Dissertations / Theses on the topic '1963-1978'

As a contribution to the continuing debate among trade and development economists as to the role of industrial strategies in the pattern of economic development, this study analyses the experience of one developing country, Nigeria, with an import substitution strategy. The performance of the industrial sector is critically assessed and related to the trade policy adopted. Using published data, the study covers 24 industries and a period of 16 years, beginning 1963 and extending to 1978. An analysis of the structure of protection reveals a considerably high and wide ranging levels of effective protection, in favour of consumer-goods oriented sectors. The relationship between these rates of effective protection on the one hand and import substitution and sectoral growth on the other was examined using various parametric and non-parametric tests of association. The evidence, which is only suggestive in nature, indicates that the structure of protection does play a role, albeit a minimal one, in stimulating industrial growth. Using Input-Output techniques, the employment, foreign exchange and output implications of the present strategy of Import- Substitution and of a hypothetical strategy of export promotion are analysed. There is a general absence of 'key' employment sectors and, paradoxically, an export promotion strategy is found to be less employment generating and more capital using but less foreign exchangeusing than the existing strategy. Although there is a considerable scope for capital-labour substitution in many industries, it was found that the often recommended policy of getting prices 'right' will not be sufficient to bring about an appreciable improvement in the employment situation. The development of factor productivity between 1963 and 1978 for each of the 24 industries was analysed; and three possible determinants of productivity are investigated: capital intensity and technical progress, output growth (the Verdoorn's Law) and trade policy. With regards to the latter, it was found that periods of especially slack productivity growth roughly correspond to those in which there was especially restrictive trade policy as quantified by high erps. The economic efficiency of the manufacturing sector was appraised using the criteria of net social profitability, social rate of return and Domestic Resources Costs (DRCs). Evidence was found in support of the hypothesis that the resource pull of protection to the protected industries is accompanied by higher rates of private, but lower rates of social profitability for the more heavily protected sectors. The overall conclusion of the thesis is that the policies of protection should have been more rationally applied and the IS strategy more rationally executed in line with the country's enunciated objectives.

I percorsi che hanno portato i cattolici a ripensare il proprio rapporto con gli ebrei sono molti e investono aspetti molteplici del problema. A questo tema, approdato infine al Concilio Vaticano II con la dichiarazione Nostra Aetate (1965), si è aggiunta la questione della posizione dei cristiani di fronte alla nascita dello Stato di Israele. Le riviste cattoliche italiane (di cui si sono qui prese in esame quelle d’opinione di diverso orientamento), luogo di discussione e di formazione di un’opinione pubblica consapevole, rispettarono tale pluralismo e, grazie all’impulso conciliare, affrontarono con crescente competenza la questione dei rapporti ebraico-cristiani, diventando fucina di un confronto fecondo con l’ebraismo. La vicenda dello Stato di Israele si è certamente intrecciata con il dialogo ebraico-cristiano, ma la maggior parte delle riviste cattoliche riuscì a non confondere i due piani e a compiere valutazioni distinte. La solida difesa del dialogo ebraico-cristiano si accompagnò nelle riviste della sinistra cattolica, soprattutto dopo il 1967, a una visione sempre più critica del ruolo che Israele stava svolgendo in Medio Oriente e a un avvicinamento alle posizioni palestinesi. Nella destra cattolica, in alcuni casi lontana dallo spirito conciliare sul tema dei rapporti tra le due fedi abramitiche, furono maggiori le voci in favore dello Stato di Israele, il cui ruolo era inserito nel quadro della guerra fredda.<br>Paths bringing Catholics to reconsider their relationship with the Jewish are various and touch manyfold aspects of the issue, which finally was brought up during the Second Vatican Council in the declaration Nostra Aetate (1965). Meanwhile Christians were further confronted by the foundation of Israel. Italian Catholic reviews, in the pluralism of the Council, faced with increased competence the issue of Christian-Jewish relationship and became the place for internal debates, opinion making, but also fruitful confrontation with Hebraism; those holding different views are specifically taken into account in this work. The course of Israel as state is certainly interwoven with the Christian-Jewish dialogue, but most Catholic reviews managed to keep the discussion and their evaluations on two different levels. The support of Christian-Jewish dialogue did not prevent left-wing Catholics from a critical vision of the role played by Israel in the Middle East, particularly in 1967, when positions came close to Palestinians. On the other hand within the Catholic right-wing, sometimes far from the spirit of the Council about the two religions with same roots, voices rose in favour of Israel and its role in the frame of the cold war.

