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Dissertations / Theses on the topic '1970s'
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1
Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.
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Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.
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Simanavičiūtė, Daiva. "The Lithuanian World Community’s development 1940s – 1970s." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090226_134525-99870.
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The studies of emigrant associations abroad and the development of migrant organizations in the world in historical perspective are very important in the present context of Lithuania. One of the most important émigré organisations is the Lithuanian World Community (Pasaulio lietuvių bendruomenė), which was established by political refugees with the goal of uniting all the dispersed Lithuanians over the world. This dissertation presents the organizational and political development aspects of the Lithuanian World Community in the 1940s – 1970s. The first chapter features the lessons of the migration policy in the first Republic of Lithuania and the ideas of mobilizing Lithuanians over the world. Colonization’s plans and impact of civic associations to mobilize Lithuanians abroad are explored. In the second chapter it is analysed how the policy of the Western countries influenced Lithuanian mobilization after the Second World War. Secondly, the establishment of the Lithuanian World Community is reconstructed. The third chapter describes the conditions and explains how the Lithuanian communities were established in the countries of immigration. The organizational structure of the Lithuanian World Community board and the development of its relationship with Lithuanian communities are analyzed. The mobilization of the second generation of Lithuanians in the world is investigated. The development of the relations between the Lithuanian World Community and the World Lithuanian Youth... [to full text]<br>Gausi emigracija ir naujų lietuvių bendruomenių formavimasis užsienio šalyse sudaro prielaidas tyrinėti ir migrantų draugijų bruožus, ir jų raidą istorinėje perspektyvoje. Svarbią reikšmę turi Pasaulio lietuvių bendruomenė, įsteigta Antrojo pasaulinio karo politinių pabėgėlių bangos atstovų, siekiant suvienyti pasaulyje pasklidusius lietuvius. Disertacijos tikslas rekonstruoti Pasaulio lietuvių bendruomenės organizacinius ir politinius raidos aspektus XX a. 5–8 dešimtmečiuose. Pirmoji dalis skirta apžvelgti Pirmosios Lietuvos Respublikos migracijos politikos pamokas, sprendžiant pasaulyje pasklidusių lietuvių telkimo problemas. Antrojoje dalyje aptariama Vakarų šalių politika sprendžiant politinių pabėgėlių likimą po Antrojo pasaulinio karo ir su tuo susijusi pasaulio lietuvių telkimo idėjų raida nuo kompaktinio emigravimo galimybės iki naujos, visai lietuvių išeivijai skirtos organizacijos (Pasaulio lietuvių bendruomenės) sukūrimo. Trečiojoje dalyje aprašomos Lietuvių bendruomenių steigimo atskiruose kraštuose sąlygos ir ypatumai; pristatomi PLB institucionalizavimo aspektai, rekonstruojamas PLB vaidmuo formuojant santykius su atskirų kraštų Lietuvių bendruomenėmis, apžvelgiama tų santykių raida; analizuojamas jaunosios išeivijos kartos telkimo klausimas, pristatoma PLB ir Pasaulio lietuvių jaunimo sąjungos bendradarbiavimo raida. Ketvirtojoje dalyje rekonstruojama ir analizuojama PLB veikla sprendžiant lietuvių išeivijos reprezentavimo ir politinio susiorganizavimo... [toliau žr. visą tekstą]
3
Alvarez, Romero Ana. "L'empreinte ethnographique dans la littérature mexicaine des années 1950, 1960 et 1970." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30060.
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Ce travail analyse les relations de l'ethnographie avec un corpus divers de la littérature mexicaine publiée au cours des années 1950, 1960 et 1970. Ces relations sont examinées par ce que nous appelons «empreinte ethnographique», une frontière sémiotique (dans la terminologie de Yuri Lotman) où les intérêts et les méthodes de l'ethnographie sont traduits en termes littéraires. Grâce à ce concept, nous analysons: Juan Pérez Jolote: biografía de un tzotzil (1948), de Ricardo Pozas; El diosero (1952), de Francisco Rojas González; Benzulul (1959), de Eraclio Zepeda; Balún Canán (1957) et Los convidados de agosto (1964), de Rosario Castellanos; La tumba (1964), de José Agustín; Gazapo (1965), de Gustavo Sainz; Los hongos alucinantes (1964), de Fernando Benítez; Los albañiles (1963), de Vicente Leñero; Hasta no verte Jesús mío (1969) et La noche de Tlatelolco (1971), d’ Elena Poniatowska; Chin chin el teporocho (1971), d’Armando Ramírez; et Vida de María Sabina. La sabia de los hongos (1977), d’Álvaro Estrada. L'interconnexion est présentée par le travail littéraire axé sur la reconstruction des sujets inscrits et configurés par leur culture: si d'abord dans la littérature mexicaine l'accent était mis sur l'indigène, ultérieurement cette littérature essai d'expliquer la culture de l'habitant urbain. De cette façon, l’empreinte ethnographique dévoile comment un corpus apparemment divers est interconnecté. De même, nous proposons que cette empreinte ethnographique soit construite par ce qu'on appelle le «réalisme culturel»: un style d’écriture qui tente de rendre compte de cultures spécifiques selon le point de vue de ses acteurs<br>This study analyzes ethnography’s relationship with a diverse corpus of Mexican literature published during the decades of 1950, 1960 and 1970. These relationships are analyzed through what we call “ethnographic imprint”, a semiotic frontier (in Yuri Lotman’s terminology) where ethnography’s interests and methods are translated into literary terms. Through this concept, we analyze Juan Pérez Jolote: biografía de un tzotzil (1948), by Ricardo Pozas; El diosero (1952), by Francisco Rojas González; Benzulul (1959), by Eraclio Zepeda; Balún Canán (1957) and Los convidados de agosto (1964), by Rosario Castellanos; La tumba (1964), by José Agustín; Gazapo (1965), by Gustavo Sainz; Los hongos alucinantes (1964), by Fernando Benítez; Los albañiles (1963), by Vicente Leñero; Hasta no verte Jesús mío (1969) and La noche de Tlatelolco (1971), by Elena Poniatowska; Chin chin el teporocho (1971), by Armando Ramírez; and Vida de María Sabina. La sabia de los hongos (1977), by Álvaro Estrada. The interconnection appears through literary work focused on rebuilding subjects framed and shaped by their culture: if the original focus was the native, in the later period the subject explained according to its culture was the urban dweller. Thus, the ethnographic imprint reveals how an apparently diverse corpus is interconnected. Similarly, we propose that this ethnographic imprint is constructed through what we call “cultural realism”: a writing style that tries to account specific cultures (with correspondence in the extratextual world) from the actors’ point of view
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Hui-Bon-Hoa, Alan. "Identity and marginality on the road: American road movies of the 1960s, 1970s and 1990s." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107914.
