Tesis sobre el tema "1924-1973"

La maison, un métasymbole, permet d'effectuer une analyse riche et profonde des textes littéraires. Elle permet de créer "l'effet personnage" et de suggérer une époque historique, une société déterminée. Les représentations de la demeure sont omniprésentes dans les récits de Pablo Neruda, José Donoso et Isabel Allende, trois représentants de la littérature chilienne contemporaine. La demeure apparaît aussi dans l'oeuvre d'auteurs plus récents, ce qui confirme la persistence du thème. La construction d'une demeure imite les rites de création de l'univers et se situe au centre de celui-ci. Toutes se posent sur des ruines. Une maison est le lieu où se développe une famille et a pour but de transcender le temps. Parfois elle ne peut résister au destin tragique de l'homme, à sa crépuscularité. Elle peut évoluer avec les personnages (la maison historique) ou sombrer avec l'un d'entre eux (la maison individuelle). .<br>The house, as a metasymbol, can be used as a tool for rich and profound analysis of literary texts. It helps to build the identity of the characters, while creating an image of the period and its society. The house is very frequently represented in the works of three contemporary Chilean authors, Pablo Neruda, José Donoso and Isabel Allende. It still serves as a source of inspiration for younger writers and poets. Buildings a house is an imitation of the act of creation of the universe, at whose center it stands. Everything is built upon its ruins. The house is where a family grows ; its purpose is to transcend time. Sometimes it is unable to resist the tragic destiny of humanity : death. It can evolve with the characters (the historic house), or desappears when one of them dies (the individual house). .

CARNEIRO, Raimundo Fábio Gomes. Literatura e desvendamento: uma leitura de Avalovara, de Osman Lins. 2017. 166f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Pós-Graduação em Letras, Fortaleza (CE), 2017.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-09-12T12:01:49Z No. of bitstreams: 1 2017_dis_rfgcarneiro.pdf: 1272495 bytes, checksum: ed95d5a9e5ce1ba4195b65bfa9021228 (MD5)<br>Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-09-13T12:39:18Z (GMT) No. of bitstreams: 1 2017_dis_rfgcarneiro.pdf: 1272495 bytes, checksum: ed95d5a9e5ce1ba4195b65bfa9021228 (MD5)<br>Made available in DSpace on 2017-09-13T12:39:18Z (GMT). No. of bitstreams: 1 2017_dis_rfgcarneiro.pdf: 1272495 bytes, checksum: ed95d5a9e5ce1ba4195b65bfa9021228 (MD5) Previous issue date: 2017<br>Este estudo apresenta uma leitura do romance Avalovara (1973) de Osman Lins (1924-1978) a partir da perspectiva da relação do texto literário com a realidade contextual de sua escrita e publicação Aceitando a premissa de que a criação artística encontra-se em uma complexa relação com os fatores sociais que envolvem seu autor sua construção e sua veiculação e que por isso traz em si uma espécie de reflexo estético desses mesmos fatores analisaremos o texto de Lins em busca de perceber como esse diálogo se estabelece em Avalovara De modo a observar como a referida obra dialoga como objeto artístico com as circunstâncias externas a ela contribuindo para o desvendamento de aspectos sociais além do âmbito estético bem como para a percepção da peculiar consciência estética e ética do autor na construção de sua ficção Para realizar tal intento contaremos principalmente com o apoio teórico do pensador marxista Adolfo Sánchez Vázquez (1965) do escritor e filósofo francês Jean-Paul Sartre (1948) e das próprias ideias do escritor em estudo acerca da relação do criador de arte com a sociedade em que se insere contidas em seus trabalhos fora do âmbito da ficção.