Ce travail s'interroge sur les femmes comme actrices sociales à travers l'analyse de la presse iranienne (deux revues féminines : Zan-e ruz et Ettelâat Bânvân ainsi qu'un quotidien : Ettelâât) pendant la période 1963-1978. Portant sur la sphère publique et privée, l'étude s'inspire des travaux sur les rapports de force entre les sexes et de ceux sur le féminisme d'État. Est abordé, d'une part le rôle inédit que leur accorde le régime dans la sphère politique en examinant les questions du suffrage féminin, de l'accès à la représentation parlementaire, de la création et des activités de l'Organisation des femmes d'Iran. D'autre part, la promulgation du Code de la protection de la famille en 1967, leur ouvre une nouvelle marge d'action dans la vie familiale : davantage judiciarisées, les dissensions privées trouvent une visibillité inédite comme le suggère, l'analyse du mariage, du divorce, du mariage temporaire, de la polygynie et de l'avortement. Cette étude met en lumière l'affirmation, puis la généralisation d'un discours plus égalitaire dans la société que la presse porte, produit et amplifie non sans ambiguïtés. Tributaire autant des politiques de l'État que de la volonté des femmes, le phénomène est analysé comme le produit d'un rapport de pouvoir, d'un processus de négociation entre l'État, les femmes et le pouvoir religieux. Les transformations politiques et sociales des années 1960-1980 autorisant et encourageant la prise de parole des femmes, questionnent l'équilibre social et politique entre les sexes et suscitent des inquiètudes au sein de la société. Apparaît ainsi l'enjeu crucial de l'action des femmes dans la société : le contrôle social du corps féminin<br>This study examines women as social agents through an analysis of the Iranian press (two women's magazines : Zan-e ruz and Ettelâat Bânvân, and a daily newspaper : Ettelâât) during the final year's of the Pahlavi dynasty (1963-1978). The thesis, wich concerns both public and private sphreres, draws on studies of power relations between the sexes and those on State feminism. Firstly, the new role granted to women by the regime within the political sphere is discussed by examining issues such as women's suffrage, access to parliamentary representation, and the creation and activities of the Women's Organization of Iran. The promulgation of the Family Protection Law (1967), the real backbone of the State's action in favor of women, by the analysis of marriage, divorce, temporary marriage, polygyny and abortion. This study sheds light on the affirmation, then the generalization of an egalitarian discourse in Iranian society wich the press produces, disseminates, and amplifies, not without ambiguities. Depending on both State policies and the desires of women, the phenomenon is analyzed as the product of a precarious relationship of power, a process of negotiation between the State, women and religious power. The political and social transformations of the 1960s-1980s, wich allowed and encouraged women to speack out, destabilize the social and political balance between the sexes and raise serious concerns within society. The crucial issue of the involvement of women in society emerges as the social control of women's bodies

Made available in DSpace on 2014-12-17T14:35:54Z (GMT). No. of bitstreams: 1 MarioLM.pdf: 3364601 bytes, checksum: cc35949ee2b8c2137cc2be499ccc9ae9 (MD5) Previous issue date: 2008-03-28<br>Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico<br>Under the aegis of the third diocese bishop of Caic?, Dom Manuel Tavares de Ara?jo, the Broadcasting Station of Rural Education of that city was founded, in May 1 s" 1963 with the ideal of being then an educational city, preferentially for youths and adults, rural meu and women of the arca of Serid? in Rio Grande do Norte state. In the year of its 40th birthday (2003), we began the investigation of that radio station choosing as study object its educational and formative programming, in the inc1usion of the first fifteen years of its existence (1963-1978), period that reaches the official inauguration of the Radio Station and the end of the bishopric of its fOllllder as Bishop of Caic?. Elucidating and showing Man's formative ideaIs longed by that Catholic educational broadcasting station, underlying to its radiophonic programming, such as the idealization for it reached, is the objective of this Doctorate work. It was considered pertinent to discover the guidelines that historically have permeated the Social Do?trine of the Catholic Church addressing its aggiornamento, especially in what concerns to the employment of the modern ways of communication for the distance with the aim of evangelizing and educating. In arder to understand the ideaIs of the investigated educational Radio, we have delimited the research to the thematic Catholic Church, means of social communication and base education. In face of the study object and the aim to be reached it was appealed, methodologically, to the notion of cultural action present in Certeau (1995), and to the understanding of educational formation backgrounded fIam the modern thinkers that discuss it. Such frame references have allowed us to analyze in a wider spectrum tl)e programming broadcasted on the air by the sound wavys of that educ(itional ?atholic Radio, as well as, the very acts