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1
Pérez, Calderón Zacarías Ismael. "Secuencia cultural previa a la cultura Huari en Ayacucho: aportes y propuestas." Master's thesis, Universidad Nacional Mayor de San Marcos, 2016. https://hdl.handle.net/20.500.12672/5733.
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Presenta un panorama general de la arqueología en Ayacucho ubicado en los Andes surcentrales del área andina, a partir de las informaciones obtenidas desde el primer tercio del siglo XX, hasta la actualidad. Incide en el análisis de las investigaciones efectuadas por el “Proyecto Arqueológico Botánico Ayacucho-Huanta”, dirigido por MacNeish entre 1969-1972 y destaca los nuevos trabajos que han dado como resultados importantes hallazgos en las cuatro últimas décadas. Plantea algunas propuestas sobre la secuencia cultural que dio origen a la cultura Huari, en el que prima un antecedente local expresado en el planteamiento del carácter estatal de la cultura Huarpa, enriquecida con la influencia asimilada de otras culturas de los Andes peruanos que llegaron a la zona de Ayacucho fundamentalmente desde el período Formativo.Tesis
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Sulca, Huarcaya Nils Ramiro. "Representando el imperio: una visión desde los enclaves Wari de Wiracochapampa (La Libertad) y Pikillaqta (Cusco)." Master's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/16702.
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Dentro del proceso que enmarca el Horizonte Medio (600 d.C.-1000 d.C.) en los Andes
centrales, la sociedad wari reflejó un cambio socio político fundamental en el territorio
andino, desarrollando de esta forma novedosas técnicas de planeamiento arquitectónico,
de gran relevancia para el entendimiento de la naturaleza de su expansión y relación con
otras sociedades. Este nuevo modelo arquitectónico fue impuesto en diversas regiones
por un Estado centralizado en Ayacucho. Wiracochapampa, ubicado en el departamento
de la Libertad, y Pikillaqta, en el Cusco, fueron reflejo de la instalación del dominio
imperial en dos extremos del territorio. La similitud del patrón arquitectónico en estos
sitios nos hace pensar que estos habrían sido edificados por un aparato regulador. El
análisis de sintaxis espacial de las estructuras en ambos sitios nos ayudará a entender su
planificación y composición arquitectónica, de las que hasta hoy conocemos como los
dos centros administrativos más importantes de la organización política wari.Within the process that frames the Middle Horizon (600 AD-1000 AD) in the central Andes, wari society reflected a fundamental socio-political change in the Andean territory, thus developing innovative architectural planning techniques, of great relevance for understanding of the nature of its expansion and relationship with other societies. This new architectural model was imposed in various regions by a centralized State in Ayacucho. Wiracochapampa, located in the department of Libertad, and Pikillaqta, in Cusco, were a reflection of the installation of the imperial domain at two ends of the territory. The similarity of the architectural pattern in these sites makes us think that these would have been built by a regulatory apparatus. The analysis of spatial syntax of the structures in both sites will help us to understand their planning and architectural composition, which we know today as the two most important administrative centers of the wari political organization.
Tesis
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Nielsen, Beatrice Helena Date. "War on Culture: The Destruction of Cultural Property During Civil Wars." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/579303.
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Acts of violence against civilians during conflict is a topic that has been examined increasingly in the literature on civil war. However, a systematic study on the destruction of cultural and religious sites as a strategic means to achieve territorial control has not yet been explored. I examine this aspect of civilian targeting in this project, and I argue that in many cases, combatants use cultural property as a tool to gain territory, coerce civilians, public perception, and degrade the social fabric of a given religion or population. In preliminary research, I have observed that destruction of a population‘s cultural property indicates and precurses a willingness to destroy human lives. Through a cross-national empirical analysis of civil wars in Iraq and Syria after 1990, I anticipate that the destruction of culturally significant objects and sites is not collateral damage during civil war, but rather intentional actions through which combatants achieve and exert power.
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Burton, James Amos. "Film, history and cultural memory : cinematic representations of Vietnam-era America during the culture wars, 1987-1995." Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10493/.
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My thesis is intended as an intellectual opportunity to take what, I argue, are the "dead ends" of work on the history film in a new direction. I examine cinematic representations of the Vietnam War-era America (1964-1974) produced during the "hot" culture wars (1987-1995). I argue that disagreements among historians and commentators concerning the (mis)representation of history on screen are stymied by either an over-emphasis on factual infidelity, or by dismissal of such concerns as irrelevant. In contradistinction to such approaches, I analyse this group of films in the context of a fluid and negotiated cultural memory. I argue that the consumption of popular films becomes part of a vast intertextual mosaic of remembering and forgetting that is constantly redefining, and reimagining, the past. Representations of history in popular film affect the industrial construction of cultural memory, but Hollywood's intertextual relay of promotion and accompanying wider media discourses also contributes to a climate in which film impacts upon collective memory. I analyse the films firmly within the discursive moment of their production (the culture wars), the circulating promotional discourses that accompany them, and the always already circulating notions of their subjects. The introduction outlines my methodological approach and provides an overview of the relationship between the twinned discursive moments. Subsequent chapters focus on representations of returning veterans; representations of the counterculture and the anti-war protest movement; and the subjects foregrounded in the biopics of the period. The fourth chapter examines Forrest Gump as a meta-sixties film and as the fulcrum of my thesis. The final chapter posits that an uplifting version of the sixties has begun to dominate as the most successful type of production in the post-Gump marketplace.
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Kharkina, Anna. "From Kinship to Global Brand : The Discourse on Culture in Nordic Cooperation after World War II." Doctoral thesis, Stockholms universitet, Historiska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-92467.
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This work analyzes the political instrumentalization of culture. Specifically, it studies how this is done through cultural policy within Western democracies. The analysis takes, as an example, official Nordic cultural cooperation in the post-war period. During this time, cultural exchange among Nordic countries became the subject of political attention establishing itself as part of the Nordic inter-governmental cooperation framework. This work focuses on three key moments in the history of official Nordic cultural cooperation: (i) the failure of the NORDEK plan (a plan which envisaged extensive economic cooperation between the Nordic countries) and the establishment of the Nordic Council of Ministers in 1971; (ii) the collapse of the Soviet system at the end of the 1980s - beginning of the 1990s; and (iii) the movement towards promoting the Nordic region on the global market in the first decade of the 2000s. The analysis traces the lack of convergence between the official arm’s length principle in cultural policy and how cultural cooperation actually worked. The results of the research both demonstrate the various ways culture was instrumentalized and also prove that the politically defined concept of culture can receive different interpretations in the official discourse depending on current political goals.
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Hall, Terry Ryan. "Exploring the New Front of the Culture War: 1984, Oryx and Crake, and Cultural Hegemony." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/12.
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Koehler, June, and June Koehler. "An Old Art for a New Culture: The Popular and the Avant-Garde in Josep Renau's Nueva Cultura." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12418.
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The Spanish artist Josep Renau (1907-1982) published the propaganda
periodical Nueva cultura from 1935 to 1937. Although richly illustrated with cuttingedge
graphic design and photomontage, it made use of popular culture with more
frequency than might be expected in a left-wing, vanguard publication. This is seen
most notably in the March 1937 special edition, published to coincide with a local,
popular festival. In the special edition, Renau primarily utilized popular forms of
illustration in the layout. Further, by publishing it in the regional language rather
than Castilian Spanish, he attested to the importance of addressing people in their
own language, both linguistically and formally. This thesis examines the periodical in
relation to philosopher Mikhail Bakhtin’s writings on folk culture and James V.
Wertsch’s research on collective remembering.