Au sortir de la deuxième guerre mondiale, musique et technologie se rejoignent et, à travers les recherches conjuguées de différents domaines scientifiques, une réflexion nouvelle s’amorce sur l’évolution de la création humaine et sur le concept d’outil. Le questionnement relatif à l’histoire de la création s’affine, à travers lequel la notion de sémantique se démultiplie. Notre étude traite du concept de résonance sémantique. Elle élabore ce concept en mettant d’abord en perspective les étapes marquantes au début du XXe siècle dans le traitement du texte (travail sonore des poètes, théâtre et opéra radiophonique, psychanalyse), puis en décrivant, d’une part dans le champ scientifique, l’émergence des sciences cognitives depuis la première cybernétique et l’apport de leurs travaux pour les processus de création et de perception, et d’autre part dans le champ musical, les recherches aux studios de Paris, Cologne, Berlin et Milan. Sont ensuite mis en regard de manière approfondie, sous l’angle de la résonance sémantique, le texte et la musique dans certaines pièces électroacoustiques de Luciano Berio (Ritratto di città, C’è musica e musica, Chants parallèles, Visage, Laborintus 2), Bruno Maderna (Ritratto di città, Invenzione su una voce, Ages, Don Perlimplin, Ausstrahlung) et Luigi Nono (Das atmende Klarsein, Quando stanno morendo, Omaggio a György Kurtág, Risonanze erranti), des années 1950 aux années 1980<br>In the aftermath of World War II, music and technology met and, through the combined research of several scientific fields, new reflections arose regarding musical creation and the concepts of tools. The questioning about the history of creation is refined, widening the notion of semantics. Our study deals with the concept of semantic resonance. It develops this concept first by putting into perspective the main stages of the processing of text in the early twentieth century (the work of poets on sound, the theater and radio opera, psychoanalysis), then by describing, in the scientific field, the rise of the cognitive sciences since the first cybernetics and the contribution of their work on the processes of creation and perception, and, in the music field, the research in the studios in Paris, Cologne, Berlin and Milan. Within the framework of semantic resonance previously developed in the dissertation, a thorough parallel is then established between the text and music in some electroacoustic works by Luciano Berio (Ritratto di città, C’è musica e musica, Chants parallèles, Visage, Laborintus 2), Bruno Maderna (Ritratto di città, Invenzione su una voce, Ages, Don Perlimplin, Ausstrahlung) and Luigi Nono (Das atmende Klarsein, Quando stanno morendo, Omaggio a György Kurtág, Risonanze erranti), spanning from the fifties to the eighties

Au fondement de ce travail, il y a une interrogation sur la relation entre philosophie et politique. C'est en étudiant la rencontre de Claude Lefort et Leo Strauss avec Machiavel que l'on aborde cette relation. Comment Machiavel expose-t-il ses idées et quels effets cela a-t-il sur la pensée et la politique moderne ? Le travail de Machiavel, tel que présenté par Lefort et par Strauss, s'offre comme un outil, un « matériau » permettant de réfléchir - avec ou contre lui - à un événement politique en particulier, celui du développement du totalitarisme ou de ce que Strauss appelle la « tyrannie moderne ». L'expérience totalitaire peut-elle être appréhendée comme l'échec ou, au contraire, comme l'aboutissement de l'œuvre machiavélienne ? Ce questionnement nous conduit au cœur de la pensée politique de Lefort et de Strauss, il permet de créer entre eux un éclairant dialogue sur le politique et sur le rôle de la philosophie. En somme, de faire émerger un nouvel outil pour penser le monde<br>The subject of this dissertation is the relationship between philosophy and politics. It is by studying Claude Lefort and Leo Strauss' interpretations of Machiavelli that I choose to examine this relation. How does Machiavelli present his ideas, and what does this mean for modern thought and modern politics ? I used Machiavelli's work, as it is described by Lefort and by Strauss, as a "material", and attempted to think "with" or "against" it. The event I analysed is the development of totalitarianism, or of what Strauss calls "modern tyranny". Is totalitarianism the result of or, on the contrary, does it suppose the non-accomplishment of the possibilities opened up by Machiavelli ? These questions bring us back to Lefort and Strauss' own political ideas and allow us to create between them a fruitful dialogue on politics and on the role of philosophy - dialogue wich is, therefore, another "material" wich we can use to understand the world

Dissertação (mestrado)—Universidade de Brasília, Programa de Pós-Graduação em Teoria Literária e Literaturas, 2013.<br>Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-15T10:40:31Z No. of bitstreams: 1 2013_CaueAugustoMaiaBaptista.pdf: 712453 bytes, checksum: aa2b0f4e2224ec2457d17ec89288c38d (MD5)<br>Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-02-10T14:04:25Z (GMT) No. of bitstreams: 1 2013_CaueAugustoMaiaBaptista.pdf: 712453 bytes, checksum: aa2b0f4e2224ec2457d17ec89288c38d (MD5)<br>Made available in DSpace on 2014-02-10T14:04:25Z (GMT). No. of bitstreams: 1 2013_CaueAugustoMaiaBaptista.pdf: 712453 bytes, checksum: aa2b0f4e2224ec2457d17ec89288c38d (MD5)<br>A presente dissertação propõe a análise dos recursos estilísticos e narrativos utilizados na representação da ditadura militar brasileira no romance Avalovara (1973), em que Osman Lins condensa toda sua força criadora e sua postura crítica, na realização de obra que homenageia o rigor do ordenamento cósmico, sem abrir mão do compromisso ético de resistência à opressão de seu tempo histórico. Servirão de bússola para esta investigação as funções textuais do ser sobrenatural Iólipo, mais completa alegoria da opressão e da esterilidade militares. _______________________________________________________________________________________ ABSTRACT<br>This paper proposes the analysis of stylistic and narrative resources used in the representation of the Brazilian military dictatorship in the novel Avalovara (1973), in which Osman Lins condenses all his creative power and his critical stance, in performing work that honors the rigor of cosmic ordering, without giving up the ethical commitment of resistance to the oppression of his historical time. Serve as a compass for this investigation the textual functions of the supernatural being Iólipo, the more complete allegory of oppression and military sterility.

Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l'écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d'espace. Partant de l'association traditionnelle du rythme et de la métrique, la première partie observe comment l'espace métrique de l'écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l'espace comme " substance ", c'est-à-dire qu'elle observe l'écriture dans son déroulement même, d'abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l'agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l'écriture sur la page. Cette dernière, corps de l'écriture, révèle dans le poème le corps de l'écrivant. C'est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d'espaces du discours et d'espaces de sens (et d'images) qui implique tout autant le locuteur que le lecteur.

Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l’écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d’espace. Partant de l’association traditionnelle du rythme et de la métrique, la première partie observe comment l’espace métrique de l’écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l’espace comme « substance », c’est-à-dire qu’elle observe l’écriture dans son déroulement même, d’abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l’agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l’écriture sur la page. Cette dernière, corps de l’écriture, révèle dans le poème le corps de l’écrivant. C’est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d’espaces du discours et d’espaces de sens (et d’images) qui implique tout autant le locuteur que le lecteur<br>Through the combined analysis of six poem books of contemporary Spanish poetry, this thesis aims to define poetic writings and its rhythm. Rhythm is considered in relation with the notion of space. Starting with the traditional association of rhythm and meter, the first part studies how the metrical space of the writing of verses, with its structures and boundaries, involves the law and its transgression. On the other hand, the second part considers space as a “substance”: poetic writing is analyzed through its development in the language and sentences. Centered on the figure of the “line”, the second conception of rhythm also implies temporality, which is included in the words themselves (the verbs) and generated by the combination of the sentences. However, in the poem books, sometimes linearity is deconstructed by different phenomenon that deal with language (the dissolution of syntaxes), verse (the enjambment, the dissemination on various lines), and the page. The last chapter is dedicated to the visibility of writing on the page. As a concretization of the writing act, the page is also a revelation of the writer of the poem. Our third and last part is centered on the subject, its different faces and representations. Rhythm appears, at last, as a mosaic of discursive and semantic spaces that imply the speaker as much as the reader

L'appréhension moderne du temps se vide de ses attributs traditionnels : le sacré et la transcendance. Les anciennes réponses des oeuvres mythiques à l'angoisse de la fin et au fantasme de victoire sur l'entropie et sur la mort sont rejetées : le temps circulaire, l'immortalité et l'éternité. Mais ces phénomènologies révolues "ci-gîssent" dans le fantastique moderne, notamment chez Gautier, Kafka, Ray, Lovecraft, Tolkien et Borges. Sauf pour Tolkien, ces cadavres sacrés sont des moyens et non des fins grâce auxquels ils initient une priorité et une tradition esthétiques communes : faire valoir notre plaisir à imaginer l'existence réécrite autrement. Tous organisent ainsi un renouvellement du temps et, par là, une résistance de l'imaginaire face aux dérives de la pensée née de la nouvelle fascination pour la rationalité, la matérialité et la linéarité ; le tout en réécrivant les mythes puis leurs évolutions ultérieures, les métaphysiques<br>Modern perceptions of time are divested of their traditional attributes : sacredness and transcendance. Previous responses of mythical works of art to the anxiety of the end and to the fantasm of victory over entropy and death are rejected : circular time, immortality, eternity. But these outgrown phenomenologies are "subjacent" to modern fantastic genre, especially to Gautier, Kafka, Ray, Lovecraft, Tolkien and Borges. Except for Tolkien, these sacred corpses are means and not ends through which to initiate a common aesthetic priority and tradition : the value of our pleasure in imagining existence rewritten differently. Thus, they all organise a process of time renewal and, through this, a resistance of the imagination to the thought of their time, originating from the fascination for rationality, materiality and linearity ; all this by rewriting myths and their mataphysical outcomes

