Dissertations / Theses on the topic '1972-1973'

The 1972 Paris Peace Talks between Henry Kissinger and Le Duc Tho brought the American involvement in the Vietnam War to a close by early 1973. The main sticking points theretofore were stipulations in draft cease-fire agreements allowing Northern troops to remain in the South and the National Liberation Front's participation in South Vietnam's government. President of South Vietnam Nguyen Van Thieu adamantly opposed both proposed stipulations lest his power be diluted. Thus, Kissinger had to broker a diplomatic agreement between Thieu and Le Duc Tho which was acceptable to US foreign policy viz. “peace with honor.”

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-graduação em História, 2017.
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No ano de 1973 uma operação foi desencadeada pelo Comando Militar do Planalto tendo como alvo repúblicas estudantis e seus moradores. Esta dissertação é um estudo caso abordando a dupla dimensão desse momento: a experiência contracultural em Brasília e a repressão policial sob os(as) estudantes e a Universidade de Brasília. Na primeira parte da dissertação, trabalho algumas das matrizes que influenciaram o pensamento e o estilo de vida dessa juventude em Brasília, por meio de uma análise de um jornal alternativo produzido por estudantes da UnB em 1972 e de algumas memórias sobre a Universidade, as repúblicas e Brasília naquele momento. Problematizarei a atribuição negativa dada a esses seguimentos enquanto despolitizados e indiferentes à resistência e a luta contra a ditadura. Na segunda parte, trabalho a dinâmica da construção do discurso do relatório à respeito dessa operação militar, trabalhando algumas das matrizes que influenciaram a teoria elaborada pelos órgãos de segurança e informação; e analiso algumas das dinâmicas da repressão em Brasília por meio do depoimento das pessoas atingidas pela operação. Com isso faço uma relação do discurso dos documentos da repressão com o discurso e a memória dessa experiência contracultural da juventude em Brasília.
In the year of 1973 an operation was triggered by the Military Command of the Planalto having as target student republics and their inhabitants. This dissertation is a case study addressing the double dimension of this moment: the countercultural experience in Brasilia and the police repression under the students and the University of Brasilia. In the first part of the dissertation, I work some of the matrices that influenced the thinking and lifestyle of this youth in Brasília, through an analysis of an alternative journal produced by UnB students in 1972 and of some memoirs about the University, the republics and Brasilia at that time. I will problematize the negative attribution given to these follow-ups as depoliticized and indifferent to resistance and the struggle against dictatorship. In the second part, I work on the dynamics of the construction of the report's discourse on this military operation, working some of the matrices that influenced the theory elaborated by the security and information organs; And I analyze some of the dynamics of repression in Brasilia through the testimony of the people affected by the operation. With this I make a relation of the discourse of the documents of repression with the discourse and the memory of this countercultural experience of youth in Brasilia.

In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.