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This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality,freedom, and rebellion. The first period, what I term the "founding" period of the road moviegenre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that of the "minority" road movie, occurs largely in the 1990s and includes Ridley Scott's Thelma & Louise (1991), Gregg Araki's The Living End (1992), and Spike Lee's Get on the Bus (1996). Emphasizing the cinematic worlds, narrative trajectories, and identity politics of the road movie, I argue that "founding" road movies, though usually homogeneous in their portrayals of identity, are significant for later minority road movies because they establish points of rebellion that negotiate between dominant and marginal social relations that minority road movies would later revisit. These minority road movies (re)interpret the generic raw material of the past, tapping into a number of subgenres as well as themes of marginality, freedom, and rebellion, in order to introduce new identities to the genre. Important to the many exchanges between the two periods is the interplay of subgenres; as I will discuss, many of these films borrow, critique, and subvert the generic precedents of the past.<br>Cette thèse examine deux périodes clés du genre cinematographique des 'road-movies' américains en se concentrant sur les formations identitaires telles qu'elles sont articulées à travers les thèmes de la marginalité, de la liberté, et de la rébellion. La première période, que je qualifierais de période fondatrice du genre 'road-movie', comprend six films des années 1960 et1970: Bonnie and Clyde d'Arthur Penn (1967), Easy Rider de Dennis Hopper (1969), The Rain People de Francis Ford Coppola (1969), Two-Lane Blacktop de Monte Hellman (1971), Vanishing Point de Richard Sarafian (1971), et Road Movie de Joseph Strick (1974). La deuxième période du genre, que j'identifierais comme celle du 'road-movie' « minoritaire », est produite en grande partie dans les années 1990 et comprend Thelma & Louise de Ridley Scott(1991), The Living End de Gregg Araki (1992), et Get on the Bus de Spike Lee (1996). En soulignant les univers cinématiques, les trajectoires narratives, et les politiques identitaires, je soutiens que les films «fondateurs», souvent homogènes dans leurs représentations identitaires, sont importants pour les « road-movies » minoritaires ultérieurs car ils établissent des points derébellion négociant entre des rapports sociaux de dominants a marginaux, eux-meme plus tard revisités par les films minoritaires. Ces « road-movies » minoritaires réinterpretent les matériaux génériques bruts du passé, mettant en valeur un certain nombre de sous-genres ainsi que les thèmes de la marginalité, la liberté, et la rébellion, afin d'introduire de nouvelles identités au genre. Le jeu des sous-genres est lui-meme important dans les nombreux échanges entre les deux périodes : je débats que plusieurs de ces films empruntent, critiquent et subvertissent les précédents génériques du passé.
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Sanmanee, Sirichai. "Use of GIS to Identify and Delineate Areas of Fluoride, Sulfate, Chloride, and Nitrate Levels in the Woodbine Aquifer, North Central Texas, in the 1950s, 1960s, 1970s, 1980s, and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2869/.
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ArcView and ArcInfo were used to identify and delineate areas contaminated by fluoride, sulfate, chloride, and nitrate in the Woodbine Aquifer. Water analysis data were obtained from the TWDB from the 1950s to 1990s covering 9 counties. 1990s land use data were obtained to determine the relationship with each contaminant. Spearman's rank correlation coefficients and Kruskal-Wallis tests were used to calculate relationships between variables. Land uses had little effect on distributions of contaminants. Sulfate and fluoride levels were most problematic in the aquifer. Depth and lithology controlled the distributions of each contaminant. Nitrate patterns were controlled mainly by land use rather than geology, but were below the maximum contaminant level. In general, contaminant concentrations have decreased since the 1950s.
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Romano, Jose Ramon Lopez-Portillo. "Economic thought and economic policy-making in contemporary Mexico : international and domestic components." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308869.
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Szarycz, Ireneusz. "Poetics of Valentin Kataev's prose of the 1960s and 1970s." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5274.
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Hodgson, James Neil. "Male homosexuality in Brazilian cinema of the 1960s and 1970s." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/male-homosexuality-in-brazilian-cinema-of-the-1960s-and-1970s(d1678b48-5d3c-47fa-9a06-b4b0d72ed49b).html.
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The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.
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Straine, S. E. "The ground of drawing : graphic operations in the 1960s and 1970s." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1416487/.