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Saied, Kaj. "News Media in War Culture." Thesis, Karlstad University, Karlstad University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1476.
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Fear has found its latest instrument in the news media. The discourse of fear in news presentations produces gasping meanings, which we can compellingly indulge in. Fear not just being entertaining, but one of the ways in which we relate to reality, is used as a protection mechanism of our status quo. The purpose of this thesis is to examine the extent to which Fox News tends to use, and further reproduce, the fear discourse to form identities and meaning. The method utilized in this thesis is frame analysis, which is a form of discourse analysis. The primary results indicate that Fox News undeniably uses the fear discourse, for entertainment and the proliferation of the status quo - meaning system. In addition, Fox News applies fear blatantly in the news presentations, as acts of courage and virtuous loyalty to reporting.
Key words: Fear, Frame analysis, Meaning, News media, Infotainment.
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Reimers, Frank. "Security culture in times of war how did the Balkan War affect the security cultures in Germany and the United States?" Thesis, Monterey, Calif. : Naval Postgraduate School, 2007. http://bosun.nps.edu/uhtbin/hyperion-image.exe/07Jun%5FReimers.pdf.
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Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, June 2007.Thesis Advisor(s): Biermann, Rafael ; Abenheim, Donald. "June 2007." Description based on title screen as viewed on August 14, 2007. Includes bibliographical references (p. 119-130). Also available in print.
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NUNES, Camila de Marillac Costa. "Fenologia, biologia floral e germinação in vitro de Cyrtopodium eugenii Rchb. f. & Warm. (Orchidaceae)." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2688.
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Previous issue date: 2009-02-18Cyrtopodium eugenii Rchb. f. (Orchidaceae) is a specie widely distributed in Brazilian savannah, being the Planalto Central its main center of diversification. C. eugenii is a terrestrial specie, usually found in the Cerrado, growing in sand soil, dry environment and to the half shade. Due the beauty and exotic character of its flowers, C. eugenii present high ornamental and commercial potential. However, no studies were found of its preservation even in vitro protocols for shoots obtainment to be used in flower production. Thus, the present study has as objective to characterize the fenology, morphology and reproductive biology in C. eugenii and to establish protocols for symbiotic and asymbiotic germination in vitro. The plants studied grows at the Biological Reserve Prof. Jose Ângelo Rizzo, a forest remainder of 500 ha of bioma Cerrado, whose predominant vegetation is of the type Cerrado Rupestre, located in the Serra Dourada, city of Mossâmedes-GO. From the months of July of 2007 through August of 2008 monthly visits had been carried out for accompaniment and collects of data of 51 plants, distributed in three populations. For the establishment of the germination protocols in vitro of C. eugenii established the symbiotic culture, pairs the isolated fungic contends the mycorrhizae Epulorhiza sp., obtained from roots of C. eugenii, with the seeds of C. eugenii in medium FA, and the asimbytic culture, where the seeds had been cultivated in culture mediuns that are regularly used for seed orchids germination, being the complete MS medium, the MS medium with reduction to the half of the concentration of macronutrients (½ MS) and the Knudson medium (KC). The analysis of the behavior of C. eugenii allowed to verify that this species present annual budding and at the dry time. At the rainy time, when the temperature raised, plants of C. eugenii start to invest its energy in the production of vegetative parts, such as sprouts of pseudobulbs and leves. The flowers of C. eugenii are disposed of cyclical form in the floral connecting rods, which arrive to reach up to 130 cm of height. This species is self-compatible, even so in natural conditions, the fruit set is low. Not evidenced was presence of efficient pollinators. High frequency of ants during budding of C. eugenii was verified. However, the observations indicated that these insects only act as visitors and they are attracted by the secretion of substance at the time of the budding throughout the floral connecting rod and that have high concentration of soluble solid. The establishment of the symbiotic germination in vitro did not disclose resulted satisfactory because no protocorms formation were obtained. However, satisfactory results had been founded in the asymbiotic germination in vitro, being the ½ MS medium superior to the KC and the complete MS medium for the time, germination of seeds and establishment of new plants of C. eugenii.
A espécie Cyrtopodium eugenii Rchb. f. (Orchidaceae) é amplamente distribuída pelo Brasil, sendo o Planalto Central o seu principal centro de diversidade. C. eugenii é uma espécie terrestre, comumente encontrada no Cerrado, crescendo em solos arenosos, ambientes secos e à meia sombra. Devido ao caráter exótico de sua inflorescência e à beleza de suas flores, C. eugenii apresenta elevado potencial ornamental e comercial. Entretanto, não são encontrados estudos para sua preservação ou métodos para obtenção de mudas que possam ser utilizadas na floricultura ou no paisagismo. Assim, o presente estudo tem como objetivos caracterizar a fenologia, a morfologia e os apectos reprodutivos desta espécie de orquídea e estabelecer protocolos para germinação simbiótica e assimbiótica in vitro. Parte do trabalho foi desenvolvida na Reserva Biológica Prof. José Ângelo Rizzo, um remanescente florestal de 500 ha do bioma Cerrado, cuja vegetação predominante é do tipo Cerrado Rupestre, localizada na Serra Dourada, município de Mossâmedes GO. No período de julho de 2007 a agosto de 2008 foram realizadas visitas mensais para acompanhamento e coleta de dados fenológicos e de biologia floral de 51 indivíduos, distribuídos em três sub-populações. Para o estabelecimento dos protocolos de germinação in vitro de C. eugenii estabeleceu-se o cultivo simbiótico, pareando o isolado fúngico contendo o micélio micorrízico de Epulorhiza sp., obtido a partir de raízes de C. eugenii, com as sementes de C. eugenii em meio FA, e o cultivo assimbiótico, em que as sementes foram cultivadas em meios de cultura comumente usados para germinação de orquídeas, sendo o meio MS completo, o meio MS com redução à metade da concentração de macronutrientes (½ MS) e o meio de Knudson (KC). A análise do comportamento de C. eugenii permitiu verificar que esta espécie apresenta floração anual e na época seca. Na época chuvosa, quando a temperatura é mais elevada, plantas de C. eugenii passam a investir sua energia na produção de partes vegetativas, tais como brotos de pseudobulbos e folhas. As flores de C. eugenii são dispostas de forma cíclica nas hastes florais, as quais chegam a atingir até 130 cm de altura. Esta espécie é autocompatível, embora em condições naturais, a taxa de frutificação seja baixa. Não foi observada presença de polinizadores eficientes. Foi verificada elevada freqüência de formigas durante a floração. Porém, as observações indicaram que estes insetos atuam apenas como pilhadores e que são atraídos pela secreção de uma substância liberada constantemente na época da floração ao longo da haste floral e cujo teor de sólidos solúveis é elevado. O estabelecimento da germinação simbiótica in vitro não revelou resultados satisfatórios uma vez que a formação de protocormos não foi obtida. Todavia, resultados satisfatórios foram encontrados na germinação assimbiótica in vitro, sendo o meio ½ MS superior ao KC e ao MS completo para o tempo, taxa de germinação de sementes e estabelecimento de novas plântulas de C. eugenii.
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Barber, Ian G., and n/a. "Culture change in northern Te Wai Pounamu." University of Otago. Department of Anthropology, 1994. http://adt.otago.ac.nz./public/adt-NZDU20070531.135029.
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In the northern South Island, the area northern Te Wai Pounamu (NTWP) is defined appropriate to a regional investigation of pre-European culture change. It is argued that the Maori sequence of this region is relevant to a range of interpretative problems in New Zealand�s archaeological past.