Orientadora : Profª Drª Clóvis Mendes Gruner
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em História. Defesa: Curitiba, 21/10/2017
Inclui referências : f. 130-134
Resumo: A telenovela, central no cenário cultural brasileiro, deve muito de sua repercussão às transformações ocorridas a partir da década de 1970 em sua linguagem, que se consolidou por meio de inovações formais, de conteúdo e de interpretação, combinando ao eixo folhetinesco e melodramático, de caráter esquemático e polarizado, elementos considerados realistas, que pretendiam se aproximar do cotidiano brasileiro. Tais transformações permitiram à telenovela tornar-se o programa televisivo de maior audiência, ao passo que Janete Clair era quem estava à frente dessa reformulação dramática, enquanto principal autora do horário nobre da Rede Globo, emissora que, contando também com a telenovela como carro-chefe de sua programação, tornava-se hegemônica no período. Entre 1970 a 1974, a autora escreveu "Irmãos Coragem", "O Homem que Deve Morrer", "Selva de Pedra" e "O Semideus", telenovelas que tinham como tema central o duplo, elemento narrativo que produz efeitos dramáticos a partir de conflitos identitários, e que se encontra entre os temas mais recorretes da história da telenovela brasileira, apresentando-se na forma de gêmeos antagônicos, sósias, dupla personalidade, nova identidade, disfarces, encarnação, usurpação ou troca de identidade, entre outros. O tema consiste, portanto, em uma via de acesso para a compreensão dessa nova linguagem e de seu processo de consolidação, estando também diretamente relacionado à conquista de 100% de audiência, marca inédita alcançada em 1972 por um capítulo de "Selva de Pedra", em que a personagem principal, que havia assumido uma nova identidade, é desmascarada. Dentro dessa linguagem que incorpora a preocupação com a verossimilhança sem abandonar a tradição melodramática - voltada para a produção de efeitos hiperbólicos e sensacionais -, o duplo é um recurso que retira sua eficácia simbólica do jogo com a questão identitária, que por sua vez extrapola o universo narrativo e apresenta especial relevância naquele contexto de mudanças sociais, culturais e econômicas, não se resumindo à dimensão individual, remetendo também ao problema sempre atualizado da identidade nacional, que, durante a ditadura civil-militar, estava associado ao projeto de modernização em curso, de que a modernização televisiva - e da teledramaturgia - era parte. A pesquisa propõe-se, a partir de tais questões, elucidar os fundamentos culturais da eficácia simbólica do duplo e sua relação com a questão mais ampla da identidade, assim como as particularidades, semânticas e audiovisuais, do duplo em "Selva de Pedra", de Janete Clair, em suas articulações com o contexto sócio-histórico em que a telenovela estava inserida. Palavras-chave: Duplo. Selva de Pedra. Janete Clair. Telenovela. Melodrama. Modernização televisiva.
Abstract: The telenovela, central to the Brazilian cultural scene, owes much of its repercussion to the transformations that occurred since the 1970s in its language, which was consolidated through formal innovations of content and interpretation, combining the folhetinesque and the melodramatic, of schematic and polarized axis, elements considered realistic, that intended to reach Brazilian everyday life. Such transformations allowed the telenovela to become the television program with the highest audience, while Janete Clair was the one who was at the head of this dramatic reformulation, as the main author of Globo Network's prime time, which, also counting on the telenovela as a car- head of its programming, became hegemonic in the period. Between 1970 and 1974, the author wrote "Irmãos Coragem", "O Homem que Deve Morrer", "Selva de Pedra" and "O Semideus", telenovelas that had as their central theme the double, narrative element that produces dramatic effects from identity conflicts, and that is among the most recurrent themes in the history of the Brazilian telenovela, appearing in the form of antagonistic twins, doppelgängers, double personality, new identity, disguises, incarnation, usurpation or identity exchange, among others. The theme is therefore a way of accessing the new language and its consolidation process, and is also directly related to the achievement of a 100% audience, an unprecedented mark achieved in 1972 by a chapter of "Selva de Pedra", in which the main character, who had assumed a new identity, is unmasked. Within this language that incorporates the concern for verisimilitude without abandoning the melodramatic tradition - aimed at the production of hyperbolic and sensational effects -, the double is a resource that withdraws its symbolic effectiveness from playing with the identity issue, which in turn extrapolates the narrative universe and presents a special relevance in that context of social, cultural and economic changes, not being limited to the individual dimension, also referring to the ever updated problem of national identity, which during the civil-military dictatorship was associated with the current modernization project, that television modernization - and television drama - was part. The research proposes, from these questions, to elucidate the cultural foundations of the symbolic efficacy of the double and its relationship with the broader issue of identity, as well as the semantic and audiovisual peculiarities of the double in Janete Clair's "Selva de Pedra", in its articulations with the socio-historical context in which the telenovela was inserted. Keywords: Double. Selva de Pedra. Janete Clair. Telenovela. Melodrama. Television modernization.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A presente pesquisa tem como objetivo a análise do movimento contracultural brasileiro no período de 1969 a 1973, através de algumas publicações da chamada imprensa alternativa, editadas no Rio de Janeiro por Luiz Carlos Maciel. As fontes elencadas para esta pesquisa são: a coluna Underground (1969-1971), veiculada no semanário O Pasquim (1969-1991), o jornal Flor do Mal (1971), bem como a versão brasileira da revista Rolling Stone (1972-1973), entre centenas de impressos alternativos que emergiram na época. Através do estudo dessas fontes, mapeou-se e caracterizou-se a contracultura no Brasil, seus caminhos e descaminhos, em um período de recrudescimento do regime militar, que cerceava qualquer manifestação de oposição ao sistema vigente. Ironicamente, essa fase consistiu um período fértil de proliferação dos alternativos. Estes, através da arte e do humor, davam respostas desconcertantes àquele momento vivido, originando a formação do discurso da chamada nova consciência nos trópicos. Grande parte dessas produções alternativas, especificamente as de cunho underground, permaneceu no anonimato, sendo divulgada apenas em círculos restritos. Contudo, mesmo sendo um trabalho consumido por minorias vindas, sobretudo, da classe média, estavam ligadas ao surgimento de uma nova consciência de juventude, de caráter internacional, e que resultou na utopia hippie vivida em vários pontos do planeta. Embora não tivessem uma definição ideológica, em termos de uma razão marxista, voltavam-se para uma situação contracultural, em relação aos textos divulgados pela imprensa convencional...
The present study analyzes the countercultural movement in Brazil from 1969 to 1973, through investigation of publications by the alternative press, edited in Rio de Janeiro by Luiz Carlos Ferreira Maciel. The sources listed for this research including the following: the column named Underground (1969-1971), published in the weekly newspaper O Pasquim, the newspaper Flor do Mal (1971); and the Brazilian version of Rolling Stone magazine (1972-1973); as well as hundreds of publications that appeared during that period. Through the study of these sources, Brazilian counterculture was mapped and characterized, in a period when the military regime was increasing its power, cornering any oppositional manifestation to the ruling system. Ironically, this situation consisted of a very fertile period for the proliferation of the alternative press. By means of art and humor this press was giving surprising answers to that living moment, creating the discursive formation of the so-called new tropical consciousness. A great part of these alternative productions, specifically the underground ones, remained anonymous, being divulged only in restricted circles. However, even though it was a work consumed mainly by minorities coming from the middle class, these practices were linked to the appearance of a new youth consciousness; international in its feature, resulting in the hippie utopia that lived in many places around the planet. Although lacking a defined ideology, in terms of having a Marxist reason, they turned to the countercultural situation, in relation to the texts published by the conventional press... (Complete abstract, click electronic access below)