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This thesis aims to rethink the terms for drawing as it negotiated dematerialisation and deskilling at the beginnings of conceptual art in the mid to late 1960s. The survival of drawing at this time is considered in terms of what a ground means in relation to an image, concentrating on questions of finish, temporality, skill, and materiality – most crucially that of paper. Over five monographic chapters, I set out the foundational and flexible proposition of the ground of drawing: an equally material and conceptual framework that disrupts the direct registration of line and trace that process-led accounts of drawing in the expanded field have so often focused on. Accepting both the precision and pollution of drawing as it existed within the mass media landscape of the 1960s and early 1970s, the examples discussed move away from the active flight of linearity in favour of rendering, depiction, narrative or visual deception, revealing drawing’s relationship to the world to be both potently iconic and stubbornly indexical. Chapter 1 tackles drawing’s newly conceptual relationship to trompe l’oeil through Vija Celmins’s use of photographic paper ephemera. Chapter 2 explores the concepts of over-working and after-drawings as together they control and obscure Franz Erhard Walther’s interactive sculptural practice. Chapter 3 reappraises Bill Bollinger’s intermedial practice of sculpture, drawing and installation to focus on his works on paper shaped by industrial gestures and a blindness of technique. In chapter 4 the ground shared by drawing and performance in the work of Alex Hay is used to interrogate the material and conceptual potential of the paper plane – referencing drawing only at an oblique angle. The final chapter thinks through the idea of post-photographic drawing within an image-saturated print and media culture, ultimately reconciling the durational, illusionistic drawing of Ed Ruscha with its hidden processual base.
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Wherrett, Barbara Jill. "The struggle for inclusion : aboriginal constitutional discourse in the 1970s and 1980s." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31220.
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Over the past two decades, aboriginal peoples in Canada have become involved in the process of constitutional revision. As they became engaged in constitutional debates, aboriginal peoples developed a discourse that centred on historic rights, past injustices, and differences from the broader Canadian community. New terms and concepts which described these identities were introduced into constitutional language. An analysis of the testimony of the national aboriginal organizations before Special Joint Committees on the Constitution and the transcripts of the First Ministers' Conferences on Aboriginal Constitutional Matters reveals how aboriginal peoples attempted to reshape the political world through the Constitution. Aboriginal discourse has highlighted the role of the Canadian Constitution as an emblem of status and inclusion in Canadian society. Aboriginal peoples have sought recognition in the Constitution as a way to improve their status and gain symbolic admission into the Canadian state. However, they have sought inclusion according to their own narratives of their history, identity, and aspirations. These separate identities have been reflected in the words they have chosen to describe themselves and their relationship to the Canadian state.
Aboriginal constitutional language has served to develop aboriginal identities and alter the terms of Canadian constitutional discourse. The discourse reveals some of the problems posed by aboriginal use of terms such as nation, sovereignty and rights, both for aboriginal and Canadian political leaders. Ultimately, the discourse poses new challenges to concepts of shared Canadian citizenship and identity.<br>Arts, Faculty of<br>Political Science, Department of<br>Graduate
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Bodling, Kurt Allen Thayer. "The Jesus Movement of the 1960s and 1970s as a "Great Awakening"." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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葉嘉敏 and Ka-man Yip. "A study of Hong Kong popular song lyrics from 1970s to 1990s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952896.
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Bielby, Clare. "Print media representations of violent women in 1960s and 1970s West Germany." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3226.
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A proliferation of media discourse on the ‘phenomenon’ of violent women in 1960s and 1970s West Germany suggests that the violent woman is a troubling figure who provokes both fascination and fear. Julia Kristeva’s notion of the abject provides a language for understanding and accounting for the complex mixture of emotions the figure elicits. For Kristeva, abjection is a violent revolt against something which threatens the subject, which may be both “other” or foreign, and familiar; we abject that which cannot be tolerated, cannot be thought or known, which provokes both desire and repulsion. Troubling about the violent woman, and what renders her culturally unintelligible or unimaginable, is that she takes life rather than giving it. In this study, I trace the various attempts made by the print media to assimilate the violent woman, to make her thinkable and knowable and, as a result, to defuse her threat. More frequently, she is made other, abjected either in the Kristevan sense or in the (related) more literal sense: ‘cast off,’ ‘excluded,’ ‘rejected’ or ‘degraded.’ West Germany of the 1960s and 1970s provides a good time-frame for the study: West German terrorism, which involved a large number of women, was at its peak in the 1970s, and a number of high-profile trials against non-politically violent women also took place during the period. In chapter one of the thesis, I look at how the violent woman is rendered the negative and ‘unnatural’ (m)other of the proper German woman and nation, the better to bolster hegemonic understandings of both woman and nation; in chapter two, how she is made hysterical and feminised so as to defuse the threat that she poses; in chapter three, how her crime is redefined as a crime against her gender and sexuality (one idea here is that it is the ‘man inside’ who is to blame). Finally, in chapter four, I explore how the violent woman is abjected through association with filth and defilement. Arguably it is because the strategies which attempt to assimilate, to know and to name her fail or are only partially successful, that the violent woman must be abjected from the body politic through association with dirt.
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Tiusanen, Tauno J. "Western direct investments in European CMEA countries in the 1970s and 1980s." Thesis, University of Glasgow, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284091.
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Jiao, Lin. "Nation, fashion and women's everyday lives : breast-binding in China, 1910s-1970s." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24390/.
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McMillon, Keri Leigh Rogers. "Comparison of College Student Leadership Programs from the 1970s to the 1990s." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc279328/.