Preparatory to this investigation, the international and New Zealand literature on culture change is reviewed. Two primary investigative foci of change are identified in NTWP; subsistence economy and stone tool manufacturing technology. A chronological scheme of Early, Middle and Late Periods based on firmly dated ecological events and/or independent radiocarbon ages is defined so as to order the archaeological data without recourse to unproven scenarios of cultural change and association.
The Early Period subsistence economy is assessed in some detail. An Early Period settlement focus is documented along the eastern Tasman Bay coast in proximity to meta-argillite sources. Early Period midden remains suggest that several genera of seal and moa were exploited, and that people were fishing in eastern Tasman Bay during the warmer months of the year. From the Early Period fishhook assemblages of Tasman Bay, manufacturing change is inferred related to the increasing scarcity of moa bone over time. It is argued that lower Early Period settlement of the larger northern South Island was focused on the north-eastern coast to Rangitoto (D�Urville Island), while NTWP was characterized by smaller stone working communities operating in summer.
In contrast, moa-free middens in Awaroa Inlet and Bark Bay of the western Tasman Bay granite coast present a physical dominance of Paphies australis, and finfish species suggesting, along with the dearth of Austrovenus stutchburyi, occupation outside of the warmer summer months. These middens also present an absence of seal and a paucity of bird bone, while sharing a robust 15th-16th centuries AD radiocarbon chronology. With the dearth of all bird species from granite coast middens in general, and evidence that the less preferred kokako (Callaeas c. cinerea) was caught during the occupation of Awaroa Inlet N26/214, it is suggested that cultural regulations beyond immediate subsistence needs were also operating at this time.
From southern Tasman Bay, the archaeological investigation of the important Appleby site N27/118 suggests that the people associated with the extensive horticultural soils of Waimea West otherwise consumed finfish and estuarine shellfish in (non-summer) season, kiore (Rattus exulans), dog or kuri (Canis familiaris), and several small evidence of Maori tradition, archaeological charcoal, and the approximately 16th century radiocarbon chronology for N27/118 and the associated Appleby gravel borrow pit N27/122 places the advent of extensive Waimea horticulture within the post-moa, lower Middle Period Maori economy. The Haulashore Island archaeological assemblage of south-eastern Tasman Bay with a similar material culture to Appleby is also bereft of seal and any diagnostic moa bone.
This Middle Period evidence is considered in a larger comparative perspective, where the absence of seal from 15th-16th centuries Tasman Bay middens is interpreted as a factor of human predation. A secure radiocarbon chronology suggests the convergence of this loss with the diminishment and loss of selected avifauna, and the subsequent advent of large horticultural complexes in the northern South Island compensated for the loss of faunal calories in a seasonally economy and a managed ecology.
The evidence of stone tool use is also reviewed in some detail for NTWP, following the definition of an adze typology appropriate to the classification of meta-argillite tools. It is clear that meta-argillite is the dominant material of adze and (non-adze) flake tool manufacture throughout the Maori sequence of NTWP, while granite coast quartz remains generally subdominant. Beyound the apparent loss of the laterally-hafted adze, the evidence of adze change is generally subdominant. Beyond the apparent loss of the laterally-hafted adze, the evidence of adze change is generally reflected in shifting typological proportions, and in new manufacturing technologies and dressing techniques. Functional change may be inferred in the loss over time of large meta-argillite points and blade tools associated respectively with the manufacture of one-piece moa bone fishhooks and moa and seal butchery. The exclusive identification of hammer-dressed adzes with hump backs and steep bevels in Middle Period assemblages is related to the advent of horticultural intensification. More generally, adzes of the upper Early and Middle Periods are increasingly characterized by round sections, while hammer-dressing is employed more frequently and extensively reduced from riverine meta-argillite and recycled banks. Collectively, these changes reflect a developing emphasis on economy and opportunistic exploitation. From this interpretation, and evidence that meta-argillite adze length and the size of high quality Ohana source flakes diminish over time, it is suggested that accessible, high quality and appropriately shaped meta-argillite rock became increasingly scarce through intensive quarry manufacture.
In conclusion, the coincidence of diminishing rock and faunal resources over time is related in a speculative anthropological model of culture change. It is proposed that the 14th-16th centuries Maori economy of NTWP, and by implication and inference, many other regions of New Zealand, was characterized by a resource crisis which either precipitated or reinforced a broader trajectory of culture change. It is suggested that influential leadears perceived a linkage in the loss of high quality rock and important subsistence fauna at this time, and that distinctive technologies, institutions and ideologies of Middle Period Maori society were influenced by, and/or developed from, this perception. Finally, it is recommended that the data of an archaeological Maori culture sequence be ordered and tested within a radiocarbon based chronological scheme, rather than the still generally used model of �Archaic� and �Classic� cultural periods. It is also suggested that New Zealand archaeologists should look beyond the functional-ecological imperative to consider more holistic anthropological explanations of change in the pre-European Maori past, with a focus on integrated regional sequences.
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Hirshberg, Matthew S. "Cold war cognition and culture in America /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/10745.
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Kong, Tak-chun Andy, and 江德進. "Cultural landscape architecture Fanling Wai (Walled village)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31980806.
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Kong, Tak-chun Andy. "Cultural landscape architecture Fanling Wai (Walled village)." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951038.
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Sheridan, Valerie. "The cultural context of breastfeeding on the labour ward." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20341/.
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This study examines labour ward culture on two British labour wards, in terms of mother-baby contact and breastfeeding, which has not been empirically researched since 1985 (Garforth & Garcia 1989). ‘Aims’: to investigate the organisational culture; examine mothers' beliefs and experiences; and midwives' knowledge, beliefs and practices. ‘Objectives’: To compare organisational cultures; identify if midwifery practice is evidence based and factors which facilitate or detract from it; identify mothers' preferences, beliefs and levels of satisfaction. ‘Study Design’: Ethnography with case study and diagnostic analysis also utilised. Methods: observation and interviews: purposive sample of mothers (n = 50) and midwives (n = 51); interviews with Heads of Midwifery (n = 2); focus groups with midwives (n = 3); and documentary analysis. ‘Results’: Despite Trust strategies and Heads of Midwifery support for evidence-based practice, clinical guidelines and midwifery beliefs about mother-baby contact and early breastfeed were not usually congruent. Mother-baby contact after birth is usually interrupted for completion of tasks and some babies have multiple contact episodes, which has not been previously described in the literature. Completion of routine tasks for transfer of mothers and babies to postnatal ward takes precedence, because of organisational demands and insufficient resources. However, most mothers expressed feeling satisfied with contact achieved and support for breastfeeding. ‘Conclusion’: Findings of the study have contributed new insights and knowledge of labour ward culture. It is not conducive to uninterrupted mother-baby contact and is not evidence-based. ‘Recommendations’: The development of a learning culture and clinical leadership to promote evidence-based practice and woman-centred care is recommended. The unique period after birth should not be disturbed, to prioritise routine tasks.
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Silveira, Stefanie Carlan da. "A cultura da convergência e os fãs de Star Wars : um estudo sobre o conselho Jedi RS." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25129.