Orientador: Milton Carlos Costa
Banca: Célia Reis Camargo
Banca: José Carlos Barreiro
Banca: Alexandre Felipe Fiúza
Banca: Gabriel Giannattasio
Resumo: A presente pesquisa tem como objetivo a análise do movimento contracultural brasileiro no período de 1969 a 1973, através de algumas publicações da chamada imprensa alternativa, editadas no Rio de Janeiro por Luiz Carlos Maciel. As fontes elencadas para esta pesquisa são: a coluna Underground (1969-1971), veiculada no semanário O Pasquim (1969-1991), o jornal Flor do Mal (1971), bem como a versão brasileira da revista Rolling Stone (1972-1973), entre centenas de impressos alternativos que emergiram na época. Através do estudo dessas fontes, mapeou-se e caracterizou-se a contracultura no Brasil, seus caminhos e descaminhos, em um período de recrudescimento do regime militar, que cerceava qualquer manifestação de oposição ao sistema vigente. Ironicamente, essa fase consistiu um período fértil de proliferação dos alternativos. Estes, através da arte e do humor, davam respostas desconcertantes àquele momento vivido, originando a formação do discurso da chamada "nova consciência nos trópicos". Grande parte dessas produções alternativas, especificamente as de cunho underground, permaneceu no anonimato, sendo divulgada apenas em círculos restritos. Contudo, mesmo sendo um trabalho consumido por minorias vindas, sobretudo, da classe média, estavam ligadas ao surgimento de uma nova consciência de juventude, de caráter internacional, e que resultou na utopia hippie vivida em vários pontos do planeta. Embora não tivessem uma definição ideológica, em termos de uma razão marxista, voltavam-se para uma situação contracultural, em relação aos textos divulgados pela imprensa convencional... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The present study analyzes the countercultural movement in Brazil from 1969 to 1973, through investigation of publications by the alternative press, edited in Rio de Janeiro by Luiz Carlos Ferreira Maciel. The sources listed for this research including the following: the column named Underground (1969-1971), published in the weekly newspaper O Pasquim, the newspaper Flor do Mal (1971); and the Brazilian version of Rolling Stone magazine (1972-1973); as well as hundreds of publications that appeared during that period. Through the study of these sources, Brazilian counterculture was mapped and characterized, in a period when the military regime was increasing its power, cornering any oppositional manifestation to the ruling system. Ironically, this situation consisted of a very fertile period for the proliferation of the alternative press. By means of art and humor this press was giving surprising answers to that living moment, creating the discursive formation of the so-called "new tropical consciousness". A great part of these alternative productions, specifically the underground ones, remained anonymous, being divulged only in restricted circles. However, even though it was a work consumed mainly by minorities coming from the middle class, these practices were linked to the appearance of a new youth consciousness; international in its feature, resulting in the hippie utopia that lived in many places around the planet. Although lacking a defined ideology, in terms of having a Marxist reason, they turned to the countercultural situation, in relation to the texts published by the conventional press... (Complete abstract, click electronic access below)
Doutor

This master's thesis seeks to establish a comparison between the lyrical work of the Austrian Ingeborg Bachmann (1926-1973) and the Argentinean Alejandra Pizarnik (1936-1972). First, we draw from the similarities in the lives of both authors. Then, the survey of secondary literature shows that the two writers were the «black sheep» of their literary generation. Finally, our analysis focuses on the last phase of their lyrical production (1963-1966 for Bachmann; 1970-1972 for Pizarnik), most especially on two poems which are considered by the critics to be their «farewell» to poetry : «Keine Delikatessen» [No delicacies] by Bachmann (1963) and «En esta noche, en este mundo» [In this night, in this world] by Pizarnik (1971). We demonstrate that both poets show the same distrust of their medium, language, accompanied by a particular concern for silence, which appears in their respective poems both thematically and formally.