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The primary concerns of this study were to describe the most common practices of current college student leadership training programs in the United States and to compare the 1979 and 1997 findings by replicating the 1979 Simonds study. This study provides an overview of related literature on the history of leadership theory and the research on leadership training in higher education, a detailed description of the methodology, results of the survey, a comparative analysis of the 1979 and 1997 findings, and discussion of the current status of leadership training at institutions of higher education. Conclusions are drawn, and implications and recommendations for student affairs professionals are made that may improve the quality of student leadership in higher education.
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Treglia, Laura. "Guerrilla girls : rebellious women of the Japanese 1960s-1970s 'pinky violence' films." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702934.
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Yip, Ka-man. "A study of Hong Kong popular song lyrics from 1970s to 1990s." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22199731.
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Timonina, Aleksandra <1994>. "The Russian Avant-Garde in the Curatorial Practice in the 1970s - 1980s." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12605.
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The paper focuses on the examination of the process of the Russian avant-garde canonisation. It investigates how the curatorial practice influenced the history of the early XX century art. The choice of the exhibition Paris-Moscou, held at the Centre Pompidou in 1979, as a case study helps to emphasise the influence of curatorial decisions on the art historical narrative. This subject is topical because it contributes to the emerging field of exhibition history. It is connected to the museum studies that point out the genealogy of a museum, and the problems linked with exhibiting the objects, such as contextualisation, the narrative structure, representation of identity and memory, and the very idea of heritage. It gives an opportunity to reflect on the tension between art and politics. The research provides examples which demonstrate that any canon is a result of authority relation. The methodology applied is in part an intellectual history with some elements of critical theory and discourse analysis. The thesis seeks to achieve the following goals: to reconstruct the chronology of the Russian avant-garde’s revival in the West and in the post-Soviet cultural contexts; to demonstrate that the valorisation initially contained some elements of cultural diplomacy, and to discover what forced the popularisation of this art and how it affected the historical truth and cultural memory.
Keywords: Russian avant-garde, Curatorial turn, Institutional history of art
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Herrick, Andrew Robert. "A hairy predicament the problem with long hair in the 1960s and 1970s /." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4932.
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De, Michele Grazia. "'At the gates of civilization' : southern children in Turin primary schools, 1950s-1970s." Thesis, University of Reading, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603496.
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In the aftermath of the Second World War, Italy witnessed one of the hugest population movements of its history. The migratory now of Southerners toward the industrialized cities of the North West was particularly remarkable, both for its numerical dimensions and for the difficult and often dramatic encounter between Northern and Southern Italians. The latter where still considered as internal 'others'. This thesis is focused on the case of Southern children in the primary schools of Turin between the 1950s and the 1970s. The first chapter offers an analysis of the post-war discourse on the South and Southern migrants moving to Northern cities and particularly Turin. The second chapter is devoted to the discussion of what is referred to as the educational otherness of the South and to the construction of Southern pupils by primary schools teachers and head of school as a 'problem'. The third chapter focuses on the presence of Southern children in Turin classi differenziali (special education classes). It also sheds light on the role played by psychiatrists, psychologists and social workers in constructing Southern migrants' children as educationally and socially maladjusted. The fourth chapter is based on interviews conducted with grown-up Southern migrant children who attended primary school in Turin.
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MAROJA, CAMILA SANTORO. "THREADING THE LABYRINTH: THE WORK OF ROBERT MORRIS IN THE YEARS 1960S-1970S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8481@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Rejeitando a noção de uma produção artística pautada em
uma linearidade,
o trabalho de Robert Morris das décadas 1960-1970 escapa a
rótulos como
minimalista, arte processual ou arte de site-specific,
embora seus escritos e obras
tenham sido fundamentais para que críticos e historiadores
de arte pudessem
delimitar e/ou cunhar esses mesmos termos. A mobilidade
adotada pelo artista -
seja na adoção de um espaço e de um tempo da obra de arte
como co-extensivos
aos de seu público, seja na forma de obras que incorporam
o observador - resulta
numa ida em direção à experiência sensível vivida pelo
espectador, que é
transformado em um visitante/participante. Apesar de
estarem inseridos em
preocupações de seu momento histórico, esses trabalhos
apontam para uma
pesquisa estética que continua ainda hoje. Ao oferecerem,
por meio de uma série
de iniciativas exploratórias, os termos para uma
experiência escultural, as obras de
Morris impulsionam uma reflexão sobre as opções da
escultura e de sua
percepção. São obras cuja compreensão exige o tempo, o
espaço e o corpo como
condição da experiência estética.<br>In its refusal of the idea of an artistic production based
on linearity, the work
of Robert Morris in the years 1960s-1970s cannot be
designated as minimalist art,
process art or site-specific, although his writings and
pieces were essential for
critics and art historians to define and/or to create the
definitions themselves. The
mobility which the artist adopts - both in his performance
pieces and his process
pieces - leads viewers into a sensible space/time
experience turning them into
participants/visitors. Although the works of Robert Morris
point to the concerns of
its historical background, they also foresee an aesthetic
research that has
continued to this day. By offering a series of exploration
initiatives, they compel a
reflection about the options of sculpture and about its
perception. They are works
that entail time, space, and the body as conditions of an
aesthetic experience.
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Payling, Daisy Catherine Ellen. "'Socialist Republic of South Yorkshire' : activism in Sheffield in the 1970s and 1980s." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6587/.