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-05-09T13:40:17Z No. of bitstreams: 1 Ana Cristina Alves Balbino.pdf: 3166881 bytes, checksum: 93b0eda175156109920849b8b3df0546 (MD5)<br>Made available in DSpace on 2018-05-09T13:40:17Z (GMT). No. of bitstreams: 1 Ana Cristina Alves Balbino.pdf: 3166881 bytes, checksum: 93b0eda175156109920849b8b3df0546 (MD5) Previous issue date: 2018-03-23<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>The recent history of our country is formed by institutional violence and disregard for the rule of law. The experiences of those who have faced dictatorial impositions should be examples of the struggle for a better country. In this way, Raphael Martinelli's memoirs become important for the understanding of the period for this research, from 1939 to 1973. Trade unionism, especially in the Santos Jundiaí railroad, and the struggle against the civil-military dictatorship established after 1964, are examples of topics to be reflected and observed, so that we can review concepts and values today. This work attempts to trace a biography of political activist Raphael Martinelli, who has his life summarized in: a quick pass for youth football, the team of the São Paulo Athletic Club, current National Athletic Club, the experience of being a railroad in the São Paulo Railway, the presidency of the Railroad Workers' Union in São Paulo and the National Federation of Railroad Workers, head of the CGT, political persecution with the 1964 coup, participation in the National Liberation Action (ALN) and imprisonment in 1971, in Operation Bandeirante (Oban). The documentation used for this research is summarized in the biography “Iron Stations: Raphael Martinelli”; documents from your personal collection, such as police records, videos, interviews. To know the history of Martinelli is to get in touch with moments of political and social changes of our country. Its context of life is marked by four central points, that divided the chapters of this thesis: soccer, railroad, syndicalism and armed struggle. The themes are discussed from their experiences and memories. Through them we can see other possibilities, from a country that at the moment when it was learning to discuss democratic issues, such as the Basic Reforms, proposed by President João Goulart; and the relations between workers through their main representation, the union, suffered a heavy blow, with the seizure of power by the military, backed by civilian sectors, as wealthy landowners<br>A história recente de nosso país é formada pela violência institucional e pelo desrespeito ao estado de direito. As experiências daqueles que enfrentaram as imposições ditatoriais devem ser exemplo da luta por um país melhor. Dessa maneira, as memórias de Raphael Martinelli tornam-se importantes para o entendimento do período destinado à esta pesquisa, 1939 a 1973. O sindicalismo, em especial na ferrovia Santos Jundiaí, e a luta contra a ditadura civil-militar, instaurada a partir de 1964, são exemplos de temas a serem refletidos e observados, de maneira que possamos rever conceitos e valores nos dias de hoje. Nesse trabalho, tentamos traçar uma biografia do militante político Raphael Martinelli, cuja vida pode ser resumida em: uma passagem rápida pelo futebol na juventude, no time do São Paulo Athletic Clube, atual Nacional Atlético Clube; a experiência de ser ferroviário na São Paulo Railway; a presidência do Sindicato dos Ferroviários, em São Paulo; e da Federação Nacional dos Ferroviários; dirigente do Comando Geral dos Trabalhadores (CGT); a perseguição política com o golpe de 1964; a participação na Ação Libertadora Nacional (ALN); e a prisão em 1971, na Operação Bandeirante (Oban). A documentação que utilizamos para essa pesquisa resume-se na biografia “Estações de Ferro: Raphael Martinelli”; em documentos de seu acervo pessoal, tais como: fichas policiais, vídeos, entrevistas. Conhecer a história de Martinelli é entrar em contato com momentos de mudanças políticas e sociais de nosso país. Seu contexto de vida é marcado por quatro pontos centrais, que dividiram os capítulos desta tese: futebol, ferrovia, sindicalismo e luta armada. Os temas são discutidos a partir de suas experiências e memórias. Por meio delas, torna-se possível observarmos outras possibilidades de um país que – no momento em que estava aprendendo a discutir questões democráticas, como as Reformas de Base, propostas pelo presidente João Goulart, e as relações entre trabalhadores, por meio de sua principal representação, o sindicato – sofreu um duro golpe, com a tomada do poder pelos militares, apoiados por setores civis, como ricos proprietários