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No final do s?culo XVII, surgiram os primeiros peri?dicos que veiculavam cr?ticas e detalhes dos acontecimentos que envolviam a m?sica e o seu p?blico. Nesse contexto, apareceu a profiss?o do cr?tico, conhecido na ?poca como ?rbitro das artes. Desde ent?o, a cr?tica musical se faz presente no mundo impresso como um g?nero jornal?stico que processa a media??o entre o artista e o p?blico. Em suma, essa ? a ess?ncia da cr?tica musical. A proposta desta tese ? realizar uma an?lise a respeito da cr?tica musical referentes aos grupos brasileiros que representaram o g?nero rock do in?cio da d?cada de 1970 at? o princ?pio dos anos 2000. A documenta??o escolhida para esta pesquisa foram as revistas. Rolling Stone (edi??o brasileira, editada entre 1972 a 1973); Pop (editada entre 1972 a 1979); M?sica (editada entre 1976 a 1983); Somtr?s (editada entre 1979 a 1989); Pipoca Moderna (editada entre 1982 a 1983) e Bizz (editada entre 1985 e 2001). Nesta an?lise, percebe-se que a cr?tica musical era muito incipiente e limitada, principalmente nas primeiras publica??es, Rolling Stone e Pop. A partir da segunda metade dos anos 70, com o surgimento das revistas M?sica e Somtr?s, a cr?tica musical come?ou a se desenvolver e se profissionalizar. Por?m o rock brasileiro daquela ?poca era visto com desconfian?a por parte dos cr?ticos. Na d?cada seguinte, o g?nero passou ser valorizado gra?as ao alcance mercadol?gico e tamb?m de prest?gio. Contudo tal valoriza??o n?o se sustentou por muito tempo, tanto em mercado e prest?gio quanto na cr?tica musical: n?o existia unanimidade dos cr?ticos em rela??o ao rock brasileiro. Por outro lado, grupos que postulavam como undergrounds conquistaram a simpatia da imprensa musical. Ap?s sucumbir a uma perda de espa?o na m?dia, entre o final dos anos 1980 e o ?nicio da d?cada de 1990, houve um abrandamento no tom da cr?tica especializada nesse g?nero. Em suma, tratava-se da figura do cr?tico atuando como mediador entre os m?sicos e um p?blico consumidor que o pr?prio cr?tico julgava ideal.

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In the late seventeenth century, appeared the first journals that published reviews and details of events involving music and its audience. In this context, the profession of critics emerged, being known then as “arts referee”. Since then, the music criticism is present in print world as a journalistic genre that mediates artist and audience. In short, this is the essence of music criticism. The purpose of this thesis is to analyze the music criticism about Brazilian groups that represented Brazilian rock from the 1970s until the early 2000s. The documents chosen for this study were representative magazines about this genre. They are: Rolling Stone (Brazilian edition, from 1972 to 1973); Pop (from 1972 to 1979); Música (from 1976 to 1983); Somtrês (from 1979 to 1989); Pipoca Moderna (from 1982 to 1983) and Bizz (from 1985 to 2001). In this analysis, it is realized that music criticism was very weak and limited, especially in early publications, like Rolling Stone and Pop. From the late 1970s on, with the advent of the magazines Música e Somtrês, music criticism began to develop and professionalize. But Brazilian rock was then looked with suspicion by critics. In the following decade, that genre has come to be valued through the market power and prestige as well. But that recovery was not sustained for long, in market, prestige and music criticism: there wasn’t unanimity among critics about Brazilian rock. Moreover, groups that postulated as underground gained the sympathy of the music press. After succumbing to a loss of space in the media, between the late 1980s and the early 1990s, there was a slowdown in critics’ tone specialized in this genre. In short, this was the music critic figure acting as mediator between the musicians and a consuming public that the very critic thought ideal.
No final do século XVII, surgiram os primeiros periódicos que veiculavam críticas e detalhes dos acontecimentos que envolviam a música e o seu público. Nesse contexto, apareceu a profissão do crítico, conhecido na época como “árbitro das artes”. Desde então, a crítica musical se faz presente no mundo impresso como um gênero jornalístico que processa a mediação entre o artista e o público. Em suma, essa é a essência da crítica musical. A proposta desta tese é realizar uma análise a respeito da crítica musical referentes aos grupos brasileiros que representaram o gênero rock do início da década de 1970 até o princípio dos anos 2000. A documentação escolhida para esta pesquisa foram as revistas. Rolling Stone (edição brasileira, editada entre 1972 a 1973); Pop (editada entre 1972 a 1979); Música (editada entre 1976 a 1983); Somtrês (editada entre 1979 a 1989); Pipoca Moderna (editada entre 1982 a 1983) e Bizz (editada entre 1985 e 2001). Nesta análise, percebe-se que a crítica musical era muito incipiente e limitada, principalmente nas primeiras publicações, Rolling Stone e Pop. A partir da segunda metade dos anos 70, com o surgimento das revistas Música e Somtrês, a crítica musical começou a se desenvolver e se profissionalizar. Porém o rock brasileiro daquela época era visto com desconfiança por parte dos críticos. Na década seguinte, o gênero passou ser valorizado graças ao alcance mercadológico e também de prestígio. Contudo tal valorização não se sustentou por muito tempo, tanto em mercado e prestígio quanto na crítica musical: não existia unanimidade dos críticos em relação ao rock brasileiro. Por outro lado, grupos que postulavam como undergrounds conquistaram a simpatia da imprensa musical. Após sucumbir a uma perda de espaço na mídia, entre o final dos anos 1980 e o ínicio da década de 1990, houve um abrandamento no tom da crítica especializada nesse gênero. Em suma, tratava-se da figura do crítico atuando como mediador entre os músicos e um público consumidor que o próprio crítico julgava ideal.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A energia elétrica no Brasil possui grande relevância, devido à sua alta demanda nos diversos setores da sociedade, eminentemente na residência, no comércio e na indústria. Em 2004, o setor passou por uma enorme reformulação legal, alterando significativamente o seu aspecto regulatório. Este trabalho tem o objetivo de verificar a condição de equilíbrio de mercado acionário no setor elétrico pré e pós-regulamentação, a partir dos testes do Capital Asset Pricing Model (CAPM), embasados na metodologia dos autores Black, Jensen e Scholes (1972) e Fama MacBeth (1973). Os dados deste estudo foram coletados na base Economática, relativos a preços mensais das ações do setor, pontuação do Índice da Bolsa de Valores de São Paulo (IBOVESPA) e taxas mensais do Certificado de Depósito Interbancário (CDI). O tratamento estatístico foi realizado através de regressões lineares e cross sections, pelo método dos mínimos quadrados. Os resultados demonstraram, para todo o período de análise, linearidade decrescente na Security Market Line (SML), prêmio negativo de mercado; insuficiência do CDI para a explicação dos retornos e influência dos resíduos no modelo. No período pré-regulamentação constataram-se tendência de não-linearidade em alguns períodos e linearidade crescente em outros (prêmio positivo de mercado); aplicabilidade do CDI e do IBOVESPA e influência dos resíduos no modelo. Já no período pós-regulamentação verificaram-se linearidade decrescente com ineficiência do IBOVESPA no modelo; grande influência dos resíduos na explicação dos retornos e anormalidade na aplicabilidade do modelo no subperíodo 2002-2006