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This thesis explores the tensions present in left-wing projects of renewal in the 1970s and 1980s by examining the activism of one city; Sheffield. It finds that behind the 'Socialist Republic of South Yorkshire' lay a more complex set of relationships between activists from different movements, strands of activism, and local government. It sets out Sheffield City Council's attempt at a new left-wing politics, its form of 'local socialism,' and explores how the city's wider activism of trade unionism, women's groups, peace, environmentalism, anti-apartheid, anti-racism, and lesbian and gay politics was embraced, supported, restricted or ignored by the local authority. Despite deindustrialisation and contemporary discussions of the decline of class politics, there was a persistence of class and a dominance of the labour movement in Sheffield. Unsurprisingly archival evidence, oral histories, and photographs point to tensions between class and identity politics. Yet, the focus of this thesis on how a number of new social movements and identity-based groups operated in one place, and its detailed analysis of the sites, methods, and relationships of activism has revealed the extent to which tensions existed, not only between class and identity, but between the different subjectivities represented in new social movements and identity politics. In this way, Sheffield's activism sheds light on the wider British left, showing the resilience of class-based politics and how popular notions of renewal were limited by conventions of solidarity.
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McEvoy, Michael Desmond. "Madeirans in Cape Town: Immigration documentation, marriage and settlement, 1900s to the 1970s." University of the Western Cape, 2019. http://hdl.handle.net/11394/6644.
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Magister Artium - MA<br>This thesis traces the immigration of Madeirans to Cape Town and their settlement from the 1900s to the 1970s. It focuses on how exclusionary legislation from 1902 affected Madeiran entry, how they managed to circumvent it and the documents required for immigration over this long period. Particular attention is drawn to the role of women in the migration process, the nature of the households and the impact of women in shaping a settled Madeiran population. The thesis examines the role Portuguese organisations played and continue to play in maintaining cultural and religious values and the extent to which these values have been retained in the second and later generations.
This thesis seeks to ask to what extent the Madeiran migration experience bears commonalities with other groups, particularly Indians, or whether unique features are discernible.
Indians and Madeirans were both regarded as ‘undesirable’ and subject to literacy tests, domicile certificates, permits and certificates of identity. Illegal entry was common to both groups. Chain migration featured in their decision to leave the poverty of their homeland. The split-household was the dominant household form. Once settled, Indian and Madeiran wives played a key role in the business and in passing on their cultural and religious values. Both groups established cultural organisations. Despite these commonalities, Madeiran migration displayed certain unique features compared to Indians.
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Liu, Chaoqun. "Politics between public and private : land ownership transfer in socialist Beijing (1950s - 1970s)." Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11206/.
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This research concerns the relations and tensions among the state as an institutional public power, the people congregating as a collective, and private individuals. It intends to investigate these relations through two land politics cases in the Socialist Beijing, set against the historical background of the city and Chinese conceptual contexts. Suggesting certain similarities to public/private demarcation, the thesis starts with a genealogy of the Chinese gong-si division, arguing the moral superiority of the abstract ideas of gong over si; it argues that changing understandings of gong/public and the intricate connections between various gong and si embodiments (i.e. state, collective, family, individual) contribute – and in some ways constitutes -- politics. Based on data acquired by archival work, in-depth interviews and literature reviews, the thesis then grounds the issue into two empirical cases: the land ownership nationalisation in the expansion of Tiananmen Square, and the struggles over property in the Bell&Drum Towers area from the 1950s to 1970s. The thesis argues that the significant power of the state, particularly the compulsory power to expropriate land, depends on moral and political authority attained by its status as a gong embodiment, is dependent on: its constant practice of constructing other bodies such as family and individual as si embodiments; constructing private property and private economy as flawed si; and also on its suppression of other public/gong entities, especially the collective and the city. However, it also argues, challenges from the private/si category and from other potential public/gong bodies always exist too. This is reflected in private people’s strategic use of the normative gong in their daily practices related to property and in many collective practices. It is the divergence between gong and si and the simultaneous intimacy between them that generates politics.
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Baxter, Lisa Mary. "History, identity and meaning : Cape Town's Coon Carnival in the 1960s and 1970s." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/19684.
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Little has been written about the Coon Carnival since its inception in the late nineteenth century. This thesis helps remedy the general neglect of popular, "Coloured", working class history during the apartheid years. attempts to situate Cape Town's New Year Carnival within the international debate surrounding popular festival and identity. Following a broadly historical line of inquiry, this thesis straddles different disciplines, borrowing from a range of interpretative fields to assess the form and significance of the event during the 1960s and 1970s, a critical period in the Carnival's history. During these years, District Six - the event's symbolic and spiritual home - was declared for "White" residence only under the Group Areas Act. Coloured residents were forcibly removed from this central city suburb to disparate areas on the Cape Flats - the townships surrounding the metropolis. A year later, in 1967, the carnival parade was effectively banned from the city centre's streets; banished to remote and enclosed stadium venues. Thus, in a relatively short space of time the Carnival came under sustained attack. Due to the relative dearth of critical engagement with, or historical commentary on, the Carnival, this thesis relies heavily on oral sources and journalistic, visual and tourist oriented representations. Focussing particularly on the oral testimonies of twenty-four people involved in the event, it explores the notion of continuity and change in the Carnival during this period, through a thorough interrogation of the narratives.
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Windsor, Carol A. "Industry policy, finance and the AIDC : Australia from the 1950s to the 1970s." Thesis, University of Queensland, 2009. http://espace.library.uq.edu.au/view/UQ:189307.