of cultural idealizations that has orientated it in its foundations. The thesis here defended is that. the Radio, at procJaiming itself as a broadcasting station of rural education directed preferably to the rural sertanejo countrymen, without neglecting its admitted ends, has surpassed them in its overall range. It was identified an articulate approach of its programmatic modules with the guid,elines emanateq from the Catholic Teaching about the use of the. means of social communication. At conceiving, establishin,g and executing an ec1ectic programmatic and div,ersified grating, the Rural Radio of Caic? has transcended to a strict human-Christian formation to request the development of the human, spiritual and cQrporaldimensions, jointly. With suchprogramming, it addressed to the seridoenses as real meu and women inserted in the "sertanej.o" environment with effective structural and existential problems of alI types, induding the hunger, the thirst, the syndical organization, the cQoperativism, the colIective modero work and the absence of universalizing school education. Its radiophonic transmissions, I}lled by the demands of an enlarged, open, dialogic and responsible communication, wheneIllbracing dedicated modules to religious and catechetical emissions, to the entertainment, to the radiojoumalism, to the country root culture, and to the school education of b se for the modality of the School and of the radiophonic classes, subsumed to ideaIs that longed for the formation of a multifaceted and pluridimensional sertanejo Man; of men and women that, without abjuring the Catholicism, were able to understand, to dialogued and to live together with the general demands of a society in progressive mutation, whose economical, social, cultural and educational demands it IDade themselves to be felt through the sert?o potiguar of the Serido region, equal way of the intemationalized world<br>Sob a ?gide do terceiro bispo diocesano de Caic?, Dom Manuel Tavares de Ara?jo, foi fundada a Emissora de Educa??o Rural dessa cidade, em 10 de maio do ano de 1963 com o ideal de ser uma cidadela educativa, preferencialmente para jovens e adultos, homens e mulheres rurais da ent?o regi?o do Serid? norte-rio-grandense. No ano do seu 400 anivers?rio (2003), iniciamos a investiga??o dessa r?dio elegendo como objeto de estudo a sua programa??o educativa e formativa, na abrang?ncia dos quinze primeiros anos de sua exist?ncia (1963-1978), per?odo que compreende a inaugura??o oficial da R?dio e o t?rmino do episcopado de seu fundador como bispo de Caic?. Elucidar e explicitar os ideais formativos de Homem almejados por essa Emissora educativa cat?lica, subjacentes ? sua programa??o radiof?nica, bem assim, a idealiza??o por ela atingida, constituiu-se o objetivo desse trabalho de doutorado. Considerou-se pertinente averiguar as diretrizes que historicamente perpassaram a Doutrina Social da Igreja Cat?lica direcionando seu aggiornamento, notadamente no que concerne ao emprego dos meios modernos de comunica??o a dist?ncia com fins de evangelizar e educar. Para entender os ideais da R?dio educativa investigada, delimitamos a pesquisa na tem?tica Igreja Cat?lica, meios de comunica??o social e educa??o de base. Em face do objeto de estudo e objetivo a alcan?ar recorreu-se, metodologicamente, ? no??o de a??o cultural presente em Certeau (1995), e ao entendimento de forma??o educativa respaldado precipuamente nos pensadores modernos que a discutem. Tais referenciais nos permitiram analisar em um espectro mais amplo a programa??o levada ao ar pelas ondas sonoras dessa R?dio educativa cat?lica, bem como os pr?prios atos de idealiza??es culturais que a norte aram em seus fundamentos. A tese aqui defendida ? a de que essa R?dio, ao proclamar-se como uma Emissora de Educa??o Rural destinada prioritariamente aos campesinos sertanejos, sem negligenciar seus fins confessados, os transbordou em sua globalidade. Identificou-se uma articulada aproxima??o de seus m?dulos program?ticos com as diretrizes emanadas do Magist?rio Cat?lico sobre o uso dos meios de comunica??o social. Ao conceber, estabelecer e executar uma grade program?tica ecl?tica e diversificada, a R?dio Rural de Caic? transcendeu a uma estrita forma??o humano-crist? a requerer o desenvolvimento das dimens?es humanas, espiritual e corporal, conjuntamente. Com tal programa??o, dirigia-se ela aos seridoenses como homens e mulheres reais inseridos na ambi?ncia sertaneja com efetivos problemas estruturais e existenciais de toda esp?cie, incluindo a fome, a sede, a organiza??o sindical, o cooperativismo, o trabalho moderno coletivo e a aus?ncia de educa??o escolar universalizante. Suas transmiss?es radiof?nicas, pautadas nas exig?ncias de uma comunica??o ampliada, aberta, dial?gica e respons?vel, ao abranger m?dulos dedicados: a emiss?es religiosas e catequ?ticas, ao entretenimento, ao radiojornalismo, ? cultura sertaneja de raiz, e ? educa??o escolar de base pela modalidade da Escola e das aulas radiof?nicas, subsumiam-se a ideais que almejavam a forma??o de um Homem sertanejo multifacetado e pluridimensional; de homens e mulheres que, sem abjurar o catolicismo, entendessem, dialogassem e convivessem com as exig?ncias gerais de uma sociedade em progressiva muta??o, cujas demandas econ?micas, sociais, culturais e educacionais se faziam sentir no sert?o potiguar do Serid?, igual maneira do mundo internacionalizado

