cotidianas de perfuração, implicações políticas de um livro: é disso basicamente que se ocupam tais cartas, representativas dessa parceria "político-ideológicoliterária". A dissertação em questão estuda o cruzamento dessa correspondência entre Lobato e Frankie com a ficção O poço do visconde e a prosa crítica sóciopolítica de O Escândalo do Petróleo, apontando semelhanças e divergências na abordagem do mesmo tema por diferentes gêneros
Abstract: The years from 1934 to 1937 made closer the relationship between Monteiro Lobato and the Swiss oil engineer Karl Werner Frankie, who immigrated in June of 1920, changing his name to Charles Frankie. Lobato and Frankie sent each other more than a hundred mails4 in this period of three years, further than technical documents about the Brazilian oil exploration. In these letters, Lobato uses technical terms of the oil exploration to strongly criticize the National Mining Code of 1934 and the "Brazilian delay", being part of the history of the first oil companies of Brazil. In other moments of their contact, they debated about their partnership to translate and make a foreword for Flüssiges Gold, by Essad Bey. Lobato and Frankie discussed literature and it aspects, as the requirements for a good translation or the caracteristics of a well published book. The copies of Flüssiges Gold are, for both, of great importance to begin a new Age for the oil researches. I finished Flüssiges Gold. The publisher from here will pay 500 marks to the german publisher, for the rights. We will have as payment for our work of translation 1000 copies to distribute to the national congress, the state congress and more people from the government who don't have any idea of what is the oil. Now I will do my foreword. You will do yours - and in an appendix I will put the Mining Code, preceded by a machiavellian introduction, which will bring the Standart as responsible for that confuse law, interested in smoothly adapt the oil lands, until the day when people start to explore oil.5 Then the Mining Code will fall, and it will brings up a better one. ... The book will open the eyes of these people, showing them the meaning of the oil. Nobody knows it.This country is a great foolish...(...) Foundation of companies, critics to a legislation filled with fails and the search for one which privileges national interests of oil exploration, daily drills, and political implications of a book: these are basically the subjects of these letters, which represent this political, ideological and literary partnership. This dissertation studies the relation between the letters of Lobato and Frankie with the fiction O poço do visconde and political and social prose O Escândalo do Petróleo, pointing aspects in agreement or not of these different approaches of the same subject
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Trespeuch-Berthelot, Anna. „Des situationnistes aux situationnisme : genèse, circulation et réception d'une théorie critique en Occident (1948-2009)“. Paris 1, 2011. http://www.theses.fr/2011PA010532.
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L'Internationale Situationniste (1957-1972) connaît une postérité importante et protéiforme jusqu' à nos jours. En France comme à l'étranger, les milieux artistiques, politiques et intellectuels se réapproprient ses thèses et ses postures, en les réinterprétant, ce qui donne naissance à autant de « situationnismes ». En 2009 en France, le classement « Trésor national » des archives de son leader Guy Debord scelle un processus de légitimation à l'oeuvre depuis une vingtaine d'années. Cette thèse reprend l'histoire de cette organisation née avant-garde artistique dans les années 1950, mais connue du grand public dans les années 68 en tant que mouvement politique contestataire à bien des égards atypique. L'attention est portée sur l'évolution de sa théorie, glissant de l'utopie vers la critique sociale, et sur ses échanges au sein de réseaux de sociabilité internationaux. L'analyse de sa réception est menée en amont et en aval de son auto dissolution en 1972. Elle s'attache au rôle joue par plusieurs vecteurs: les producteurs eux-mêmes (les situationnistes), leurs héritiers. Directs (les « prosituationnistes »), et les médiateurs du culturel. Différents usages, parfois conflictuels, sont faits de cette théorie et de ces pratiques importées du passé, et introduites dans des débats du temps pressent. Ces circulations dans le temps et dans de nombreux espaces culturels et politiques sont ici décryptées.