L’objectif de ce travail est double. Dans un premier temps, nous proposons une définition des Contes lyonnais et nous répondons à la question pourquoi leurs auteurs se sont-ils intéressés au parler lyonnais. Ainsi, les Contes lyonnais sont des récits composés, à la suite du précurseur Nizier du Puitspelu, par la classe lettrée issue du milieu politique et culturel lyonnais, publiés principalement par la Société des Amis de Guignol dans la première moitié du XXe siècle dans les Almanachs des Amis de Guignol et rédigés en français régional du Lyonnais. Ils racontent des histoires facétieuses sur la vie des canuts lyonnais et ils sont destinés à tous ceux qui prennent la culture lyonnaise à cœur. Les auteurs des Contes lyonnais sont nés, pour la plupart, en terre lyonnaise. Leurs parents avaient travaillé dans la Fabrique lyonnaise et certains d’entre eux ont eux-mêmes goûté au parfum de la soierie lyonnaise. Leur engagement dans la construction de la "lyonnitude" et l’acharnement avec lequel ils agissaient, démontrent que leur intérêt pour le parler lyonnais était dicté par l’amour pour Lyon. Dans un second temps, nous donnons une analyse phonétique, morphosyntaxique et lexicale des Contes lyonnais. Elle démontre que deux caractères principaux caractérisent leur grammaire : l’aspect populaire et l’aspect régional. Dans la mesure où la phonétique est riche en archaïsmes populaires, la morphosyntaxe foisonne en archaïsmes régionaux. Néanmoins, nous constatons une quantité minime de traits régionaux uniquement lyonnais. Inversement, le vocabulaire est surtout composé de régionalismes attestés uniquement dans le domaine francoprovençal ou uniquement à Lyon
The purpose of this study is twofold. Firstly, we propose a definition of the Contes lyonnais and we give the reason why its authors were interested in the regional dialect of Lyon. Thus, the Contes lyonnais were stories composed by the literate class originating from Lyon’s political and cultural circle, following their precursor Nizier du Puitspelu. They were published mainly by the Société des Amis de Guignol during the first half of the 20th century in the Almanachs des Amis de Guignol and were written in the regional French of Lyon. They tell facetious stories of the Lyon silk workers life and they were intended to those who heartily care about Lyon's culture. The authors of the Contes lyonnais were born in their great majority in Lyon’s region. Their parents had worked in Lyon’s silk industries and some of them even tasted its flavour themselves. Their involvement in the building of the “lyonnitude” and their stubbornness demonstrates that their interest in the regional dialect of Lyon was lead by their love for Lyon. Secondly, we give a phonetic, morphosyntaxtic and lexical analysis of the Contes lyonnais. It demonstrates that two mains traits characterize their grammar : a popular aspect and a regional one. As much as the phonetics are rich in popular archaisms, the morphosyntax abounds in regional archaisms. Nonetheless, we notice a very slight proportion of regional traits that are uniquely Lyonnais. To the opposite, the vocabulary is mainly made up of regional words that are found only in the francoprovencal domain or in Lyon

This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.