A investigação, de caráter qualitativo (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), teve por objetivo geral compreender as práticas músico-educativas engendradas nos Festivais de Coros do Rio Grande do Sul, que foram realizados durante o período 1963-1978, na cidade de Porto Alegre, capital do estado do Rio Grande do Sul. Como objetivos específicos a pesquisa buscou: 1) analisar a constituição e a organização dos Festivais de Coros; 2) examinar como eram mobilizados os atores sociais para os/dos Festivais de Coros, as estratégias de envolvimento utilizadas, as redes de cooperação e interdependência que permitiam a realização dos eventos e as tramas que envolveram os atores sociais naquele contexto específico; 3) interpretar a participação de coros, regentes e plateia e as exigências colocadas para os participantes dos Festivais; 4) analisar quais eram as concepções sobre cantar em coro, que aprendizagens e que formações musicais ocorreram nos/a partir da participação nos eventos e quais foram as contribuições dos Festivais de Coros. Como procedimento investigativo trabalhei a partir da história oral, com a qual pude combinar fontes escritas (artigos de jornais da época, programas musicais, cartas) com fontes orais (pré-entrevistas e entrevistas). Para a compreensão das redes estabelecidas pelos participantes dos Festivais de Coros, empreguei o conceito de configurações ou figurações de Norbert Elias (1997; 2008). Pelo conteúdo dos Festivais analisados, foram úteis as visões teóricas que focam o canto coral como movimento sociopolítico ou nacionalista (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Estudos sobre festivais de arte também ajudaram a iluminar o campo empírico (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Práticas músico-educativas foram se constituindo e sendo propaladas a partir da ação dos agentes participantes dos Festivais. A partir de uma comissão organizadora foi institucionalizada a Associação dos Festivais de Coros do Rio Grande do Sul, que passou a mobilizar atores internos (coros, regentes, imprensa e público) e externos (autoridades, governos, patrocinadores e apoiadores). Examinar o que era exigido e que dinâmica movia regentes, coros e público a participar dos Festivais de Coros, ajuda a compreender as aprendizagens geradas e impulsionadas pelo contexto. Os resultados da pesquisa mostram as formações musicais de cantores, regentes e público ocorridas a partir de concepções sobre cantar em coro e do habitus (ELIAS, 1997) gerado na e pela participação nos Festivais, além de outras contribuições impulsionadas por aqueles eventos.<br>This research, of qualitative frame (PIRES, 2010; GONZÁLEZ REY, 2005; MELUCCI, 2005), had as objective to understand the music-educational practices taken place in the Rio Grande do Sul Choir Festivals, held during the period 1963-1978 in the city of Porto Alegre, capital of the state of Rio Grande do Sul, Brazil. Specific objectives of this research were: 1) To analyze the constitution of the Choir Festivals; 2) To exam how social actors were mobilized for the/from the Choir Festivals, as well as the engagement strategies used in it, the cooperation networks and interdependence which allowed the events to take place and the wefts which involved social actors in that specific context; 3) To interpret the participation of choirs, conductors and public, as well as the demands requested to the participants of the Festivals; 4) To analyze which were the conceptions about choral singing, which apprenticeships and musical formations occurred in the/from the participation in the events, and which were the contributions left by the Choir Festivals. As a research procedure I worked with oral history, with which I could combine written resources (newspaper articles of that period, musical programs and letters) with oral resources (pre-interviews and interviews). To understand the networks established by the participants of the Choir Festivals I used the concept of configuration or figuration by Norbert Elias (1997; 2008). Through the content of the analyzed Festivals, it were useful the theoretical visions that focus choral singing as a sociopolitical or nationalistic movement (CHINALI, 2009; GILIOLI, 2008; SILVA, 2001, 2012; SANTOS, 2012; SOUZA 1991, 1999, 2007). Studies about art festivals also helped to throw light over the empirical field (FLÉCHET, 2011, 2013; GOETSCHEL; HIDIROGLOU, 2013). Musiceducational practices were constituted and propelled from the action of the participants agents of the Festivals. An organized committee was the start to institutionalize the Rio Grande do Sul Choir Association, which began to mobilize internal actors (choirs, conductor, press and public), and external actors (authorities, governments, sponsors and supporters). To examine what was requested and what dynamics moved conductors, choirs and public to participate in the Choir Festivals, helped to understand the apprenticeships generated and driven by the context. The results of the research show the music formation of singers, conductors and public generated from conceptions of choral singing and the habitus (ELIAS, 1997) generated in the/by the participation in the Festivals, as well as other contributions driven by those events.