A travers les cas de cinq artistes (Mel Bochner, Douglas Huebler, Dennis Oppenheim, Ed Ruscha et Robert Smithson), il s'agit, dans cette étude, de rendre compte de la diversité et de la complexité des usages de la cartographie et de la photographie dans l'art américain des années 1960 et du début des années 1970, une période marquée par la remise en question de la définition formaliste de l’œuvre d'art. Loin de n'avoir, dans ce contexte, qu'une fonction documentaire - interprétation qui a prévalu jusqu'ici -, cartes et photographies, ainsi que nous le démontrons, jouent un rôle fondamental dans l' exploration de modalités différentes de la perception et la recherche de voies nouvelles pour l'art. Dans la première partie de la thèse, nous examinons comment le recours à la cartographie et au médium photographique s'articule à la problématique de la réintroduction de la temporalité dans les oeuvres d'art qui est au cœur de la crise du modèle moderniste. Dans un deuxième temps, nous traitons de la relation au paysage en montrant en quoi cartes et photographies participent d'une réflexion sur la redéfinition de l' abstraction en lien avec le réel. La troisième partie porte sur les façons dont les techniques et les représentations cartographiques et photographiques servent à interroger les conceptions habituelles de l'espace, et ce à un moment où l'art investit de nouveaux sites. Nous envisageons de la sorte tant les usages conceptuels que matériels de la cartographie et de la photographie.

From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.

Dissertação de doutoramento em Letras, área de História, especialidade de História Contemporânea, apresentada à Faculdade de Letras da Universidade de Coimbra, sob a orientação do Prof. Doutor Luís Reis Torgal.

Bibliography: leaves 273-284. This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.

Esta tese discute a relação de Amílcar Cabral (1924-1973) com o marxismo, desde os anos de estudante em Lisboa até a liderança do Partido Africano para a Independência da Guiné e Cabo Verde (PAIGC). Objetivou-se compreender como o seu interesse pelo marxismo interagiu com o desenvolvimento do seu ideário nacionalista, nos anos de estudante e engenheiro agrônomo (1948- 1960). Na fase de dirigente do PAIGC (1960-1973), quisemos compreender o posicionamento de Cabral perante a Guerra Fria. Cabral utilizava instrumental marxista nas suas elaborações, e tinha a União Soviética como a sua principal aliada; ao mesmo tempo, não se definia como marxista ou não marxista, buscava apoio no mundo capitalista e evitava envolver-se com disputas ideológicas não diretamente ligadas à luta do PAIGC. Como explicar e interpretar este posicionamento? As fontes utilizadas foram cartas, estudos agrários, artigos na imprensa, bem como discursos políticos proferidos em países socialistas, em países capitalistas, em fóruns internacionais e no PAIGC. Concluímos que Cabral envolve-se com o marxismo antes de ter definido um projeto de independência para a Guiné e Cabo Verde, numa altura em que se interessava pelos problemas da humanidade, especialmente pela situação dos negros e do continente africano, e em que ainda nutria sentimentos de pertença à identidade portuguesa. Ao entregar-se à luta anticolonial, continua a teorizar com instrumental marxista, o que é explicado não apenas pelo apoio recebido do bloco socialista, mas pelas suas convicções pessoais. A não assunção de definições ideológicas por Cabral deve ser entendida mais como uma estratégia política do que como um traço da sua personalidade. Por sua vez, a postura de não alinhamento do PAIGC foi conseguida graças à habilidade diplomática de Cabral, ao seu bom relacionamento com a União Soviética e à prudência diante dos limites impostos pela Guerra Fria.<br>This thesis addresses Amilcar Cabral’s (1924-1973) relation with Marxism, from his early days as a student in Lisbon to becoming the leader of the African Party for the Independence of Guinea and Cape Verde (PAIGC). This thesis is geared towards understanding the role Cabral’s interest on Marxism played in the development of his nationalist ideology as a student and an agricultural engineer (1948-1960). The purpose was also to understand Cabral’s positioning as head of the PAIGC (1960-1973) during the Cold War. On the one hand, he made use of Marxist ideas and had Soviet Union as his main ally. On the other hand, however, he did not define himself as a Marxist or non-Marxist, he sought support in the capitalist world, and avoided getting involved in any ideological disputes non-related to the PAIGC struggle. How may one explain and interpret his leadership positioning? Letters, agricultural studies, articles in the press, as well as political speeches in socialist countries, capitalist countries, international forums and at the PAIGC were used herein. We conclude that Cabral gets involved with Marxism before defining an independence project for Guinea and Cape Verde, in a time when he was interested in the problems of humanity, especially in the situation of black people and the African continent, a time in which he still identified as Portuguese. As he embarked on the anticolonial struggle, he continued to make use of the Marxist theory, which is explained not only by the support he receives from the socialist bloc but also by his personal beliefs. The fact that Cabral did not state his ideologies must be seen as a political strategy rather than a personality trait. PAIGC non-alignment posture is due to Cabral’s diplomatic skills, his good relationship with the Soviet Union, and his prudence in the face of the limits imposed by the Cold War.