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Almohammed, Hassan. „La prémonition de la mort chez les "poètes météores" français du XXe siècle : (1945-1992)“. Clermont-Ferrand 2, 2009. http://www.theses.fr/2009CLF20017.
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La présente recherche suggère une étude appropriée des trois hypothèses qui sous-tendent l'idée de la prémonition poétique dont la première est l'idée que la poésie a la capacité de pressentir/ annoncer ainsi que lire/ écrire l'expérience de la mort. Cette capacité exige une typologie de la mort sur la base de sa relation à la prémonition : la mort propre, celle de l'autre et la mort absolue. Deuxièment, la mort et le suicide impliquent trois types d'expériences prémonitoires : accélératrice, neutre et retardatrice. La poésie qui encadre ces expériences révèle un savoir-mourir et le caractère volontaire et un vouloir-mourir. Troisièment, comme sujet omniprésent dans la poésie, la mort influe sur le langage et engendre des métamorphoses liées à la mort, à la fois mythiques et typographiques, qui, à leur tour, produisent de nouvelles formes d'écriture prémonitoire comme l'écriture intime de la mort, le testament poétique et la voix sépulcrale de l'adieu. Le corpus comprend huit "poètes météores" français actifs entre 1945 et 1992 dont l'oeuvre prend en charge et défend ces trois hypothèses : Olivier Larronde (1927-1965), Jean-Pierre Duprey (1930-1959), Roger-Arnould Rivière (1930-1959), Roger Kowalski (1934-1975), Jean-Philippe Salabreuil (1940-1970), Danielle Collobert (1940-1978), Christian Gabrielle Le Guez Ricord (1948-1988), Jean-Pierre Le Sidaner (1947-1992). Cette recherche est basée sur une méthode phénoménologique
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Giguère, Andrée-Anne. „Les écrivains de La Relève et la pensée romanesque : critique et pratique du roman chez Robert Charbonneau, Robert Élie, Jean Le Moyne et Hector de Saint-Denys Garneau“. Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26637.
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Cette thèse porte sur quatre écrivains ayant contribué de manière considérable au réseau à l’origine des revues La Relève et La Nouvelle Relève (1934-1948), soit Robert Charbonneau, Robert Élie, Hector de Saint-Denys Garneau et Jean Le Moyne. Fondé sur la poétique et l’usage des genres littéraires et des modes du discours, ce travail cherche à comprendre quelle pensée romanesque se dégage des essais de ces écrivains et comment cette pensée se répercute dans leurs textes romanesques. Le corpus analysé est constitué de tous les numéros de La Relève et La Nouvelle Relève et des principaux écrits publics ou inédits (disponibles à ce jour) des quatre écrivains susmentionnés, et ce, dans l’optique de ne pas restreindre la pensée de ces écrivains à l’idéologie qui se dégage de leur revue. La première partie de la thèse porte sur l’influence de trois romanciers phares à La Relève : Bernanos, Dostoïevski et Proust. C’est notamment à la lecture de ces romanciers que Charbonneau, Élie, Le Moyne et Garneau construisent leur discours idéaliste sur le roman, sur sa pratique, mais aussi sur son usage. La deuxième partie de la thèse départage les lectures romanesques françaises et anglo-saxonnes à La Relève, éclairant du même coup les positions souvent divergentes des membres du groupe à l’égard du roman, mais également à l’égard des référents culturels étrangers. La troisième partie analyse la transformation du discours sur le roman lorsqu’il se rapporte au roman canadien-français. Moins admiratif, plus pragmatique, ce discours vise à accompagner la naissance d’une littérature moderne au Canada français. La quatrième partie de la thèse se consacre aux romans de La Relève. Elle permet de confronter l’art du roman de ces écrivains à leur pratique concrète tout en tenant compte de leurs différences : si Robert Charbonneau et Robert Élie ont publié des romans, Saint-Denys Garneau n’a laissé que des esquisses, tandis que Jean Le Moyne utilise le mode romanesque dans sa pratique d’autres genres littéraires. Le rapprochement entre leur pensée romanesque et leur pratique individuelle permet d’éclairer autrement la faillite du roman de ce groupe, qui est pourtant l’un des premiers dans l’histoire littéraire au Québec à avoir utilisé le genre romanesque dans la constitution de sa vision du monde.