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A cultura da convergência abarca a questão tecnológica do fluxo de conteúdos, ocorrendo através de múltiplos suportes midiáticos e as questões de mudança de comportamento do público, que se apropria das redes digitais para buscar de diferentes experiências de entretenimento e de informação. Os sujeitos buscam um produto midiático que não se finde na sua própria exibição, mas sim proponha conteúdos que vão além de um único dispositivo de distribuição e necessitem do engajamento do público para que aconteçam efetivamente. Os fãs são personagens centrais da mudança na forma de operar da mídia de massa por serem pioneiros na adaptação às novas tecnologias de comunicação e informação e nos processos de produção e consumo participativos. A partir disso, esta pesquisa busca um olhar sobre as interações que fazem parte do comportamento dos fãs, tanto nas relações entre eles quanto com a indústria midiática. Para tanto, estudam-se os fãs de Star Wars, mais especificamente, os membros do Conselho Jedi do Rio Grande do Sul (CJRS), a fim de que através de um objeto empírico, consolidado e permanente se possa investigar o comportamento deste grupo no contexto de cultura da convergência, onde as interações entre eles e com o mercado de mídia são transformadas.The convergence culture includes the technological issue of the content flow going through multiple media and the issues of changes in public behavior which appropriates itself of the digital networks seeking for different experiences of entertainment and information. The individuals look for a media product that doesn‟t finish itself in its own exhibition, but propose content that go beyond a single distribution device and require the engagement of the audience to actually happen. The fans are central characters in the change of mass media operating way because they are pioneers in adapting the new technologies of communication and information and in participatory processes of production and consumption. From this, this research seeks a look at the interactions that are part of the behavior of fans, both in relations between them and with the media industry. To this end, the Star Wars fans are studied, more specifically, the members of the Jedi Council of Rio Grande do Sul (CJRS), so that through a consolidated and permanent empirical object, it became possible to investigate the behavior of this group in the convergence culture context where the interactions between them and the media market are changed.
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Chiu, Sai-chung Cary. "Redevelopment of San Wai." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944976.
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Silva, Gisele Aparecida da Costa. "\"Desarreglando el mundo para arreglar los sueños\": a obra de María Teresa León e suas relações com os anos da Guerra Civil Espanhola. Uma leitura de Juego limpio." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-26052014-102407/.
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A Guerra Civil Espanhola não foi somente um confronto bélico, mas também, uma guerra marcada pelas questões sociais, políticas e ideológicas que estavam em ebulição no país, envolvendo operários, camponeses, personalidades políticas e artísticas, bem como intelectuais, que combatiam e defendiam seus ideais por meio de manifestações artísticas. Porém, mesmo com a imposição do exílio para estes escritores, poetas e pensadores, a resistência prosseguia por meio de autobiografias, antologias ou romances com a proposta de refletir os acontecimentos daqueles dias com um olhar distinto daquele imposto por Francisco Franco durante sua Ditadura. Um dos cenários recriados para a reflexão dos resultados desta guerra de confrontos já citados é Juego limpio, escrito durante o exílio de María Teresa León. No romance, Camilo rememora as experiências vividas durante sua atuação no grupo Guerrillas del Teatro del Ejército del Centro durante o conflito civil e sua relação amorosa com Angelines, atriz da companhia. De dentro de sua cela, Camilo refugia-se em suas memórias de modo a refletir seu presente mediante seu passado, estabelecendo a tensão entre o vivido (passado) e o narrado (presente), porém não o faz só, ele evoca os participantes do grupo de cômicos, para que junto com ele, a história das Guerrilhas seja contada. A estrutura polifônica das memórias de Camilo proporciona ao leitor construir a história por diversos ângulos, revelando tal qual uma caixa chinesa os acontecimentos explorados no romance, em que cada caixa é a representação da voz de uma personagem. María Teresa León encontra nessa estrutura polifônica o espaço para opor o discurso daqueles que vivenciaram a guerra ao discurso monocórdio da autoridade e, assim, o modo como se constrói a narrativa justifica a argumentação da obra em que há uma clara defesa da arte pluralizada defendida pelos republicanos espanhóis.The Spanish Civil War was not only a war in martial terms, but was also marked by social, political and ideological disputes that were urgent in the country at the time. Such issues moved workers, peasants, politicians and artists, as well as intellectuals who fought for their ideals through art. Even though writers, poets and thinkers were punished with exile, the resistance held strong in memoirs, anthologies or novels that brought up new considerations about its contemporary events, with different visions from that of Francisco Franco\'s regime. One of the works that proposed a vigorous discussion about this war was Juego limpio, written by María Teresa León during exile. In the novel, Camilo remembers his experiences while working with the group Guerrillas del Teatro del Ejército del Centro, during the civil war, and his love affair with Angelines, one of its actresses. In his prison cell, Camilo takes shelter in his memories to make conclusions about his present. There is a conflict between what he lived (past) e what he reports (present). He doesn\'t do it alone, though, but invites comic actors from the group to tell the story of the Guerrillas with him. This polyphonic structure of Camilo\'s memoir enables the reader to know the story from different points of view, such as a Chinese box in which each box represents the voice of one character. María Teresa León finds in this polyphonic structure a way to confront the voice of those who lived the war with that of the authorities, which is monophonic. The way she chooses to tell the story reinforces her defense of the plural art in which the Spanish republicans believed.
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Adkins, Christina Katherine. "Slavery and the Civil War in Cultural Memory." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070064.
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That slavery was largely excised from the cultural memory of the Civil War in the late nineteenth and early twentieth centuries, particularly by white Americans, is well documented; Slavery and the Civil War in Cultural Memory moves beyond that story of omission to ask how slavery has been represented in U.S. culture and, necessarily, how it figures into some of the twentieth century's most popular Civil War narratives. The study begins in the 1930s with the publication of Gone with the Wind--arguably the most popular Civil War novel of all time--and reads Margaret Mitchell's pervasive tale of ex-slaveholder adversity against contemporaneous narratives like Black Reconstruction in America , Absalom, Absalom!, and Black Boy/American Hunger , which contradict Mitchell's account of slavery, the war, and Reconstruction. Spanning nearly seven decades, this study tells the story of how cultural productions have continued to reinterpret slavery. Focusing primarily on novels and films but also drawing on interviews with ex-slaves, private journals, and court records, each chapter explores how slavery is represented in a particular historical epoch and highlights each narrative's contribution to the creation of cultural memory, particularly its conformity to earlier works or its revision of antecedents. In addition, Slavery and the Civil War in Cultural Memory traces representations of slavery through recurring themes such as hunger, disease, marriage, and madness and seeks to understand how the narratives in question comment directly on the concept of memory. Among the topics discussed are the Civil War centennial; how Margaret Walker's Jubilee relates slavery, the Civil War, and Reconstruction to the civil rights movement of the 1960s; the controversy over The Confessions of Nat Turner; the Roots phenomenon, and the copyright lawsuit filed against the publisher of Alice Randall's unauthorized parody, The Wind Done Gone. The study concludes in 2005, with March, Geraldine Brooks's reimagining of Little Women, and E.L. Doctorow's The March, about Sherman's campaign through Georgia and the Carolinas. A pattern emerges in the final chapters that shows recent authors conjuring, in order to revise, elements of Absalom, Absalom! and Gone With the Wind.
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OLIVEIRA, BERNARDO CARVALHO. "THE DESPERATE WAR: CULTURE AND POLITICS IN NIETZSCHE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18629@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A princípio não existe razão para considerar a filosofia de Nietzsche de um ponto de vista político, em virtude, sobretudo, de seus elogios à escravidão e a um individualismo estético que despreza o caráter mediador e humanitário da política moderna. Caberia, portanto, insistir na afirmação de que há uma dimensão política em sua crítica da cultura, mesmo após os mal-entendidos e acidentes que fizeram de Nietzsche um autor problemático para o pensamento político? Se sua crítica da cultura detecta na política moderna mais um sintoma do niilismo moderno, podese perceber também, nesta mesma crítica, uma dimensão política intrínseca, vinculada a outras possibilidades de cultivo e aperfeiçoamento da cultura e dos indivíduos. A preocupação com a constituição de uma cultura forte o suficiente para afirmar e projetar uma vida ativa e criadora é pano de fundo e princípio geral para qualquer avaliação da política em Nietzsche, tanto no que diz respeito à apreciação que ele faz da situação política de seu tempo quanto nas possibilidades de efetivação da Grande Política.
