Este trabalho busca compreender a articulação do cinema moderno da América Latina com a literatura que lhe era contemporânea e a tradição letrada latino-americana na construção de um projeto nacional-continental. Para isto, recorre-se à análise de três filmes: Cabezas cortadas (Glauber Rocha, Brasil/Espanha, 1970), Una pelea cubana contra los demonios (Tomás Gutiérrez Alea, Cuba, 1971) e La nación clandestina (Jorge Sanjinés, Bolívia/Espanha, 1989). Cabezas cortadas apresenta múltiplas relações com a literatura: a afinidade com os \"romances de ditadores\" publicados na América Latina nos anos 1970; além disso, ao pretender-se uma apropriação \"borgeana\" de Shakespeare, o filme se situa, no panorama latino-americano, dentro de um amplo movimento de revisão da obra do bardo. Com Una pelea cubana contra los demonios Gutiérrez Alea adaptou estudo histórico homônimo de Fernando Ortiz, publicado em 1959. No filme observa-se um diálogo mais amplo com a obra de Ortiz, para além da pesquisa histórica que lhe serve de inspiração. Quanto a La nación clandestina e o desenvolvimento da obra de Sanjinés, estes podem ser compreendidos através de uma comparação com o chamado neo-indigenismo literário da região andina. Se, como afirmou Jean-Claude Bernardet, o cinema brasileiro encontrou temas e formas na literatura, a tese que aqui se apresenta é de que o mesmo pode ser afirmado com relação ao cinema moderno da América Latina em geral: os cineastas fundaram os alicerces para a criação de um \"cinema latino-americano\" nas letras, terreno em que uma consciência latino-americana mais se havia enraizado até então / This research seeks to understand how modern Latin American cinema articulates itself with the literature of the same period and with Latin America literary tradition in building a nationalcontinental project. To achieve this goal we have the analysis of three modern Latin-American movies and their links with literature. The films are Glauber Rocha\'s Cabezas cortadas (1970), Tomás Gutiérrez Alea\'s Una pelea cubana contra los demonios (1971) and Jorge Sanjinés\' La nación clandestina (1989). In the case of Cabezas cortadas, what interested me the most was the idea of analyzing the movie as something akin to the \"dictator novels\" that were published around the 1970s, same time as the movie was produced; also, by attempting to be a \"Borgean\" appropriation of Shakespeare the movie inserts itself in a broad revision of the playwright\'s work within the Latin American panorama, as it was produced at a time in which The Tempest was being revisited by Caribbean writers. With Una pelea cubana contra los demonios, Gutiérrez Alea has adapted Fernando Ortiz\'s historical investigation published in 1959. In the movie we see a broader dialogue with Ortiz\'s work, beyond the historical research that inspires it. As for La nación clandestina and the development of Sanjinés\' work, these may be understood from a comparison with the so-called literary neo-indigenism of the Andes region. If Brazilian cinema has found themes and forms in literature, as states Jean-Claude Bernardet, the present thesis states that the same may be said about modern Latin American film in general: the moviemakers have created in literature the foundation for a \"Latin American Cinema\", the field in which a Latin American consciousness had spread its roots the furthest at the time.

Historical research about the so-called New Left was until the late 1990s an entirely newacademic field in Swedish academia. However, a large part of this research still deals withquestions concerning “who did what” and perhaps more notably “who was right”.This thesis is an attempt to move away from such inquiries and instead look towardshow one albeit small but very important part of this so-called New Left discussed andused the term America and things American. Formed largely around the Anti-WarMovement, the Marxist-Leninist – or “Maoist” – Left naturally opposed US worldpolicies; but perhaps more interesting a significant part of the ideas about America andthe Vietnam War seemed to stem from USA itself – such as naming your anti-war folkgroup “Freedom Singers” after the US civil rights group “The Freedom Singers”.Analyzing three Swedish Marxist-Leninist magazines the study thus complements theresearch on not only the Swedish New Left but also the study of anti-Americanisms;firstly, by examining what the Marxist-Leninist left considered particularly American;secondly, by studying in what context these particular Americanism was discussed; and,thirdly, by observing if these notions changed over time, and why. The aim is thereforenot to paint a “complete” picture of the image of America in the Swedish New Left butto analyze how things considered American was used, and why.By discussing the term narrative (berättelse) against the term image (bild) the study amongother things shows that the terms America and things conceivably American was used toexpress a number of things, such as a demonization of the Soviet Union. Moreover, a lotof motivation not only came from China – the natural utopia for European Maoist – butfrom American black-power leaders such as Malcolm X; that is, the image of America inthe Swedish New Left was not only more complex than previously thought of, butindeed took inspiration and ideas, albeit sometimes anti-American ideas, from the UnitedStates itself – or rather, “the other America” inside the United States of America.

This study combines participant observation with intensive, semi-formal interviews to explore anti-Americanism in Madrid, Spain. It focuses on the experiences of the researcher and American respondents living in Spain. First, a broad typology of the anti-Americanism found in the study is constructed. This typology, reflecting the most commonly occurring types found in the study, consists of academic, structural, and nationalistic anti-Americanism. Next, the substantive areas of Bush's war in Iraq, political ideology, and Mead's concept of the Other are discussed in relation to current anti-Americanism in Madrid. Lastly, conclusions and suggestions for further research are discussed. / Department of Sociology

Thesis (M.A.--Church Hist.)--Catholic University of America, 1986. / Includes bibliographical references (leaves 100-103).