Ce travail propose une analyse du récit romanesque des années 70, chez des écrivains ayant opté pour une nouvelle forme de prose : à la linéarité traditionnelle se substitue la discontinuité narrative, à l'unicité de l'histoire une pluralité d'éléments, à la cohérence stylistique un roman plurilingue. Les six chapitres abordent les procédés différents responsables de ce renouvellement : variations graphiques et éléments paratextuels englobés dans le texte ; pauses narratives, digressions et histoires insérées ; juxtaposition de styles et genres littéraires ; contraintes structurelles qui entament la fluidité du récit. Les exemples sont fournis par des romans contemporains de trois romanciers européens : Malina d'Ingeborg Bachmann ; Le château des destins croisés, Les villes invisibles et Si par une nuit d'hiver un voyageur d'Italo Calvino ; W ou le souvenir d'enfance et La vie mode d'emploi de Georges Perec. Bien que conçues dans des contextes géographiques et culturels différents, leurs œuvres présentent des analogies concrètes et, surtout, une tendance commune à la déconstruction narrative, formelle et stylistique du récit
This work proposes an analysis of the literary text in novels of the nineteen seventies by writers who opted for a new form of prose: the traditional linearity gave way to narrative discontinuity, the oneness of the plot was replaced by a variety of elements, stylistic coherence disappeared in favour of a multiple novel. The six chapters treat the different methods involving this revolution: graphical variations and paratextual elements included in text, narrative breaks, digressions and inserted histories, mixture of styles and genders, and structural rules destroying the fluidity of the text. The examples are provided by some contemporary novels of three European writers : Malina by Ingeborg Bachmann ; The Castle of the Crossed Destinies, Invisible Cities and If on a Winter's Night a Traveler by Italo Calvino ; W or the Memory of Childhood and Life: A User's Manual by Georges Perec. Though conceived in different geographical and cultural contexts, these works present concrete analogies and, above all, a common tendency to the narrative, formal and stylistic deconstruction of text

Dans l’univers fictionnel, à la fois sombre et comique, de Henry Green, les personnages sont isolés, coupés des autres et d’eux-mêmes, enfermés dans leur propre corps et leur conscience, mais aspirent malgré tout à fonder une famille et appartenir à une communauté. De son côté, la communauté existe essentiellement sous forme de fantasme ou dans les discours publics, mais son pouvoir normatif n’en reste pas moins dangereux, car le groupe détruit l’individualité et exige que l’on se conforme à ses règles, que l’on adopte ses valeurs et que l’on accomplisse ses rituels dépourvus, chez Green, de sens. Pendant la Deuxième guerre mondiale, moment où Green écrit ses romans les plus aboutis, l’impératif d’appartenir à une communauté nationale réduit au silence les voix personnelles et substitue à l’expérience privée un récit collectif issu des presses de la propagande. Entrer dans l’histoire revient à se renier en tant qu’individu, à se taire : la destruction de l’intimité, le silence, l’oubli menacent les personnages greeniens. Le conflit entre une volonté de s’affirmer en tant qu’individu et un désir de se fondre dans la masse se reflète dans l’esthétique atypique de Green, qui se nourrit des topoi littéraires de son époque tout en se démarquant du traitement qu’en font ses contemporains. L’écriture se fait intertextuelle, plurielle, idiosyncratique, alors que le romancier mêle accents régionaux et langue archaïque, emprunte des idiomes à des langues vernaculaires et littéraires, divisée et fragmentée, lorsqu’il décrit les effets de la guerre sur la psyché
In the dark and comical fictional world of Henry Green, the characters are isolated, cut off from themselves and from others, locked into their own body and mind, but they nevertheless yearn to build a family and to belong to a community. As far as communities are concerned, they exist solely in the characters’ fantasms or in public discourses, but their normative power remains dangerous: groups destroy individuality and demand that members conform to collective rules and adopt the same values. They require that one participate in rituals that are, in Green’s novels, deprived of any meaning. During the Second World War, when Green writes his best novels, belonging to a national community becomes compulsory. This silences personal voices and substitutes a collective narration written by British propaganda to private experience. Entering history means that individuals should not contradict the official version and have to deny themselves: the destruction of intimacy, silence and forgetting therefore threaten Green’s characters. The conflict between a will to establish oneself as an individual and the desire to melt into masses is reflected in Green’s atypical esthetic, which feeds on literary commonplaces of the times while setting itself apart from the meanings normally attached to them. The writing is characterized by intertextuality. It is plural, idiosyncratic, as the author mingles regional accents and an archaic speech, and borrows idioms from vernacular and literary languages, divided and fragmented, when he records the effects of the war on the psyche