At a first glance, there is no reason to consider the Nietzsche s philosophy in a political point of view, due mainly to his praises to slavery and aesthetic individualism, that disregards the mediating and humanitarian character of modern politics. Therefore would it insist on the claim that there is a political dimension to his critique of culture, even after the misunderstandings and accidents that made him an problematic author for political thought? If your critique of culture detects another symptom of modern nihilism, can also be noticed in this same criticism, a political dimension intrinsically linked to other possibilities of cultivation and improvement of culture and individuals? The concern with the creation of a culture strong enough to assert and project an active and creative life is the background for any evaluation of Nietzsche s political philosophy, both regards the assessment he makes of the political situation of his time as the possibilities of realization of his Great Politics.
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Tong, Shuk Ying. "Samurai culture twisted : bushido, shinto and war crimes." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/666.
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Zani, Leah. "Revival| Remains of War in Laos." Thesis, University of California, Irvine, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10288798.
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This dissertation examines how legacies of war and ongoing violence are incorporated into peacetime development in contemporary Laos. I introduce the conceptual parallel of remains and revivals. By “remains,” I refer to massive military wastes left over from the Secret War in Laos in the 1960s and 1970s. During the Vietnam War, Laos was secretly bombed by the United States for nearly a decade. As a result of this covert conflict, contemporary Laos is the most massively cluster-bombed country in the world. Dangerous explosives continue to maim and kill; the risk of explosion frustrates plans to lure investors and build basic infrastructure. Remains also refers to the ongoing sociocultural impact of violence, including experiences of malicious ghosts and personal misfortune. By “revival,” I refer to the present period of rapid socioeconomic transformation as Laos opens to foreign intervention. I use revival as a touchstone for several interweaving processes: socioeconomic liberalization, authoritarian renovation, and religious awakening. Drawing on ethnographic evidence of Lao poetic parallelism, I innovate a method of poetic inquiry suited to hazardous fieldwork.
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Fitzgerald, Jenrose D. "SCIENCE WARS AS CULTURE WARS: FRACKING AND THE BATTLE FOR THE HEARTS AND MINDS OF WOMEN." UKnowledge, 2014. http://uknowledge.uky.edu/sociology_etds/18.
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In this thesis, I examine how claims regarding the environmental and health impacts of hydraulic fracturing or “fracking” are constructed by industry advocates who promote the practice and environmental and social justice groups who reject it. More specifically, I examine the cultural underpinnings of the debate over fracking, and the prominence of gender as a central framing device in that debate. While the controversy over fracking is often presented as scientific or technical in nature, I maintain that it is as much a culture war as it is a science war. I demonstrate this by showing how both pro-fracking and anti-fracking groups mobilize cultural symbols and identities—motherhood, environmentalism, family farming, family values, individualism, and patriotism among them—in order to persuade the public and advocate for their positions. I contend that engagement with the cultural and ideological dimensions of those debates, including their gendered dimensions, is as important as engagement with its scientific and technical dimensions. Ultimately, I argue that a greater focus on gender contributes to our understanding of environmental risk more broadly, and to the field of environmental sociology as a whole. As such, gender deserves more scholarly attention within the field than it is currently receiving.
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Horowitz, Juliana Menasce. "The culture wars and the agenda of the U.S. Congress." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3380.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2006.Thesis research directed by: Government and Politics. 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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Paolitto, Julia. "Guardians of culture: The British Sunday Press Between the Wars." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491076.
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This thesis is an investigation into the reception of literature, cinema, and the theatre in the inter-war Sunday press, and in particular how the concept of a "national culture" of inter-war Britain was reflected and defined in five specific newspapers of the time. Drawing on a vast amount of previously unexamined material, it provides the fullest picture to date of this widely neglected area.
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Thomas, Geraint Llyr. "Conservatives and the culture of 'National' government between the wars." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609335.
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Wiazovski, Taciana. "Cultura em Comentário: uma revista de cultura e resistência (1960 - 1973)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-23102012-110151/.
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Este estudo reconstitui a trajetória e a contribuição intelectual de Comentário (1960-1973), revista financiada pelo American Jewish Committee (AJC) que seguiu o modelo da americana Commentary criada quinze anos antes. A publicação reuniu proeminentes nomes da cultura nacional e internacional da década de 1960. Procuramos pelas origens da revista nos Estados Unidos por meio de sua relação com a empreitada cultural norte-americana durante a Guerra Fria, considerando que tal publicação se dizia aberta ao amplo debate cultural. Através da recuperação de partes deste debate avaliamos o papel do intelectual na cultura. A revista possibilitou uma análise da postura intelectual judaica no período pós-Holocausto, momento em que se ponderou o contexto internacional do alinhamento de Israel ao Ocidente, os processos antissemitas da União Soviética e a ruptura das relações entre Israel e União Soviética em 1953. Comentário favoreceu o estudo da inserção da comunidade judaica no contexto cultural e político brasileiro da década de 1960 e primeiros anos da década de 1970, abrangendo o golpe de 1964 e os anos de maior repressão política as ideias no Brasil. Nossa hipótese é de que a revista Comentário ofereceu, por seu potencial crítico e inovador, um espaço privilegiado para a intelligentsia judaica e não judaica no Brasil pensar as questões políticas e culturais de seu tempo no universo das ações que se desenvolveram no pós-guerra a partir da criação da Organização das Nações Unidas (ONU), sobretudo através da Organização Educacional, Científica e Cultural (UNESCO) e do conceito de Direitos Humanos. Consideramos o impacto destes valores na cena cultural brasileira, sua relação com a comunidade judaica radicada no Brasil e com o espaço da classe dirigente. A revista atuou como um espaço de divulgação dos estudos sobre antissemitismo, etnicidade, racismo e intolerância gerando linhas de pesquisas que têm hoje a sua atualidade. Através do inventário biográfico de alguns colaboradores da revista e sua produção, resgatamos a história de uma importante geração de intelectuais.This study reconstructs the history and the intellectual contribution of Comentário (1960-1973), a magazine funded by the American Jewish Committee (AJC), which followed the model of the American Commentary established fifteen years earlier. The publication brought together prominent names in national and international culture of the 1960s. We seek the origins of the magazine in the United States through its relationship with cultural undertaking U.S. during the Cold War, considering that such a publication called itself \"open to broad cultural debate.\" Through the recovery of parts of this debate we evaluate the role of intellectual culture. The magazine has enabled an analysis of Jewish intellectual position in the post-Holocaust, when it weighed the international context of the alignment of Israel to the West, the processes of anti-Semitic Soviet Union and the rupture of relations between Israel and the Soviet Union in 1953. Comentário favored the study of the insertion of the Jewish community in the Brazilian political and cultural context of the 1960\'s and early 1970\'s, covering the 1964 coup and the years of greatest political repression in Brazil ideas. Our hypothesis is that the magazine Comentário offered by its critical and innovative potential, a privileged space for the Jewish and non Jewish intelligentsia in Brazil think the political and cultural issues of his time in all the actions that have developed in the postwar Since the creation of the United Nations (UN), especially through the United Nations Educational, Scientific and Cultural Organization (UNESCO) and the concept of Human Rights. We consider the impact of these values in the Brazilian cultural scene, its relationship with the Jewish community living in Brazil and the space of the ruling class. The magazine served as a forum for dissemination of studies on anti-Semitism, ethnicity, racism and intolerance causing lines of research that has its relevance today. Through the biographical inventory of some employees of the magazine and its production, we rescued the story of an important generation of intellectuals.