Thesis--Cornell University. / Vita. Bibliography: p. 659-681.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. U.W. copy paged incorrectly. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.--Church Hist.)--Catholic University of America, 1986. / Includes bibliographical references (leaves 100-103).

Este trabalho busca compreender a articulação do cinema moderno da América Latina com a literatura que lhe era contemporânea e a tradição letrada latino-americana na construção de um projeto nacional-continental. Para isto, recorre-se à análise de três filmes: Cabezas cortadas (Glauber Rocha, Brasil/Espanha, 1970), Una pelea cubana contra los demonios (Tomás Gutiérrez Alea, Cuba, 1971) e La nación clandestina (Jorge Sanjinés, Bolívia/Espanha, 1989). Cabezas cortadas apresenta múltiplas relações com a literatura: a afinidade com os \"romances de ditadores\" publicados na América Latina nos anos 1970; além disso, ao pretender-se uma apropriação \"borgeana\" de Shakespeare, o filme se situa, no panorama latino-americano, dentro de um amplo movimento de revisão da obra do bardo. Com Una pelea cubana contra los demonios Gutiérrez Alea adaptou estudo histórico homônimo de Fernando Ortiz, publicado em 1959. No filme observa-se um diálogo mais amplo com a obra de Ortiz, para além da pesquisa histórica que lhe serve de inspiração. Quanto a La nación clandestina e o desenvolvimento da obra de Sanjinés, estes podem ser compreendidos através de uma comparação com o chamado neo-indigenismo literário da região andina. Se, como afirmou Jean-Claude Bernardet, o cinema brasileiro encontrou temas e formas na literatura, a tese que aqui se apresenta é de que o mesmo pode ser afirmado com relação ao cinema moderno da América Latina em geral: os cineastas fundaram os alicerces para a criação de um \"cinema latino-americano\" nas letras, terreno em que uma consciência latino-americana mais se havia enraizado até então / This research seeks to understand how modern Latin American cinema articulates itself with the literature of the same period and with Latin America literary tradition in building a nationalcontinental project. To achieve this goal we have the analysis of three modern Latin-American movies and their links with literature. The films are Glauber Rocha\'s Cabezas cortadas (1970), Tomás Gutiérrez Alea\'s Una pelea cubana contra los demonios (1971) and Jorge Sanjinés\' La nación clandestina (1989). In the case of Cabezas cortadas, what interested me the most was the idea of analyzing the movie as something akin to the \"dictator novels\" that were published around the 1970s, same time as the movie was produced; also, by attempting to be a \"Borgean\" appropriation of Shakespeare the movie inserts itself in a broad revision of the playwright\'s work within the Latin American panorama, as it was produced at a time in which The Tempest was being revisited by Caribbean writers. With Una pelea cubana contra los demonios, Gutiérrez Alea has adapted Fernando Ortiz\'s historical investigation published in 1959. In the movie we see a broader dialogue with Ortiz\'s work, beyond the historical research that inspires it. As for La nación clandestina and the development of Sanjinés\' work, these may be understood from a comparison with the so-called literary neo-indigenism of the Andes region. If Brazilian cinema has found themes and forms in literature, as states Jean-Claude Bernardet, the present thesis states that the same may be said about modern Latin American film in general: the moviemakers have created in literature the foundation for a \"Latin American Cinema\", the field in which a Latin American consciousness had spread its roots the furthest at the time.

Thesis advisor: Marilynn Johnson / This dissertation examines how a coalition of nationalist organizations invented, revised, and popularized the performance of patriotic traditions in everyday life in the United States. Between 1920 and 1955, the Nationalist Network encouraged public schools, local governments, and sports and entertainment venues to incorporate patriotic symbols and rituals into Americans’ daily lives. This “everyday nationalism” included traditions as simple as displaying the American flag in front of government buildings or as elaborate as reciting the Pledge of Allegiance or performing “The Star-Spangled Banner.” The Network’s strategy entailed popularizing patriotic traditions in American society before asking for the endorsement of the federal and state governments. Some of these traditions remain integral to American national identity in the twenty-first century, in large part because the Network normalized the idea that patriotism must be publicly performed. The Nationalist Network comprised a variety of civic, hereditary, and veterans’ organizations, most notably the Daughters of the American Revolution, American Legion, and Veterans of Foreign Wars, which collaborated to advance their goal of spreading everyday nationalism. These organizations largely represented upper middle-class, white, Protestant, American-born citizens and the groups’ leaders believed that immigrants, people of color, workers, and others different from themselves were inherently less patriotic and needed to regularly perform patriotic traditions to truly become American. The Network began popularizing patriotic traditions as part of everyday life in the 1890s but between 1920 and 1955, its work became politically polarized. During these decades, right- and left-wing forces within the Network contested whether American national identity should be exclusive or inclusive. By examining the period between 1920 and 1955, we can see how different ideological factions of the Network used patriotic culture to appeal to Americans’ sense of national pride and to advance their particular beliefs about what the United States can and should represent. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.