Le fonds étudié s'est constitué de 1947 à 1963. Il conserve 943 lettres de Villon aux Espic et des documents joints : biographiques, historiographiques, théoriques. Les lettres et documents sont reproduits dans le 2e tome. Ces sources contribuent à mieux connaître la production de l'artiste dans son ensemble. La 1ère partie porte sur la correspondance, fil directeur du fonds. Analyse, description et propositions méthodologiques sont énoncées, elles conduisent à une réflexion sur les rapports entre l'épistolaire et les " écrits d'artistes ". En suite vient une étude monographique. Les grands passages stylistiques de l'œuvre graphique et peinte sont étudiés. Le rôle de Villon au sein du cubisme, de la " Section d'or " est reconsidéré. Le passage vers l'abstraction et le retour à la figuration vers 1935 sont évalués. Après 1945, l'abstraction représentative de Villon incarne les valeurs rassurantes d'une peinture française de tradition, elle est soutenue par le marché de l'art et les institutions de la IVe République<br>The resources studied date from 1947 to 1963. They consist of 943 letters from Villon to Espic and other attached biographical, historical and theoretical documents which were attached to the letters. The letters and documents are classified and annotated in the second volume of the thesis. These resources allow a better understanding of the life and works of the artist. The first part of the thesis deals with the correspondence which is the unifying thread of the resources. A method of analysis and description is set up which is used to examine the relationship between letter writers and the "writing of artists". On the basis of these sources a monographical study is put forward. It focuses on the major stylistic transitions in Villon's graphics and paintings. The role of Villon at the heart of Cubism and the "Section d'or" exhibition are clarified. The move towards abstraction and the return to figurative art about 1935 is assessed. After 1945, Villon's semi-abstraction was a compromise between the reassuring values of "peinture française de tradition" and modernity which was supported by the art market and the institutions of the Fourth Republic

This research explores cult formation and sect-like worship in the Ejército de Liberación Nacional (ELN), around the figures of both the priest and guerrilla fighter Camilo Torres (1929-1966), and Fabio Vásquez, leader and founder of the group in 1963-1978. I examine the relationship between authority and obedience that shaped political leadership in Colombia since the late 19th century. In particular, I consider how collective moral and individual values become ritualized in daily practices and moral discourses fostered by leaders that promoted drastic social change along Colombian history. This analysis of authority and obedience facilitates interpretations into how leaders create allegiances and legitimize violence as a strategy to bring about change in Colombian politics. I argue that the politics of magnicidio demonstrates how the formation of leadership is hampered by the use of selective violence, as a strategy to dismantle or deter political opponents from participation. This happens in both mainstream politics and within insurgent groups. In this vein, I argue that by approaching the figure of Camilo Torres and the reverence to his memory, it is possible to understand the importance of leadership and authority both in a guerrilla group, and in social mobilization, particularly the student movement, intellectual sectors, and the youth. I sustain that reverence to Camilo Torres has been fostered primarily outside the ELN. Although the ceremonies around his figure and the revolutionary project progressively furnished the group with a consistent pattern of belief for individual and group interaction, his leadership in the groups was not substantial. I demonstrate how Camilo Torres surrendered to the leadership of Fabio Vásquez in an attempt to become a suitable guerrillero. I argue that beyond claims for Camilo Torres' political legacy, guerrilla fighters in the ELN used his thought to challenge and undermine Fabio Vásquez' personalistic leadership in 1967-1974. Although the figure of Camilo Torres created internal cohesion, the ELN‘s re-conceptualization of the revolutionary project used his life only as a paradigm of commitment, sacrifice and revolutionary redemption, ignoring the priest's political ideals and assertions on social justice, charity and love. I conclude by exploring Camilo Torres' thought and actions in order to demonstrate how the ELN selectively interprets his legacy, and thereby justify the last months of his life to legitimize radical left leaning fighting.<br>Ph. D.

Cette étude de la réception de Vatican II dans l'église catholique allemande cherche à éclairer comment, dans le cadre chronologique du pontificat de Paul VI, l'axe ecclésiologique de Vatican II, les constitutions lumen gentium et gaudium et spes, a été reçu dans l'église catholique d’Allemagne. A partir d'une analyse de la contribution particulière de l'épiscopat allemand à la constitution du corpus conciliaire, le travail suit la spécificité allemande dans la "traduction" des concepts ecclésiologiques majeurs du concile, et cela dans une situation historique caractérisée par un bouleversement social important. La question de la participation laïque à la mission de l'église, message central de Vatican II, se trouve ainsi au centre de la réception allemande. A travers l'analyse des conseils de coresponsabilité mis en place après 1965 en RFA, la thèse centrale d'une réception univoque de lumen gentium au détriment de gaudium et spes est développée. La "vérification locale" de la question dans le diocèse de Limbourg apporte une précision supplémentaire à ce constat. L'ensemble de l'étude constitue l'histoire de l'église catholique allemande de 1963 à 1978, conçue sous l'angle particulier de la réception de Vatican II comme évènement normatif fondamental dans l'église catholique de la deuxième moitié du XXe siècle<br>The present study of the reception of Vatican II council in the German catholic church aims to analyze, in the chronological frame of the pontificate of Paul VIth, how the ecclesiological project of Vatican II - the constitutions lumen gentium and gaudium et spes, have been received in the German catholic church. Beginning with an analysis of the peculiar contribution of the German bishops to the constitution of the council’s texts the thesis makes clear the specific German "translation" of the main ecclesiological concepts of Vatican II in an historical situation of important social changes. The question of the laymen's participation in the church's mission as one of the major messages of Vatican II is therefore in the center of the German reception. By means of an analysis of the councils of shared responsibility established after 1965 in Germany, the main thesis of a privileged reception of lumen gentium, putting gaudium et spes on the second rank, is developed. The "local prove" of this question in the diocese of Limburg brings an extra precision to this statement. The whole study is in fact the history of the German Catholic Church from 1963 to 1978, regarded from the particular point of view of the reception of Vatican II as the fundamental event in the Catholic Church in the second half of the twentieth century