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Our objective was to redeem, by through editorials of Semanario Búsqueda, the construction of liberal hegemony during the military dictatorship in Uruguay, from 1973 until 1985. We search to show your ideas, since 1973, postulating a project of social hegemony, a vision of the world establishmented in the criticize intellectual and moral, objected the defense of reform economic orientated the formation of news socials relationships. Hence, of reading that Búsqueda did in relation the several events. Occurred during the military dictatorship, as, for example, the closure of the congress, the CNT strike under coup storm, the cassations of politicians, the anticommunism, the dialogues between policians parties and militaries point the basis for the redemocratization. We conclude that his ideology had bee in accordance with the decisions of Uruguayan Bobapartismo, claracterized fundamentally for super explorartion of the working class
Nosso objetivo foi resgatar, através dos editoriais do Semanario Búsqueda, a construção da hegemonia liberal durante a ditadura militar no Uruguai, que vai 1973 a 1985. Para isso, estudamos de forma aprofundada os editoriais de tal jornal. Buscamos mostrar suas idéias, a partir de 1972, postulando um projeto de hegemonia social, ou seja, uma visão de mundo fundada na crítica intelectual e moral e objetivada à defesa de reformas econômicas, orientada à formação de novas relações sociais. Portanto, a partir da leitura que Búsqueda faz em relação aos mais variados acontecimentos ocorridos durante a ditadura militar, como, por exemplo, o fechamento do Congresso, a greve da CNT (Confederación Nacional de Trabajadores) sob a tempestade do golpe, a expulsão de J.M. Bordaberry dos meandros do poder, em 1976, o plebiscito de 1980, as cassações de políticos, o anticomunismo, os diálogos entre partidos políticos e militares rumo às bases para a redemocratização, a eleição de J. M. Sanguinetti, etc, concluímos que sua ideologia sempre esteve em acordo com as decisões do bonapartismo uruguaio, caracterizado fundamentalmente pela superexploração da classe trabalhadora

Memoria (licenciado en ciencias jurídicas y sociales)
No autorizada por el autor para ser publicada a texto completo
Díctamenes de la Contraloría General de la República publicados en el Boletín de Jurisprudencia General de dicho organismo nos. 9-10, 11-12 del año 1973 y nos. 1-2, 3-4, 5-6, 7-8, 9-10 correspondientes al año 1989; asimismo, el Boletín de Jurisprudencia Municipal de este organismo en su no. 70 del año 1972.

Alors que les avant-gardes artistiques de la première moitié du 20e siècle avaient amorcé un rapprochement voire une collaboration avec les mouvements politiques de leur temps, le mouvement situationniste (ici considéré dès sa naissance avec l’Internationale lettriste en 1952 et jusqu’à la dissolution de l’Internationale situationniste en 1972) se caractérise par la fusion achevée de l’esthétique et du politique. Dans cette perspective, notre travail a pour objet de démontrer comment le spectacle, pensé d’abord par les situationnistes dans le cadre d’une critique de la représentation artistique et de la contemplation passive et compensatoire qu’elle induit chez celui qui l’appréhende, s’est finalement révélé être pour eux le paradigme même du rapport des individus aux produits de leur activité en régime capitaliste ; comment la dérive et la psychogéographie, pensées dans le contexte du dépassement de l’art, leur ont aussi servi à contester l’ordre social dominant en procédant à une critique de la vie quotidienne, et à préfigurer la société communiste de l’avenir ; et enfin, comment cette préfiguration utopique a été constamment partagée entre une vision futuriste des perspectives ouvertes par le développement technologique et un romantisme révolutionnaire qui puisait son inspiration dans le passé de l’humanité, dans les sociétés nomades et médiévales
Artistic avant-gardes of the first part of the 20th century had started to bring closer, and for some of them to collaborate to the contemporary political movements, but the situationist movement (which begun in 1952 with the foundation of the Lettrist International, and ended in 1972 with the auto-dissolution of the Situationist International) was characterized by the complete fusion between art and politics. From this viewpoint, our work demonstrates how spectacle, which was initially used by situationists to designate the artistic representation and the passive and compensatory contemplation that accompanies it, proved to be for them the paradigmatic experience of the modern man faced with the products of his activity in the capitalist society. We also demonstrate how dérive and psychogeography, which were initially thought in the context of the supersession of art, were used by situationists as means to protest against the established order, making a critique of everyday life, and to imagine another form of society. Finally, we show how this vision of another society was divided between a futuristic utopia based on the technological development and a revolutionary romanticism inspired by the examples of the nomadic peoples and the medieval societies