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Haugbolle, Sune. "The politics of remembering in post-war Lebanon : civil war, memory and public culture." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432123.
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Hansen, Stig Jarle. "Organisational culture at war : Ethiopian decision-making and the war with Eritrea (1998-2000)." Thesis, Aberystwyth University, 2006. http://hdl.handle.net/2160/ac5b5c91-5165-4ddf-a69a-7803fb064862.
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Although the Eritrean-Ethiopian war (1998-2000) has been analysed by a large number of researchers, the impact of organisational culture on the war has been neglected. This thesis employs the constructivist theories of Elizabeth Kier in order to examine the impact of organisational culture on Ethiopian decision-making before and during the war and uses the findings to produce policy advice for this and other conflicts. The thesis' main contribution to the study of the specific Eritrean-Ethiopian war is the revelation that organisational culture in a variety of organisations had serious effects on the bilateral relationship between Eritrea and Ethiopia, effects that can not be explained by ethnically, economically or geographically defined factors. The thesis' main contribution to the field of peace research is a strong warning: calling for caution when policy makers want to apply some of the more generally prescribed policy guidelines within the field, and controversially suggesting that some of the most common advice, as for example the advice to support the oppositional press in order to promote peace, might, if not planned properly, lead to more conflict rather than promote peace.
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Fortune, Gabrielle Ann. "'Mr Jones' wives': World War II war brides of New Zealand servicemen." Thesis, University of Auckland, 2005. http://wwwlib.umi.com/dissertations/fullcit/3201550.
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Frederick Jones, Minister of Defence during World War II, was responsible for the transportation to New Zealand of the foreign-born wives and fiancées of New Zealand servicemen. Between 1942 and 1948 servicemen returning from theatres of war in Europe, the Middle East and the Pacific brought over 3000 wives and 700 fiancées to New Zealand. Portrayed as homogeneous, young, working-class British housewives who made hasty ill-considered marriages, war brides, in fact, proved to be varied in origin, age, occupation and education. Whirlwind romances and short courtships were not the norm. This thesis examines the consequences of the decision to marry a New Zealander and migrate and the impact of the journey and settlement. The full glare of publicity that greeted war brides on arrival focused attention on their compatibility with, and adaptability to, the receiving society. Adjustment was however fraught with difficulties. Memory and loss are implicit in the experience of migration. War brides expressed this in terms of the rift with their pasts and a lack of shared memories. On arrival in New Zealand war brides dispersed around the country in an extreme 'pepper-potting' pattern. When their only connection with New Zealand was their locally-born husband they suffered social isolation and sometimes a devastating sense of loneliness. The resulting marginalisation they experienced was evident in their oral history narratives. Ambivalence and recourse to serendipity as an explanation for past actions were elements of the dis-composure discernable in narratives. In spite of their varied religious, social and class backgrounds, this diverse cohort formed a war bride identity based on shared experience rather than national or ethnic origin. Far from dissipating, their war-bride identity has been consolidated into an enduring image most tangibly expressed in the extant war brides' clubs, although club attendance is not a prerequisite of war bride identity.
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O'Keefe, Roger. "Law, war and 'the cultural heritage of all mankind'." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270870.
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Eschen, Nicole Marie. "Performing the past theatrical revisions of Cold War culture /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1679292491&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bateson, Catherine Victoria. "Culture and sentiments of Irish American Civil War songs." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33216.
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During the American Civil War, an approximate 200,000 Irish-born soldiers, and an even greater number of subsequent generation descended soldiers, fought for the Union and Confederate causes. Their experience, opinions, military actions and attitudes of their families were the subject of American Civil War songs, with songwriters penning numerous ballads about them. The conflict witnessed the mass production of wartime ballad culture, with over 11,000 pieces written and composed between 1861 and 1865 alone. An estimated 150 were by and about the Irish American wartime experience specifically. This thesis focuses on these Irish American Civil War songs and analyses the sentiments they expressed. Overall, the main topic written onto songsheet pages and in songbooks was the battlefield actions of Irish-born and descended soldiers. This study explores how military history was reported through song, following traditional oral practice patterns of using balladry to sing war reports. In particular, attention will be drawn to the proliferation of lyrical dedication and focus on specific Irish-dominated units such as the Union Army's Irish Brigade and 69th New York State Militia, and how their actions, along with other Irish soldiering units, came to dominate Irish American Civil War articulations and history. Within this lyrical attention the figures of Irish-born commanding officers, namely Generals Michael Corcoran and Thomas Francis Meagher, come to the fore. This study also analyses how their own wartime experiences and articulations corresponded with song lyrics. Beyond the battlefield focus, this thesis explores the way in which song lyrics sang about Irish loyalty and devotion to the American Union - and in a few examples Confederate nation - and particularly adopted symbols of the American nation, such as the Star Spangled Banner, as embodiments of the causes and ideals fought for by soldiers. Alongside this were lyrics that referred to symbols of Irish cultural heritage, language and a history of foreign military service. Irish identity can be seen on the surface of some songs, including references to Irish nationalism and the desire to gain Irish independence one day. Yet, as this thesis will argue, Irish American Civil War song lyrics reveal complicated support and sympathy for the Irish nationalist cause in the United States during the 1860s. Running through the songs of this study is a pervading sense and sentiment of American identity - that the Irish fighting and living through the war were stressing to society through song that they were committed to the United States as Americans first and foremost. In addition to assessing wartime views of Civil War politics and military actions, this thesis will also explore the way Irish song played a critical part in the formation of American musical culture, with traditional Irish music forming the foundation for American tunes, and blending Irish culture into the American wartime zeitgeist. This thesis will demonstrate the way in which Irish songs were written, published and disseminated through American society and crucially circulated beyond the confines of the Irish diaspora. Traditional and wartime Irish songs became a fundamental part of American culture because they were American cultural outputs. Thus this thesis will demonstrate the important evidential role Irish American Civil War songs play in singing an unexplored areas of mid-nineteenth century Irish American transnational history.
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Long, Austin G. "First War Syndrome : military culture, professionalization, and counterinsurgency doctrine." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/60214.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Political Science, 2010.Vita. Cataloged from PDF version of thesis.
Includes bibliographical references.
Counterinsurgency was a persistent and important challenge to military organizations in the second half of the 20th century and seems likely to continue to pose a challenge in the 21st century. This makes understanding how military organizations respond to this challenge both an important policy question and a fruitful area for academic research on military doctrine. The involvement of the United States and the United Kingdom in counterinsurgency in Kenya, South Vietnam, and Iraq are used to test four competing hypotheses on the origin and development of military doctrine. The four hypotheses are doctrine as rational response to environment, doctrine as product of civilian intervention, doctrine as means to deal with generic organizational desires and problems, and doctrine as product of organizational culture. This latter hypothesis is developed extensively by examining the professionalization of military organizations through professional military education, which has its origin in a certain set of experiences termed "the first war." The next three chapters detail the formation and evolution of culture and professional education in three militaries (U.S. Army, U.S. Marine Corps, and British Army). The case studies then test how these organizations responded in terms of doctrine and operations to the challenge of counterinsurgency in South Vietnam (U.S. Army and Marine Corps), Kenya (British Army) and Iraq (all three). It then presents, as an additional plausibility probe, a brief shadow case of Afghanistan and Pakistan (all three organizations, plus the Canadian and Pakistani armies). The evidence in these case studies indicates a strong role for organizational culture in military doctrine and operations when information from the environment is ambiguous (as it frequently is, especially in counterinsurgency) but that culture is substantially attenuated in effect when information from the environment becomes unambiguous. It then concludes by discussing both theoretical and policy implications and avenues for future research.
by Austin Long.