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Joubert, Jurie Jacobus. „Burger se rol in die Suid-Afrikaanse partypolitiek, 1934-1948“. Thesis, 2015. http://hdl.handle.net/10500/18238.
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Afrikaans textIn die perswese van Suid-Afrika het Die Burger gedurende die dertiger- en veertigerjare ’n besondere plek beklee. A1 was dit nie ’n koerant met reusesirkulasiesyfers nie, is dit gerespekteer omdat dit onder meer ’n besonder bevoegde redaksie en bestuurspan gehad het. Die wyse waarop hy sy direkte teenstander, Die Suiderstem, in die stof laat byt het, lewer bewys van Die Burger se krag en invloed, veral in sy hinterland. Die Burger en die Nasionale Party van Kaapland se noue verbintenis het tot gevolg gehad dat hulle ’n gedugte span gevorm het. Die verbintenis, wat wedersydse voordele ingehou het, is grootliks versterk deur D.F. Malan se betrokkenheid by Die Burger. Die rol wat die twee redakteurs A.L. Geyer en PJA. Weber in die tydperk 1934 tot 1948 gespeel het, moet as van kardinale belang beskou word. Veral die persoonlike ondersteuning wat hulle aan D.F. Malan gegee het in sy opbou van die Nasionale Party in die jare 1934 - 1948, het ’n deurslaggewende uitwerking op die Suid-Afrikaanse politieke geskiedenis gehad. Die rol wat Die Burger gedurende die koalisietydperk en daarna tydens samesmelting gespeel het, asook sy besonder noue verbintenis met sy lesers, het die koerant veral in Kaapland ’n baie belangrike politieke faktor gemaak. Dit het aan hom ook ’n besondere posisie van mag binne die Nasionale Party van Suid- Afrika laat inneem. Hierin het Geyer as redakteur, maar veral in sy persoonlike hoedanigheid, ’n groot rol gespeel. Die Burger se jarelange bydrae as kultuurbouer van die Afrikaanssprekendes het meegewerk dat die koerant as mede-skepper van die Nasionale Party se apartheidsfilosofie opgetree het. Die filosofie is beskou as die enigste wyse waarop die Afrikaanssprekende se kulturele en politieke regte beskerm en bestendig kon word. As praktiese instrument het dit veral ná 1939 ook meegehelp om die Nasionale Party aan bewind te bring in 1948. Die koerant het J.C. Smuts en die Verenigde Party gereeld aangeval en op alle gebiede aan die kaak probeer stel. Veral gedurende en na die Tweede Wereldoorlog het die koerant die Smuts-bewind as ’n onbevoegde regering aan sy lesers voorgehou, 'en het sekerlik sukses daarmee behaal.
During the nineteen thirties and forties the Afrikaans newspaper Die Burger occupied a prominent place within the ambience of the South African press. Without reaching large circulation figures, it achieved recognition and respect because - apart from other reasons - it commanded the skills of a very competent editorial staff and management team. The way in which it effectively ousted its main rival Die Suiderstem, is testimony of its power and influence, particularly in its hinterland. The close association between Die Burger and the Cape National Party represented a formidable joining of forces. This relationship, entailing mutual advantages, was sustained significantly by the involvement of Dr. D.F. Malan with Die Burger. Of cardinal importance also was the part played by two editors, A.L. Geyer and P.A. Weber, in the period 1934 to 1948. Their personal support of Dr. Malan in establishing and consolidating the National Party during the years 1934 to 1948 had a decisive influence on South African political history. The role assumed by Die Burger in the period of Coalition and Fusion, as well as the close bond it had established with its readership, made it a potent political force, particularly in the Cape Province. At the same time it gained for itself an important position of power within the National Party of South Africa. In all of this Geyer was a central figure - officially as editor, but more particularly also in a personal capacity. Die Burger's efforts over the years in advancing the cultural cause of Afrikaners led the paper to become a co-founder of the National Party's philosophy of apartheid. The implementation of this ideology was regarded as the only way in which the cultural and political rights of Afrikaners could be safeguarded and maintained. After 1939 the paper proved instrumental in bringing the National Party to power in the election of 1948. It regularly attacked General J.C. Smuts and his United Party on a wide political front, pointing out their shortcomings in various areas. Especially during and immediately after World War II it severely criticized the Smuts government for being incompetent, and it undoubtedly achieved political success with this strategy.