Bibliography: leaves 273-284.<br>284 leaves : ill. (some col.) ; 30 cm.<br>This thesis examines the autobiographical texts of the Aboriginal women writers, Oodgeroo, Margaret Tusker and Monica Clare, in light of the 'community of commitment' which supported their publications. It considers how and why the Aboriginal women elicted outside support and how the ideology of the group informed the epistemology of the text.The role of collaborating white editors and professional editors are examined as crucial in influencing the style and content of the finished piece. The original manuscripts are compared against the published editions and the changes implemented by the editor are described. Following Frantz Fanon and Homi Bhaba, the adoption of the white ideological lattice by the Aboriginal author is characterised as the white mask of colonial mimicry. The outcomes of cross-cultural impersonation of the white editor are discussed, with the editorial collaboration viewed as the imposition of stereotyped representations of Aboriginality.<br>Thesis (Ph.D.)--University of Adelaide, Dept. of Social Inquiry, 2001

Tese de mestrado, História de África, Universidade de Lisboa, Faculdade de Letras, 2009<br>Nascido na Guiné portuguesa, educado em Cabo Verde e na universidade de portuguesa, profissional no campo da agronomia em Portugal e nos territórios colonizados, Cabral apelido que hoje dispensa muitas apresentações na historiografia africana, foi actor de um percurso único sedimentado nos tempos duros da dominação colonial portuguesa, quando fora de Portugal e do seu império, movimentos intelectuais, ideias políticas e acções culturais procuravam libertar o homem colonizado africano das malhas do colonialismo e da opressão. É com base nesta breve descrição que ressaltamos a necessidade de analisar as estratégias políticas e culturais de Cabral para a conquista da independência da Guiné e Cabo Verde, procurando o que foi produto da colonização portuguesa, mas sobretudo apurar como integrou contribuições teóricas internacionais e africanas, que em meados do século XX marcaram as escolhas e práticas dos intelectuais e políticos africanos integrados no processo de luta de libertação e independência. Procuramos estudar neste trabalho, a forma como este notável político africano estruturou as suas aprendizagens, e reflexões articulando a realidades guineenses e caboverdeanas do século XX, e as correntes marcantes do pensamento libertador africano. Tentaremos também perceber as diversas dinâmicas que possam ter contribuído de alguma maneira especial para construção da sua identidade que resultou na sua entrega à luta de libertação nacional. Cabral, as suas estratégias políticas e culturais, o seu impacto nos territórios africanos constituiu o eixo central desta investigação a que titulamos «Amílcar Cabral: Estratégias políticas e culturais para a independência da Guiné e Cabo Verde».<br>Born in portuguese Guinea, Cape Verde and educated in the University of Portuguese, professional in the field of agronomy in Portugal and the colonized territories, Cabral surname that today dispenses many presentations in African historiography, was actor of a single journey grounded in the hard times Portuguese colonial domination, when outside of Portugal and its empire, intellectual movements, political ideas and cultural activities sought the release colonized Africa man of the meshes of colonialism and oppression. It is based on this brief description that we rebound the need to analyse the and political and cultural strategies of Cabral for the conquest of the independence of Guinea and Cape Verde, looking for what was the product of Portuguese colonization, but above all establish how he integrated theoretical contributions international and African, that in the mid-twentieth century marked the choices and practices of African intellectuals and politicians into the process of struggle for liberation and independence. With this work, we intend to understand in how this remarkable African political structured his learning and thoughts, articulating the Guinean and capeverdien realities of the twentieth century, and marked currents of liberating thought in Africa. We will also try to understand the various dynamics that may have contributed in some special way for construction of his identity that may led him to the surrender to the struggle of national liberation. Cabral, their political and cultural strategies, their impact on African territories was the axle of this research that name "Amílcar Cabral: Strategies for the political and cultural independence of Guinea and Cape Verde .

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