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-06-07T18:22:35Z No. of bitstreams: 1 TES_DANIELLE_HEBERLE_VIEGAS_COMPLETO.pdf: 3579217 bytes, checksum: b52aace630ea9c6ba9f2ed493128055c (MD5)<br>Made available in DSpace on 2016-06-07T18:22:35Z (GMT). No. of bitstreams: 1 TES_DANIELLE_HEBERLE_VIEGAS_COMPLETO.pdf: 3579217 bytes, checksum: b52aace630ea9c6ba9f2ed493128055c (MD5) Previous issue date: 2016-03-28<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES<br>Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq<br>The creation of the metropolitan areas in Brazil was mainly linked to the time frame set by the Military Dictatorship (1964-1985). One of the key State strategies of action at the time was the growth of the urban planning scope through technical and technological promotion, made possible via international cooperation. Regarding such considerations, this thesis presents the history of the Porto Alegre/RS Metropolitan Area, whose planning was conceived through the Technical Cooperation Deal between Brazil and the German Federal Republic/GFR. The specificities that the international technical cooperation brought to the making of the Metropolitan Development Plan have been analyzed, reaching the aims of identifying the institutions, agents and motivations within Brazil and the GFR, between 1963 and 1978. To this end, unpublished correspondences found in the Ministry of Foreign Affairs of both countries, plans adopted in universities, agencies and companies, Brazilian and German, were considered, besides oral accounts by some of the experts who acted in the project. The main hypothesis suggested regards the generation of a transnational sphere of knowledge sharing which peaked in the flexibilization of notions such as welfare state and underdevelopment, which provided guidelines for the cooperation acts in a post-war world. In this regard, it was discerned the extent of which the circulation of ideas about urban planning in the ?thrid world? was subject to adaptation and ruptures when linked to the authoritarian and developmental Brazilian project.<br>A cria??o das regi?es metropolitanas no Brasil esteve especialmente associada ao quadro temporal delimitado pela Ditadura Militar (1964-1985). Uma das principais estrat?gias de a??o do Estado ? ?poca foi o incremento do campo do planejamento urbano atrav?s da promo??o t?cnica e tecnol?gica, atendida por meio da coopera??o internacional. Tendo em vista tais considera??es, esta tese apresenta a hist?ria da Regi?o Metropolitana de Porto Alegre/RS, cujo planejamento foi concebido a partir do Acordo de Coopera??o T?cnica entre o Brasil e a Rep?blica Federal da Alemanha/RFA. Analisou-se as especificidades que a coopera??o t?cnica internacional conferiu ? elabora??o do Plano de Desenvolvimento Metropolitano, cumprindo os objetivos de identificar as institui??es, os agentes e as motiva??es por parte do Brasil e da RFA, entre 1963 e 1978. Para isso, foram cotejadas correspond?ncias in?ditas oriundas dos Minist?rios das Rela??es Exteriores de ambos os pa?ses, projetos realizados em universidades, ag?ncias e empresas brasileiras e alem?s, al?m de depoimentos orais de alguns dos experts que atuaram no projeto. A hip?tese basilar lan?ada diz respeito ? gera??o de uma esfera transnacional de compartilhamento de saberes que culminou na flexibiliza??o de no??es como as de assistencialismo e subdesenvolvimento, que pautaram os atos de coopera??o no mundo P?s-Guerra. Nesse sentido, vislumbrou-se em que medida a circula??o de ideias sobre o planejamento urbano no ?terceiro mundo? sofreu assentamentos e rupturas quando associada ao projeto autorit?rio e desenvolvimentista brasileiro.

La présente recherche a pour centre l’Objectivisme, considéré comme le lieu à partir duquel penser les enjeux théoriques et formels liés pour la poésie américaine et anglaise à ce que l’on appelle le modernisme. Mouvement fondateur du début de l’entre-deux-guerres, l’Objectivisme regroupe d’abord les poètes américains Louis Zukofsky, Charles Reznikoff, George Oppen, Carl Rakosi, et Lorine Niedecker, ainsi que le poète anglais Basil Bunting. Nous y ajoutons William Carlos Williams, à la fois un prédécesseur et un compagnon de ce mouvement. C’est à la lumière du retour que l’Objectivisme opère sur les fondements de la poétique, et des nouveaux outils que par conséquence il demande d’inventer pour le comprendre, qu’il faut chercher le sens de cette recherche qui se propose donc d’élaborer les outils et de forger les clés essentielles à l’approche de cette poésie. Il s’agit de tirer les conclusions des redéfinitions, réappropriations et diverses manipulations que les poètes Objectivistes ont opérées sur les notions aussi essentielles que celle de la voix et du statut du sujet parlant dans le poème, celle du rythme et de la nature graphique du poème comme induisant une possible métrique nouvelle, et par conséquent celle du signe en poétique à l’intérieur d’une relation renouvelée à la langue et à l’expérience qui en est faite du point de vue de la lecture du texte<br>This research aims at understanding Objectivist poets and poetics, considered as the nexus from which to analyse the theoretical and formal questions that matter to English and American modernist poetry. As a groundbreaking movement taking place in the thirties, Objectivism first gathers American poets such as Louis Zukofsky, Charles Reznikoff, George Oppen, Carl Rakosi and Lorine Niedecker, as well as English poet Basil Bunting. We choose to add to these the name of William Carlos Williams, both their predecessor and a long-time companion. The meaning of this work lies in the Objectivists going back to the basis of a poetics, and hence the need for new tools required to understand their texts. We propose to help develop a thinking enabling the reader to enter this specific poetical field, by analysing the new definitions, the various manipulations and the interplay with tradition that the Objectivists have produced. Their innovations concern such essential notions such as the poetic voice and its relation to the speaking subject in the poem; rhythm and the graphic quality of the written text as inducing a possibly new prosody; and the logic of the sign within the frame of a transformed experience of language and speech, from the point of view of the reading of the text