History
D. Litt. et Phil.
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Hubert, Karine. „La création cannibale : cas de figure chez Jan Svankmajer, le comte de Lautréamont et Edmund Kemper : une approche interdisciplinaire de la perversion“. Thèse, 2010. http://www.archipel.uqam.ca/3127/1/D1921.pdf.
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La présente recherche porte sur le cannibalisme comme fantasme de création, et même d'autocréation, à partir de trois cas de figure empruntés à la littérature (Les chants de Maldoror de Lautréamont), au cinéma (Otesanek de Jan Svankmajer) et au fait divers (l'oeuvre criminelle d'Edmund Kemper). On s'y intéresse prioritairement au sujet (le narrateur/scripteur Maldoror, le monstre Otik, le tueur en série Kemper) qui, préoccupé de réaliser sa propre mise en scène, recourt au cannibalisme avec le dessein avoué de faire acte de création. Il est à noter que le cannibalisme étant essentiellement défini comme un fantasme par nombre de théoriciens, tels Green, Pontalis ou Pouillon, l'oeuvre du créateur cannibale devient la transposition imagée d'un scénario extrêmement précis, comme on le voit dans le cas du tueur, du réalisateur ou du poète s'appliquant à raconter les événements sous forme de « scènes théâtrales ». Le récit qui s'élabore -à partir d'éléments réels ou fantasmés s'articule
autour de l'avidité orale et du rapport ambigu à la mère, de la sexualité liée à la violence, de la révolte contre l'autorité et du désir de toute-puissance, de la remise en cause de la filiation et du fantasme d'auto-engendrement. Si cette étude s'inspire principalement de travaux psychanalytiques, un détour par l'anthropologie s'avère essentiel, ne serait-ce que pour arriver à l'unique point de convergence des deux approches. Constatant la disparition progressive du cannibalisme effectif, les chercheurs s'entendent pour repousser le cannibalisme dans un ailleurs, mythe ou fantasme. Ce faisant, ils oublient les cas -peu nombreux, mais révélateurs -relevés par la psychiatrie et la criminologie. L'intérêt d'étudier les témoignages et les biographies de tueurs cannibales ne saurait tenir à l'espoir de trouver un cannibalisme plus brut ou plus authentique, mais de comparer leurs récits avec d'autres représentations du cannibalisme, une occasion d'éprouver l'affirmation de Green voulant que la réalité du cannibalisme soit la possibilité de faire passer dans le réelle fantasme qui le sous-tend. Alors que les criminologues considèrent que le tueur cannibale appartient au type des meurtriers sadiques, les psychanalystes classent les activités sexuelles déviantes comme le cannibalisme, le sadisme ou la nécrophilie parmi les perversions sexuelles. Plusieurs auteurs (McDougall, Stoller, Balier) mettent en évidence l'importance chez le pervers d'élaborer une mythologie sexuelle privée, indispensable à la sauvegarde du plaisir érotique, qui prend directement sa source dans la représentation fantasmatique de la scène originaire. Si le désir d'être le témoin privilégié de sa propre conception répond du narcissisme du sujet, le fantasme de pouvoir annuler cette scène, qui obéit aux lois de l'ontogenèse et de la phylogenèse, pour en concevoir une nouvelle, à la mesure de son ambition, révèle la présence d'un incommensurable sentiment de toute-puissance. C'est finalement en créant une oeuvre singulière que les auteurs entendent immortaliser leur génie dans un désir d'éternité narcissique (Anzieu), et ce, dans un rapport de réciprocité puisqu'il s'agit, comme l'écrit Blanchot à propos de Lautréamont, d'une création qui va les créer pour qu'ils puissent la créer. La problématique de la création cannibale se déploie ainsi à partir des lieux privilégiés où se joue le désir du sujet pervers: la scène de la sexualité, qu'il parvient à réinventer à partir de sa propre représentation des rapports entre les sexes et de sa conception de l'origine du désir, manifestation d'une oralité triomphante; la scène des origines, où il nie le rôle de ses géniteurs dans une tentative ultime de devenir l'unique auteur de ses jours; la scène de l'oeuvre, réalisée après le vol du pouvoir procréateur tantôt de la femme, tantôt des parents, tantôt de Dieu, qui peut seule apporter au sujet le sentiment de se survivre. Enfin, on pourra dépister dans ce désir d'omnipotence narcissique du créateur cannibale, auquel se lie un fantasme d'immortalité, la figure de l'artiste moderne. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cannibalisme, Création, Perversion, Svankmajer, Lautréamont, Kemper.