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This thesis, conceived within a Marxist framework, addresses key conceptual issues in the writing and theorising on industry policy in post second world- war Australia. Broadly, the thesis challenges the way that industry policy on the left of politics (reflected in the social democratic and Keynesian positions) has been constructed as a practical, progressive policy agenda. Specifically, the thesis poses a direct challenge to the primacy of the ‘national’ in interpreting the history of industry policy. The challenge is to the proposition that conflicts between national industry and international finance arose only from the mid 1980s. On the contrary, as will be seen, this is a 1960s issue and any interpretation of the debates and the agendas surrounding industry policy in the 1980s must be predicated on an understanding of how the issue was played out two decades earlier. As was the case in the 1960s, industry policy in the 1980s has been isolated from two key areas of interrogation: the role of the nation state in regulating accumulation and the role of finance in industry policy. In the 1950s and more so in the 1960s and early 1970s there was a reconfiguration of financing internationally but it is one that did not enter into industry policy analysis. The central concern therefore is to simultaneously sketch the historical political economy on industry policy from the 1950s through to the early 1970s in Australia and to analytically and empirically insert the role of finance into that history. In so doing the thesis addresses the economic and social factors that shaped the approach to industry finance in Australia during this critical period. The analysis is supported by a detailed examination of political and industry debates surrounding the proposal for, and institution of, a key national intervention in the form of the Australian Industry Development Corporation (AIDC).
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Mechen, B. D. "Everyday sex in 1970s Britain." Thesis, University College London (University of London), 2016. http://discovery.ucl.ac.uk/1473885/.
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This thesis explores how public understandings of “everyday sex” - or the sexual practices and preferences deemed appropriate to “ordinary” men and women – were reshaped during the 1970s. Using the development of the Durex condom brand, the extension of the welfare state to include family planning services, and the enormous popularity of Alex Comfort’s The Joy of Sex as case studies, it draws upon a wide range of sources in order to provide a critical history of Britain’s “sexual revolution” or sexual liberalisation. Overall, it argues that liberalisation was a process limited in scope, exclusionary in form and frequently chaotic in imposition. Following work on the formation and governance (or self-governance) of the “liberal” subject, and the characterisation of modern society as the “rule of freedom”, the thesis identifies attempts to define a strictly-bounded liberal heterosexual subject as a key development of the period. This gendered (and frequently classed) subject would freely consume sexual commodities (like Durex condoms), freely use state family planning services, and freely improve his or her sexual talents. As the thesis shows, this new freedom brought with it new pressures and new expectations, but also a new hostility towards those who did not fit the mould: the liberal heterosexual subject was positioned in opposition to a range of increasingly impermissible alternatives – the single mother or the sexually unadventurous “square”, to take two examples – gaining further definition from just who he or she was not. Challenging progressive narratives of the “revolution” on another front, the thesis also demonstrates the ways in which the liberalising process was shaped and mediated by an array of actors, not all of them motivated by “progressive” goals, as well as the many instances in which change in the sexual sphere was rooted in accident and contingency as much as careful planning.
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Kurdi, Walid Adnan. "The impact of structural adjustment on the Turkish economy : the 1980s and 1970s compared." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/5661/.
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The main issue that this research deals with is the evaluation of the structural adjustment policies adopted in 1980. Their impact on the Turkish economy is assessed, and comparisons are made with the 1970s. Econometric methods are used to assist the evaluation and two models, based on the Klein model I, are developed and compared. This study also includes an analysis of the changes that occurred at the sectoral level (agriculture, manufacturing, and tourism) as a result of the 1980 structural adjustment programme. In addition, the thesis contains a review of the literature on structural adjustment. An overview of the Turkish economy is provided including the economic policies implemented by different Turkish governments in 1978 and 1979.The research findings show the need to stabilise the exchange rate. Inflation has been exacerbated by continuing depreciation. Domestic supply, in particular industrial production, is the key determinant of exports, not the exchange rate. In addition, floating interest rates, which rose substantially in the 1980s, appear to have a moderate positive impact on savings and credits. Also, the evidence suggests that structural adjustment has improved income distribution in Turkey. At the sectoral level, there is a need to increase investment in manufacturing, liberalise agricultural prices, and increase the role of tourism as a source of foreign exchange.
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Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.
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Tan, Yeun Ling Lynette. "Gunfighter gaps : discourses of the frontier in Hollywood movies of the 1930s and 1970s." Thesis, Sheffield Hallam University, 1997. http://shura.shu.ac.uk/20422/.
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In 1990 and 1992, the Academy Award for the Best Motion Picture of the year was won by movies belonging to the Western genre: Dances With Wolves, and Unforgiven. Recent work on the Western claims that these achievements and the flood of new Westerns dating from the late 1980s up to the present signal a renaissance of the genre within the film industry, and among critics and the public. The notion of a revival has attached to it the idea of a preceding lapse, when a movie genre is "out of fashion". The lapse experienced by the Western beginning in the mid-1970s has a clear parallel in the late 1920s, when the trade press announced the demise of the genre. The aim of this thesis is to argue that these periods of lull in the popularity of the Western are tied to historical events that directly undermined the ideological base of American thought and culture. A principal aspect of that ideological base is the American Myth of the Frontier. In the 1930s the myth was challenged by the Great Depression, and in the 1960s and 1970s, the Civil Rights Movement, Women's Liberation and Vietnam. In the latter era, an entire generation of young men, raised in the 'Golden era' of the Western when the frontier myth gained its widest currency, were inspired to charge into battle 9,000 miles from America's shores for a victory that was sanctioned by the past. The tragic consequences of that war exacerbated the failure of that national narrative of triumph, and as the most dominant vehicle of frontier mythology, the Western correspondingly encountered an obstacle to its popular reception. This present volume locates expressions of popular culture as barometers of the performance of myth. It has, as its subject, an account of the route via which the Myth of the Frontier was repaired, by focusing primarily on the gaps prior to the myth's re-emergence. The gaps identified are episodes when myth loses its dehistoricizing function, when the frontier becomes a moment in the past that has no relevance for the present. An examination of how historical memory is disabled through the movies reveals the pervasiveness and continued significance of the frontier myth to America's self-image. Prior histories of the Western observe moments of the genre's resurgence, but this thesis adds to the field of criticism in its exploration of the possible reasons underlying the restoration of its popularity. This is achieved through an analysis of the various genres to which the frontier myth migrates after the 'A' Western ceases to be an outlet for its discourse. The Gangster film, 'B' Western and Vietnam War movie are such surfaces of emergence. Part of the originality of this work, for example, is the research on the 'B' Westerns directed by Joseph Kane and starring Gene Autry. The gaps in the history of the Western are thus viewed positively as having the utility for comprehending the relationship between the Western genre and the frontier myth. After the introductory chapters which discuss the concepts of genre, myth and the Western, this thesis analyses the centrality of the historical events that challenged expressions of frontier mythology in the two periods identified and the process through which that history is mediated, reconstructed and finally replaced.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.