Les États-Unis n’ont eu de cesse d’attendre depuis Emerson le grand chef d’œuvre national qui célèbrerait le destin d’exception de la jeune démocratie et affranchirait la littérature et la langue américaines de la tutelle du vieux continent. Cette tâche ne pouvait incomber à l’épopée dont on a pu juger qu’elle était inapte à décrire le monde contemporain et qu’elle contredisait une modernité poétique de l’intensité lyrique. La renaissance spectaculaire du « long poème » américain au cours des XIXe et XXe siècle ne peut donc s’inscrire dans la filiation de « formes » jugées obsolètes. Elle paraît d’ailleurs d’autant plus problématique qu’après avoir été rapportée au lyrisme démocratique de Walt Whitman, le « long poème » fut approprié par T.S. Eliot et Ezra Pound et assimilée aux excès d’un « high modernism » autoritaire, élitiste et systématique. C’est ainsi que la critique n’est parvenue à rendre compte paradoxalement de cette « forme » qu’en la niant, confirmant ainsi son illisibilité : le long poème ne pouvait être qu’un recueil de poèmes courts, un chef d’œuvre ruiné ou une parodie de la pensée systématique et de l’exceptionnalisme américain. En étudiant « A » de Louis Zukofsky, Paterson de William Carlos William et les Maximus Poems de Charles Olson, je vise à démontrer qu’il est au contraire possible de lire cette forme en tant que telle sans avoir recours à des typologies génériques ou à la dichotomie modernisme/postmodernisme. Je tenterai aussi de suggérer que, dans ces trois œuvres, la poésie se conçoit comme une activité en devenir qui tente modestement d’articuler le poème au monde, au temps et à la lecture<br>Ever since Emerson the United-States have been expecting the great national masterpiece that would not only celebrate the unique destiny of this young democracy but would also free American language and literature from the European model. However, it did not seem that it was for the epic poem to accomplish this task given that it appeared not only ill-suited to describe the modern world but also incompatible with the demands of a poetic modernity predicated on lyrical intensity. Hence, the planned obsolescence of this “form” has made it all the more difficult to explain the spectacular rebirth of the “American long poem” in the 19th and 20th centuries. It has appeared all the more problematic since, after having been associated to Walt Whitman’s democratic lyricism, the “long poem” was appropriated by T.S. Eliot and Ezra Pound making it the symbol of the authoritarian, elitist and systematic tendencies of “high modernism”. It will thus come as no surprise that the critical community has tended to view the “long poem” negatively confirming in a way its illegibility: the “long poem” could only be viewed as a short lyric sequence, an impossible masterpiece or a parody of systematic thought and American exceptionalism. In undertaking this study of Louis Zukofsky’s “A”, William Carlos William’s Paterson and Charles Olson’s Maximus Poems I wish to demonstrate that it is possible to read the “long poem” as such without having to resort to generic categories and to the modern/postmodern dichotomy. I also hope to show that, in these three works, poetry is understood as a kind of ongoing activity which modestly attempts to articulate the poem to the world, time and reading

Tese de doutoramento, Belas-Artes (Escultura), Universidade de Lisboa, Faculdade de Belas-Artes, 2012<br>Quando tudo se torna estético a própria noção de arte corre o risco de desaparecer. O facto de se privilegiar a imagem à custa de exercícios plástico-formais, de maior ou menor complexidade, tem conduzido a uma compreensão empobrecida do espaço construído, transformando o espaço social numa abstração fetichizada. Assim, debruçámo-nos, fundamentalmente, sobre a produção artística ao nível da escultura e da arquitetura, a partir de meados do séc. XX, de forma a compreender, de que modo os progressos tecnológicos que ocorreram, durante e após o período da 2ª grande guerra, tiveram uma influência determinante no processo conceptual de idealização da escultura e da arquitetura a partir de então. Para além disso, tomou-se como ponto de partida o movimento Minimalista, como o movimento artístico surgido durante a década de sessenta, que se afirmou por negar a arte cartesiana europeia, pela via fenomenológica e por contestar os limites disciplinares definidos pelo Modernismo. Neste campo indefinido, propício à pluralidade de linguagens e ao confronto de protagonismos, a emergência de uma estética “minimal” assumiu rapidamente um sentido disciplinador de contenção e economia visual. Uma espécie de estabilização canónica que traduziu uma prática escultórica e arquitetónica reconduzidas ao limite mínimo da sua expressão plástica.<br>When everything becomes aesthetic the concept of art itself becomes in danger of disappearing. The increasing focus on image, at the expense of plastic-formal exercises, of varying complexity, has led to an impoverished understanding of the built environment, transforming the space into a social fetishized abstraction. Thus, we focused primarily on the sculptural and architectural productions, from mid XXth century, in order to understand how the technological advances that took place during and after the period of the 2nd World War, had a decisive influence on the conceptual processes of idealization of sculpture and architecture since then, allowing an approximation of the two areas. The Minimalist movement, became a refernce to the contemporary art for its ability to deny the European Cartesian art throug fenomenology, besides it contested the Modernist limits of the arts and defended a new interdisciplinary way of understanding it. In this indefinite field, enabling the plurality of languages and the confrontation of protagonisms, the emergence of a "minimal" aesthetic quickly assumed a sense of discipline based in a restraint visual economy. A sort of stabilization canon that reflected a sculptural and architectural practice reduced to the minimum of its plastic expression.