La présente étude vise à appréhender en trois temps la public diplomacy des Etats-Unis, objet civilisationnel protéiforme. Notre premier chapitre a pour objectif la constitution d’un appareil théorique permettant de comprendre le fonctionnement de la projection d’une image extraterritoriale des Etats-Unis. La multiplicité d’acteurs, d’auteurs et de prescripteurs façonnant la public diplomacy américaine nécessite d’en dresser une taxonomie. Par ailleurs, les nombreux prismes disciplinaires par lesquels la public diplomacy est décrite font amplement varier son signifié. Pour donner du sens à cet ensemble hétérogène, nous choisissons d’étudier la public diplomacy des Etats-Unis sous l’angle de la propagande. Notre second chapitre est une étude pratique. Celle-ci révèle que la littérature consacrée à la public diplomacy est de nature quasi hagiographique. Présentée comme vertueuse par ses acteurs, la réalité est tout autre. Quatre cas d’étude – la « campagne de vérité » sous Truman, la « guerre du Vietnam » sous Johnson, l’Office of Public Diplomacy for Latin America and the Caribbean sous Reagan, ainsi que la « guerre contre la terreur » sous Bush fils – montrent que sa praxis est en contradiction avec sa rhétorique. Lors de l’ultime chapitre, on s’interrogera sur les différences entre effets annoncés et effets constatés. Le phénomène le plus notable est la constitution d’un maillage international de personnes influentes au sein d’instituts servant de relais au message américain. Cet effet fait-il des chercheurs en Etudes américaines des propagandistes à leur insu ?
This three-part dissertation considers U.S. public diplomacy as a protean American Studies object. Part one is the creation of a theoretical apparatus to assist readers in their comprehension of how America projects its image abroad. The (too) many actors, authors and policy-makers involved in the shaping of American public diplomacy require the creation of a taxonomy. What is more, depending on academic focus, the meaning of public diplomacy varies. To make sense of this heterogeneous set, we choose to use propaganda as the master signifier tying together the different facets of public diplomacy. Part two is a practical study. Quasi hagiographic literature massages the reader into believing public diplomacy is of a virtuous nature. Yet four case studies (Truman’s Campaign of truth, Johnson’s Vietnam War, Reagan’s Office of Public Diplomacy for Latin America and the Caribbean and Bush 43’s so-called “War on Terror”) reveal the width of the gap that separates rhetoric from practice. Part three ponders the difference between supposed and real effects of American public diplomacy. Its most tangible achievement being the creation of a network of influential people and institutions to relay the American message abroad, one may wonder whether American Studies specialists unknowingly become propagandists themselves

La represión política, las formas del genocidio en la nación argentina y la configuración de un corpus orgánico que lo ubicara en el territorio de la memoria, a través de las obras comunicacionales en el marco de lo audiovisual y de otros modos del campo estético y ensayístico, constituyen el escenario básico para el desarrollo de la investigación que permita la constitución de un pensamiento crítico en torno a las relaciones que ambos mundos proponen. Las tensiones que ha suscitado tal vínculo, o su posibilidad, expresan desde posiciones de extrema negatividad, hasta resoluciones que han puesto en cuestión los saberes históricos, las convicciones y las producciones en torno a la recuperación de las construcciones, que desde el orden de lo estético han sido creadas para dar a conocer, hacer público y difundir la complejidad de la tragedia abordada. Corresponde entonces en la presente investigación establecer tales vínculos a través de las formas de representación estético comunicacional, en particular en el campo audiovisual, entre la generación denominada de los 70, y la que produjo su irrupción al final de la crisis de los 90. Formas, relatos, obras y acciones que expresan temáticas comunes y similares perspectivas críticas, pero configuran sus realizaciones a partir del reconocimiento diferenciado, ya sea por el imperativo de lo real, abordado con premisas objetivistas, estructuras experimentales y de fusión de tendencias clásicas y de vanguardia. Y la consideración que deviene de identidades proyectadas con igual legitimidad en el plano de la subjetividad, de diferentes condiciones históricas y tecno-expresivas a fin de posibilitar la comprensión de los mundos creados en la definición concurrente de identidad, memoria y verdad. El problema intenta ubicar el sentido de tales transformaciones. Podemos decir que el objeto de estudio es un cruce de tiempos, la coincidencia estructural de una diversidad de formas comunicantes, y de cronologías fracturadas por la acción de la historia, la memoria, la afectividad, y la necesidad de procesar un campo de conocimiento que le de sentido al todo.

Tese de mestrado, Arte Multimédia - Audiovisuais, Universidade de Lisboa, Faculdade de Belas Artes, 2013
This essay addresses the relationship between a public place and its occupation by homeless converting it into a personal place. Drawing on Martin Heidegger, Marc Augé, Ignasi de Sola-Morales, Italo Calvino and Maria Manuela Dias Fernandes a conceptual universe was built tha was complemented and deepened by reflecting on some of the works of the artists Enrique jezik, Hans Op de Beeck, Peter Fischli and David Weiss, Andreas Gursky, David Plowden, Thomas Struth, Ana Vieira, Noé Sendas, Antonio Dias, Adrian Paci, Alexander Star, Grabriel Orozco, Liu Bolin, Santiago Sierra, Steven Spielberg. It’s explored how the public place retains the memory of those who use it daily through the concepts of anthropological place, non-place and 'terrain-vague'. Then the construction of the dwelling place as well as their relationship with the concept of shelter is explored, which serves as an introduction to the study of the paradigm of homeless. This reflection resulted in two unique pieces of character art that explore the studied problematic through the reconstruction of local ambiguities and fleeting hints of occupations