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Anghinoni, Fernando. „Letra e arte: intervenção plástica a partir de um estudo da trajetória tipográfica nos movimentos artísticos do século XX“. Master's thesis, 2020. http://hdl.handle.net/10451/45384.
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This Project Work aims to discuss and understand the importance of typography in visual arts and its relationship with the emerging cultural movements of the 20th Century. It starts with an analysis of the early decades, and the appearance of so-called modern typography, as well as the use of collage techniques in artistic works. Following that, the discussion moves on to the advent of typographic poetry and its contribution to the renewal of the art of writing during this period, especially in what regards the transformation of language into image; also, the cultural phenomena affected at the end of the century by the inclusion of typography in contemporary art will be under analysis. One of the main theses of this Work supports the idea of combining elements, using verbal and visual codes, and reflecting on artistic movements, and their historical origins, that involve the universes of collage, typographic poetry and arts. This is done by observing and studying how the ideologies of the beginning of the century tended to break paradigms, something borne fruit from the need for a socio-political and cultural redefinition, a factor that became a mainstay thereon in the practice of art, and ended up infiltrating and reshaping several artistic, with typography as a fundamental guideline with which to legitimize these new trends. Finally, after completion of the theoretical research, a practical physical project will be carried out and presented, in which some intervention typographic and prints techniques applied on paper and fabric. The will culminate in an exhibition of works created during the graduate research period, representing an empirical proof of concept that will serve as a proper conclusion of the work presented here.
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Le, Roux Angeline-Ann. „Follow the thread : fabricated social structures with the body as text“. Diss., 2020. http://hdl.handle.net/10500/27127.
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The broad focus of this study is on how, through inequalities in power in
constructed human socio-political, socio-economic and legal structures, the value and dignity of human life is destroyed. The researcher as artist wished to represent these observations though visual metaphor, metonymy and synecdoche in an installation, "Follow the thread". The dissertation contextualises that work within the works of Sheila Hicks, Amita Makan, Magdalena Abakanowicz and Ana Mendieta, all of whom use organic materials related to ideas about life and death.
The first three use fibres as a metaphor for life. Through the analysis of metaphors in the selected artworks, the allusiveness of these metaphors is examined to offer insights about their indirect, referential, and evocative nature. It is revealed in the study that the success of metaphors operating within the visual language is closely linked to their complexity, their range scope and multimodality, and their ability to
provoke multivalent, layered interpretations of artworks.
My sculptural drawings that resemble fragments of the human body in the installation are a metaphor for the abuse of human dignity and for the disregard those in power have when life is reduced to bare life, rather than life appropriate to a legal citizen.Arts and Music
M.V.A.