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2016<br>O tema da tese de doutoramento, constituiu o estudo da colagem no contexto da arte contemporânea nacional, focado em alguns artistas de referência, durante a segunda metade do séc. XX. Importa sublinhar o processo de colagem, como um importante veículo da linguagem do desenho e não como um mero suporte de trabalho, complementar ao desenho e (ou) à pintura. Esperamos acima de tudo, contribuir para um melhor conhecimento da evolução dos processos de colagem, inserido nos vários movimentos artísticos vigentes e em particular a partir do Surrealismo. Sendo a colagem, parte intregrante do desenho, constituiu um procedimento artístico em que se compoêm pedaços de papel liso, estampado, pintado ou impresso (jornais, revistas), embalagens, cartão, tecido ou pequenos objectos sobre um suporte geralmente plano. A colagem constituiu no ínicio do séc. XX, um importante veículo de expressão no seio dos grandes círculos artísticos europeus, centrado especialmente na cidade de Paris. Por isso, é essencial, antes de entrarmos no tema da tese, salientar o pioneirismo de Pablo Picasso e George Braque na criação dos primeiros Papiers Collés. Na esfera nacional é imprescindível salientar o papel de Amadeo de Souza-Cardoso, como artista de referência no panorama português, no que concerne à introdução das primeiras colagens no movimento cubista. No desenvolvimento da tese, importa focar o estudo da colagem na segunda metade do séc. XX, a partir do movimento surrealista português, dos seus principais intervenientes e das obras mais relevantes para a evolução do desenho e da colagem. Neste período, importa referenciar a importância do grupo KWY no contexto da arte contemporânea nacional e do impulso que alguns dos seus membros introduziram no desenvolvimento da colagem. Definimos como case study de estudo, um artista de referência nacional (Artur Manuel Rodrigues do Cruzeiro Seixas), cuja obra, (particularmente no domínio no desenho e da colagem), seja marcante no contexto da arte contemporânea nacional. Ao estudarmos a sua longa carreira, principalmente ao nível do desenho, retemos um amplo conjunto de ideias e de obras inéditas reveladas a partir dos seus scrapbooks. Sendo a análise desta informação ainda muito escassa, mesmo por parte da FCM, torna-se imperativo um estudo mais aprofundado acerca deste tema e mais concretamente dos registos ao nível do desenho e colagem.<br>The main objective of the Phd project is to focus the whole study of collage as an essential element of artistic expression. Its also important to clarify that collage its not just an artistic work tool for drawing or paint, but an important comunication support and to focus on the introduction of collage in contemporary Portuguese art and all its evolution over the second half of the twentieth century. Contribute to the study of the history of portuguese contemporary art, focusing the study on the theme of collage in Portugal, alongside the drawing. However, as collage is considered being part of drawing, is an artistic procedure (completely apart) in putting together pieces of plain paper, stamped, painted or printed (newspapers, packaging), cardboard, cloth or small objects on a plan support. Since the beginning of the twentieth century, collage was an important vehicle of expression in the European vanguard movements. Before entering the theme it self its important to study the pioneering role of Picasso and Braque in the early twentieth century and the environment in portuguese artistic context, highlighting the role of Amadeo de Souza-Cardoso, with reference to the introduction of the Cubist collages movement in Portugal and it´s transition to painting. After the introductory chapter, it´s important to focus the study of collage in the second half of the twentieth century, beginning with the birth of the portuguese Surrealist movement, their main artists and the more significant works for the evolution of portuguese contemporary collage, either by it´s pioneering in the materials and techniques used, or by it´s conceptual composition. To assess and substantiate this study, it is important to make a brief overview on the international references. Make a case study of collage to a main portuguese artist (Artur Rodrigues do Cruzeiro Seixas), which has been distinguished by the use of collage techniques in an exceptional way. By analyzing and studying his long artistic career in drawing and collage, we retain several ideas, artistic concepts and new information about his work, which proved to be particularly relevant in the whole collage movement and in Portuguese contemporary art. Set as case study by investigating the develop of collage by a national reference artist (Master Cruzeiro Seixas), which has been distinguished by the use of collage techniques in designing exceptional way. By analyzing and studying his long artistic career by drawing and collage level, we retain a set important ideas and artistic concepts reflected by the revelation of a set of unpublished works from his scrapbooks, which proved to be particularly relevant in his work and in the Portugal contemporary art.