Ph.D.
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Petrie, Ann. "Scottish culture and the First World War, 1914-1939." Thesis, University of Dundee, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561298.
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The First World War was a key factor in the development of Scottish art and culture in the first half of the twentieth century. Yet historians concentrating on Scotland have been slow to recognise its potential as an area of research. This thesis aims to provide a broad-ranging perspective by exploring the responses to the war of seven of Scotland's leading cultural personalities, including the poet Christopher Murray Grieve, the dramatists, James Matthew Barrie and Osborne Henry Mavor, the painters Eric Harald Macbeth Robertson and William McCance, the architect Robert Stodart Lorimer and the aristocrat, the 8th Duke of Atholl. In addition to consideration of their personal experiences of the war, however, attention will be given to the varied and many cultural productions created by these men both during and in the aftermath of the First World War to assess the nature of the war's impact on Scottish culture. The Scottish Renaissance movement of the 1920s will be discussed in light of the fury and disillusionment felt by Grieve as a result of his active service in Salonika; the pervading influence of the war in the plays of Mavor and Barrie will be shown to owe much to their subjective impressions of the war, and the curtailment and containment of the careers of Robertson and McCance viewed in the context of their conscientious objection to military service. Finally, the Scottish National War Memorial at Edinburgh Castle will be attributed to the determination and passion imbued by the war in Lorimer and Atholl. In achieving these aims this thesis will demonstrate that the First World War should be held up as a central component in the history of Scottish art and society, and by dOing so hopes to widen the horizon of Scottish cultural studies beyond the current fixation with typicality within the United Kingdom in order to emphasise the range of Scottish cultures.
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Hennessy, Tom. "Beyond authenticism : new approaches to post war music culture." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/204/.
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The emergence of folk, jazz, blues, skiffle, rock n roll and R&B scenes in the post-war period of 1945 – 1964 was a major development in Anglophonic music culture. Key individuals operating within these scenes frequently pursued authenticity, or framed their musical activities as “authentic” – that is as cultural produce that was supposedly “true” to a certain way of life, or that offered something “real” in the face of the commercial culture of the mainstream. While this “authenticism” was productive in many respects it also represents a problem for the cultural historian. This thesis tackles this problem by first diagnosing the origins, nature and effects of authenticism, and then by undertaking three new historical studies through which a differently inflected history of this remarkable phase of popular music can be drawn. The first part of this thesis describes the emergence of authenticism in the 1940s and 50s as constituted by certain forms of language. I situate authenticism as a broad current within post war culture which fed upon the growing sense of dissatisfaction with the status-quo. I pay particular attention to its association with the New Left, a confluence whose legacy I argue should now be reappraised. The second part of the thesis proposes three alternative approaches to the subject: a data-based and textual analysis of chart pop, an analytical biography of Lonnie Donegan and a consideration of space and music culture focused upon London. These three case studies will provide a critical and evidence-led analysis that asserts the hybrid and de-centred nature of post war music culture and its place within the broader narratives of modernity. The aim is to create distance from the discourses of authenticism that still influence popular and academic understandings of this field.
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Withers, Jeremy. "The Ecology of War in Late Medieval Chivalric Culture." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1215570638.
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ENRIGHT, NANCY K. "TRADITIONAL AUTHORITY ATTITUDES, MORAL WORLDVIEWS AND THE CULTURE WAR." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1092805089.
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Rockett, Suzannah E. "Algeria in France : war and defeat in republican culture." Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/2097/.
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Algeria in France: War and Defeat in Republican Culture The contention of this thesis is that the Algerian war of 1954-62 and Algeria's subsequent independence have had a significant and lasting impact on the nature of French republicanism, and to a much greater extent than the historiography currently recognises. The Algerian war essentially altered the notion of French citizenship in a way which undermined the republican ideals of universalism and assimilation. By reconsidering the war and its aftermath within the broad context of French history since 1789, I argue that the founding of the Fifth Republic was not simply the culmination of French political history; it did not mark the end of the Revolution. Instead, it was itself a revolution and presented a fundamental challenge to republicanism's original ideals of universalism and assimilation. This thesis is a cultural history in the sense that its source material is derived primarily from novels and films, but its conclusions are socio-political. I identify an idiom of republican culture and trace the trends of republican historic and artistic representations of war and defeat. The basis of this study is longitudinal in the sense that it considers themes that have been present through modern French history. The three grandest themes are covered by the three chapters: citizenship, republicanism and the guerre franco-française. By considering these themes in relation to republican cultural representations of the Algerian war, this thesis identifies how the revolution in republicanism has been concealed and the history of the Franco-Algerian relationship has been rejected. This rejection has subsequently allowed the extreme right to control the race and immigration agenda because to challenge it requires a recognition of the revolution which occurred between 1959-1962.
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Fenn, Jeffery W. "Culture under stress : American drama and the Vietnam War." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28668.
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The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity.
Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Roberts, Julia. "Towards a cultural history of archaeology : British archaeology between the Wars." Thesis, University of South Wales, 2005. https://pure.southwales.ac.uk/en/studentthesis/towards-a-cultural-history-of-archaeology(689403e4-b24e-4158-ba82-0e1d5f06a114).html.
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Watanabe, Shinya. "Sociopolitical dynamics and cultural continuity in the peruvian northern highlands: a case study from Middle Horizon Cajamarca." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/113500.
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This chapter presents excavation data from two archaeological sites, El Palacio and Paredones, located in the Department of Cajamarca in the northern sierra of Peru, a geographic area of social dynamism during the Middle Horizon. The presence of the large-scale site of El Palacio — a Wari administrative center — would suggest that the valley came under direct Wari imperial control in a manner similar to that known under the Inca during the Late Horizon. Yet at the same time, there are chullpas at the contemporary site of Paredones that are associated with ceramics related to the Tiwanaku style. This complex situation during the Middle Horizon, on the one hand, presupposes the existence of multiple cultural groups livingin the Cajamarca region. On the other hand, the Cajamarca culture has local roots that are demonstrated in the productionof its kaolin ceramics that are found throughout a wide area of the Wari realm. For these reasons, the cultural changes during the Middle Horizon do not necessarily correspond to political domination. One explanation for this variable situation could be that the Cajamarca society was not centralized, and therefore had the social flexibility to coexist within an imperial society.En este ensayo se presentan los datos de excavación de dos sitios arqueológicos, El Palacio y Paredones, ubicados en el departamento de Cajamarca, sierra norte del Perú, área geográfica desde donde sugiero la dinámica social durante el Horizonte Medio. La presencia del sitio El Palacio, centro administrativo Wari de gran escala en el valle de Cajamarca, es un ejemplo de similitudfenomenológica con el caso Inca en el Horizonte Tardío, debido a que el valle de Cajamarca estuvo bajo el dominio directo del Imperio wari. Al mismo tiempo, de Paredones, otro sitio contemporáneo, aparecen chullpas asociadas a cerámicas relacionadas con la cultura Tiwanaku. Esta situación compleja durante el Horizonte Medio presupone la existencia de múltiples grupos con diferentes culturas en la región Cajamarca. Por otro lado, la cultura Cajamarca es una expresión de continuidad que se refleja en la producción de su cerámica en caolín que se distribuyó en un área amplia de dominio Wari. Por lo que, los cambios culturales no corresponderían necesariamente a un dominio político. Una explicación a esta variable condición sería que la sociedad Cajamarca no era centralizada, por lo tanto tenía flexibilidad social y pudo coexistir con la sociedad imperial.