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Yee, Alfred. "The rise, dominance, and passing of Chinese American supermarkets in Northern California, 1930s-1970s /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192447428213.
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Wilson, William Gilmore. "New venture performance in the 1970s." Thesis, University of Strathclyde, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314670.
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Caldwell, David. "German documentary prose of the 1970s /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266691095606.
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Eyre, Pauline Anne. "Permission to Speak : Representations of Disability in German Women's Literature of the 1970s and 1980s." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508630.
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Brown, L. "'Encountering each other' : love and emotional relationships between men and women in Britain, 1950s-1970s." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/16754/.
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Greene, Christina R. "'Our separate ways' : women and the Black Freedom Movement in Durham, North Carolina, 1940s-1970s." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Kerr_Diss_01.
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Culler, Jeremy Neal. "Toward a noncommercial technology the development of image-processed video in the 1960s and 1970s /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0003100.
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Rodriguez, Zina L. "Writing to survive nuyorican literary and cultural performativities across genres in the 1970s and 1980s /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?did=1874932051&sid=1&Fmt=7&clientId=48051&RQT=309&VName=PQD.
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Bratslavsky, Lauren. "From Ephemeral to Legitimate: An Inquiry into Television's Material Traces in Archival Spaces, 1950s -1970s." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13445.
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The dissertation offers a historical inquiry about how television's material traces entered archival spaces. Material traces refer to both the moving image products and the assortment of documentation about the processes of television as industrial and creative endeavors. By identifying the development of television-specific archives and collecting areas in the 1950s to the 1970s, the dissertation contributes to television studies, specifically pointing out how television materials were conceived as cultural and historical materials "worthy" of preservation and academic study. Institutions, particularly academic and cultural institutions with archival spaces, conferred television with a status of legitimacy alongside the ascent of television studies in the 1960s and 1970s. Institutions were sites of legitimation, however, television's entrance into these archival spaces depended on the work of various individuals within academic, archival, and industrial structures who grappled with defining television's intangible archival values and dealt with material obstacles. In examining several major institutions and the factors at play in archiving television, we can trace how television was valued as worthy of academic study and conceptualized as historical evidence. The following research questions structured this historical inquiry: How did different institutions approach television as archivable in the 1950s to the 1970s? Who were the determinators within these institutions, who could conceptualize television as archivable? What were the factors that enabled television's material traces to enter archival spaces? How did television directly or indirectly enter these archival spaces?
Drawing on historical methods, the research primarily examined the archives of the archives, meaning institutional documents that illuminated the archival process and perceptions about television and media. The dissertation focused on five case studies: the Museum of Modern Art, the Mass Communications History Center at the State Historical Society of Wisconsin, the Wisconsin Center for Film and Theater Research, the UCLA Film and Television Archives, and the Museum of Broadcasting. These case studies represent the various institutional contexts that applied an archival logic to television. Cultural institutions, academic archives, and industry-initiated archives worked as sites to legitimate television, transforming ephemeral broadcast moments into lasting historical and cultural material.
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Kallipoliti, Lydia. "Mission galactic household| The resurgence of cosmological imagination in the architecture of the 1960s and 1970s." Thesis, Princeton University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560318.
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<p>This dissertation traces a resurgent cosmological imagination in the architecture of the 1960s and 1970s. It documents how the exploration of outer space fueled a radical ecological architectural debate that addressed the reinvention of the household and domestic economy, as both a scientific and an ontological project. I am arguing that in the anticipation of a cosmic view and the search for our coordinates in the universe, there was a disciplinary inflation of previous perceptions of habitation, amplifying the household to an interplanetary organism that can capture the immensity of the cosmos and the obscure density of living systems. </p><p> Reflecting the spectacle of a finite “spaceship-earth,” previous concepts of nature’s flawless preservation, as separated from the urban milieu, engendered a novel naturalism of artificial ecology, where the functions and operations of nature were copied as precise analogues in man-made systems. At this time, the space program played a fundamental role in the reformation of the building industry, effectively adopting, rationalizing and simulating nature’s operations in the cautious cycling of provisions. The potential for conversion of all waste materials into useful ones became eminently important, as a means of survival within the enclosed space of the spacecraft. However, NASA’s experiments were not only evoking unearthly fictions; they were a catalyst for re-thinking transformed social and technical relationships as architectural problems, particularly in the domestic sphere. The space program, as a paradigm of reinventing habitation in extreme physiological conditions and instrumentalizing human agency in terms of input and output invoked an ecological sense of inhabiting the world, as seen in houses equipped with digesters, hydroponic systems, composting devices, solar components and wind generators. The projection of humanity to outer space gestated a new type of a recirculatory house, a cybernetic laboratory that can reproduce the ecosystem in its totality in smaller closed systems. </p><p> In light of this lineage, my study explores the critical intersection between ecology, cybernetics and experimentation with materials and building processes. Bringing this discussion to face contemporary debates, it is worthwhile to observe that two major peripheral areas of the architectural discipline—computation and sustainability—that are considered in almost all cases as disjunctive or irrelevant fields stem from equivalent epistemological aspirations and converged at a time when cosmological imagination (and the idea of leaving the earth) was a core disciplinary preoccupation. </p>
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Field, Andrew Thomas. "How can performance act historiographically? : enacting the New York avant-gardes of 1960s and early 1970s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3711.