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Buehner, R. James. "“I WARN YOU MING, STAY AWAY FROM MY FRIENDS!”:THE LANGUAGE OF SUPERHERO MYTHOLOGY IN FLASH GORDON." Cleveland State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=csu1462995644.
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Lyons, Patrick Daniel. "Winslow Orange Ware and the ancestral Hopi migration horizon." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280552.
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This project involved instrumental neutron activation analysis of 428 ceramic vessels and clays, typological analysis of 1135 vessels, and stylistic analysis of more than 400 bowls. Most of the items analyzed were recovered from the Homol'ovi villages, a group of eight Pueblo III--Pueblo IV (circa A.D. 1250--1400) sites located near Winslow, Arizona. These studies were conducted in order to address the question of the origin(s), geographically speaking, of the ancient inhabitants of the Homol'ovi villages. The results of the compositional analysis indicate local production of Winslow Orange Ware at Homol'ovi and in the Petrified Forest. Circulation of Winslow Orange Ware to the Anderson Mesa area, the Tonto Basin, and the Verde Valley is also evident. Furthermore, among the earliest ceramic assemblages from the Homol'ovi sites were found locally-produced versions of ancestral Hopi pottery types and vessel forms. The compositional data also point to local production of Roosevelt Red Ware at Homol'ovi and in the Petrified Forest. The whole vessel study resulted in the observation that most Winslow Orange Ware vessels represent attempts to produce Jeddito Orange Ware using materials indigenous to the Middle Little Colorado River Valley. An examination of the dating and distribution of different kiva forms revealed that Homol'ovi ceremonial architecture reflects western Kayenta and Tusayan patterns, supporting the ceramic-based inference of ancestral Hopi migration. Placing these results in broader context, it is possible to discern an ancestral Hopi migration horizon which corresponds with what has been called the Salado archaeological culture or the "Salado phenomenon." By examining Hopi oral texts, it was observed that many include information that correlates with archaeological and anthropological models of Hopi origins. By hypothesizing that these accounts represent significantly restructured texts, it is possible to resolve apparent disconformities between Hopi oral tradition and anthropological inferences. This conception of Hopi migration accounts allows resolution of conflicting interpretations of Homol'ovi, i.e., the idea that it is an ancestral Hopi place because its inhabitants moved to the Hopi Mesas circa A.D. 1400, versus the notion that it is an ancestral Hopi place because its inhabitants were immigrants from the Hopi Mesas.
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Perrott, Lisa. "The New Zealand Wars Documentary Series: Discursive Struggle and Cultural Memory." The University of Waikato, 2007. http://hdl.handle.net/10289/2579.
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The 1998 television broadcast of The New Zealand Wars documentary series was a significant public event, which had a major impact on a broad range of communities and individuals in Aotearoa New Zealand. This popular television history engaged with issues of historical veracity, race, culture and nationhood and challenged previously dominant discourses associated with these concepts. In doing so, it provoked heated debate, and a re-imagining of 'nation', and also opened up spaces for alternative ways of engaging with historical narrative. Informed by post-colonialism, cultural studies and cultural memory, this thesis explores the discursive and affective role of The New Zealand Wars, as it has operated within the turbulent climate of 1990s New Zealand cultural relations. This catalytic function is described in this thesis as a phenomenon of a television series shaped by, whilst also intervening in, processes of cultural colonisation and decolonisation. While both of these processes involve the transmission of discourse via cultural forms, the act of cultural decolonisation requires, in addition, the convergence of a number of agents (people and communities, discursive and memory resources) and circumstances, within particular contextual conditions. Such a convergence provided the conditions for the discursive synthesis, which shaped the production, construction and reception of this series. The role of audio-visual media (and specifically television documentary) in transmitting cultural memory is significant as it enables the flow of memory through channels or forms (such as visual, oral and aural traditions) that can bring about new perspectives and critical reflections upon colonial discourse and dominant concepts of nation and culture. In addition to these social and intellectual processes of audience engagement, this thesis argues that experiential and affective dimensions of cultural memory can (in these specific circumstances) open up radical spaces, offering the potential for generating awareness and sparking political action. These issues are explored through a tripartite analysis of the production context, construction and reception of The New Zealand Wars series. The integration of these three phases of analysis has generated a number of insights into the potential of audio-visual forms, including their producers and audiences, to participate in the negotiation of, and resistance to, colonial discourse. Such insights serve to challenge taken-for-granted constructions of nation and history, and suggest the increasing relevance of alternative concepts such as community-building and cultural memory. Ultimately, this thesis argues that television documentary can serve as a prime site for the articulation of these concepts. The New Zealand Wars serves as a case study, which demonstrates both the potential of this site, and the significance of the social-historical and cultural context in framing this series.
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Falby, Alison. "Gerald Heard (1889-1971) and British intellectual culture between the wars." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324758.
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Ramsey, Nathan A. "Keeping America Exceptional: Patriotism, the Status Quo, and the Culture Wars." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1314044247.
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Ratcliffe, Gavin M. "Parental Advisory, Explicit Content: Music Censorship and the American Culture Wars." Oberlin College Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1467141078.
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Campbell, Matthew Alan. "Reel-to-Real: Intimate Audio Epistolarity During the Vietnam War." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555657052871048.
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Morais, Hugo Albuquerque de. "A didática da história nos videogames: “God of war” e suas dimensões frente à cultura histórica." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8289.
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The present dissertation has an objective to analyse the historical culture in the Playstation videogame series “God of War”, investigating aspects concerning its visual culture and plot. Inspired by Greek mythology, the piece presents a gamma of elements that show an insight into the past. Besides that , even though a product linked to entertainment, but, as it has become a meaningful form of cultural expression, it goes far beyond this initial purpose. The concept of didactics of history established by the historian Jörn Rüsen becomes essential within the debate, because from it we can realize these historical dimensions within the game, being this one a historical source. For more, the dissertation tries to understand the dialogical movement that the piece , besides peculiarities of its language. The vídeogames were created in the late 50’s, since then, has gradually become a very popular product in the global market, moreover, they are forms of contemporary artistic experimentation.This is the sense in which we intend to analize the electronic game series, considering it as a contemporary artistic experimentation that is understood from a representation of the past.
A presente dissertação objetiva analisar a cultura histórica percebida na série de jogos de videogame God of War, investigando aspectos referentes à sua cultura visual e seu enredo. Inspirado na mitologia grega a obra apresenta uma gama de elementos que demostram uma visão sobre o passado. Além disso, mesmo sendo um produto ligado ao entretenimento, vai além desse propósito, tornando-se uma forma de expressão cultural repleta de sentido. O conceito de didática da história estabelecido pelo historiador Jörn Rüsen se faz essencial dentro do debate, pois a partir dele podemos perceber as dimensões históricas apresentadas dentro dos jogos, sendo esse uma fonte histórica. Para mais, a presente dissertação busca compreender o movimento dialógico que a obra traz, além de peculiaridades de sua linguagem. Os videogames foram criados a partir do final da década de 50, desde então, paulatinamente vem se tornando um produto muito popular no mercado global, além do mais, são formas de experimentação artística contemporânea. É neste sentido que pretendemos analisar a série de jogos eletrônicos, considerando-a como uma experimentação artística contemporânea que se compreende a partir de uma representação do passado