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This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.
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Jeremiah, E. R. "Troubling maternity : mothering, agency and ethics in women's writing in German of the 1970s and 1980s." Thesis, Swansea University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637425.
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My thesis develops the idea of a 'maternal performativity', harnessing the work of Judith Butler and numerous other feminist theorists, to offer new ways of looking at 1970s and 1980s literary texts by ten German-speaking women writers. In my introduction, I outline previous feminist approaches to mothering, and argue that as yet, maternal agency has not been adequately theorized. The project of theorizing maternal agency is, I contend, vitally important, given the traditional view in Western culture of the mother as passive. Butler's notion of performativity can assist in his project, I suggest. I argue for the performative conception of both mothering and of literature, and link both of these to the issue of ethics, here understood as involving embodiment, relationality and discursive challenge. To different extents, all of the texts examined here depict mother as marginal, abject or insane, thus performatively demonstrating the cultural operations of exclusion, and the need for a maternal agency to be developed and enacted. I am, then, performatively reading these texts as performatively highlighting the need for a maternal performativity, as it is implicated and manifested the issues of, respectively, community, corporeality, the mother-child relationship, the family, and discursive production. In my conclusion, I look further at the question of a maternal writing and explore the ethics of literary reading and knowledge production. I suggest that in the light of the developing fields of new reproductive technologies and genetics, it is imperative that we develop new understanding of corporeality, community and care, a task to which my thesis aspires to contribute.
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Brice, Nicola Charmaine. "Political dimensions of mothers' experiences in West German and Austrian novels of the 1970s and 1980s." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249247.
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Lee, Sangdon. "The commune movement during the 1960s and the 1970s in Britain, Denmark and the United States." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/17068/.
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The communal revival that began in the mid-1960s developed into a new mode of activism, ‘communal activism’ or the ‘commune movement’, forming its own politics, lifestyle and ideology. Communal activism spread and flourished until the mid-1970s in many parts of the world. To analyse this global phenomenon, this thesis explores the similarities and differences between the commune movements of Denmark, UK and the US. By examining the motivations for the communal revival, links with 1960s radicalism, communes’ praxis and outward-facing activities, and the crisis within the commune movement and responses to it, this thesis places communal activism within the context of wider social movements for social change. Challenging existing interpretations which have understood the communal revival as an alternative living experiment to the nuclear family, or as a smaller part of the counter-culture, this thesis argues that the commune participants created varied and new experiments for a total revolution against the prevailing social order and its dominant values and institutions, including the patriarchal family and capitalism. Communards embraced autonomy and solidarity based on individual communes’ situations and tended to reject charismatic leadership. Functioning as an independent entity, each commune engaged with their local communities designing various political and cultural projects. They interacted with other social movements groups through collective work for the women’s liberation and environmentalist movement. As a genuine grass root social movement communal activism became an essential part of Left politics bridging the 1960s and 1970s.
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Yu, Ying. "The Fantastic in the 1960s and 1970s: the Idea of Subversion and an Exploration of Style." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281620327.
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Park, Min A. "The Impact of United States' Food Aid on the South Korean Diet in the 1960s-1970s." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1605541608025719.
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Khoo, Evelyn. "Under the arch of friendship culture, urban redevelopment and symbolic architecture in D.C. Chinatown, 1970s-1990s /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9377.
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Thesis (M.A.) -- University of Maryland, College Park, 2009.<br>Thesis research directed by: Dept. of History. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Ruhl, Melissa. ""Forward You Must Go": Chemawa Indian Boarding School and Student Activism in the 1960s and 1970s." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11484.
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vii, 122 p. : ill.<br>High school student activism at Chemawa Indian School, a Native American boarding school in Oregon, transformed the curriculum, policies, and student life at Chemawa. Historians have neglected post-WWII boarding school stories, yet both the historical continuities and changes in boarding school life are significant. Using the student newspaper, the <italic>Chemawa American,</italic> I argue that during the 1960s, Chemawa continued to encourage Christianity, relegate heritage to safety zones, and rely on student labor to sustain the school. In the 1970s, Chemawa students, in part influenced by the Indian Student Bill of Rights, brought self-determination to Chemawa. Students organized clubs exploring Navajo, Alaskan, and Northwest Indian cultures and heritages. They were empowered to change rules such as the dress code provision dictating the length of hair. When the federal government threatened to close Chemawa many students fought to keep their school open even in the face of rapidly declining enrollment rates.<br>Committee in charge: Dr. Ellen Herman, Chairperson;
Dr. Jeffery Ostler, Member;
Dr. Brian Klopotek, Member