Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-12-09T15:55:50Z No. of bitstreams: 2 Dissertação - Diovana Ferreira de Oliveira Thiago - 2014.pdf: 849705 bytes, checksum: cb61206aaa6671011a36bfcb0094a88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-12-10T06:39:45Z (GMT) No. of bitstreams: 2 Dissertação - Diovana Ferreira de Oliveira Thiago - 2014.pdf: 849705 bytes, checksum: cb61206aaa6671011a36bfcb0094a88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-12-10T06:39:45Z (GMT). No. of bitstreams: 2 Dissertação - Diovana Ferreira de Oliveira Thiago - 2014.pdf: 849705 bytes, checksum: cb61206aaa6671011a36bfcb0094a88e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-12-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation investigates the concept of history in Ana Miranda‘s work, in order to demonstrate how she invents a colony in her novels and how an image of colonial times was being drawn in her fiction throughout her literary trail. Such image converges with an important moment in our history - the historiographical renewal from the 80s. In this sense, it is essential to demonstrate the place that women occupy in this portrait of the colony that the author presents. The woman who arises in Ana Miranda‘s fiction is not restricted to the domestic space and the roles of submission. This woman invades the public space, transgresses the rules, consciously conquers and takes an active role as subject of her own history, gaining visibility and subverting myths and stereotypes. / Esta dissertação investiga a concepção de história presente na obra de Ana Miranda, buscando demonstrar a forma como ela inventa a Colônia em seus romances e como foi se desenhando uma imagem dos tempos coloniais em sua ficção ao longo de sua trajetória literária, imagem essa que conflui com um momento importante da nossa historiografia - a renovação historiográfica dos anos 80. Nesse sentido, torna-se imprescindível demonstrar o lugar que a mulher ocupa nesse retrato da Colônia que a autora nos apresenta. A mulher que surge na ficção de Ana Miranda não está restrita ao espaço doméstico e aos papeis de submissão, essa mulher invade o espaço público, ela é transgressora das regras, conscientemente ela conquista e assume um papel ativo como sujeito de sua própria história, ganhando visibilidade, subvertendo mitos e estereótipos.

”Fashion is the eternal recurrence of the new. Are there nevertheless motifs of redemption precisely in fashion?” This question, left unanswered in Walter Benjamin’s late text “Central Park”, is the point of departure for this thesis. Benjamin is both adamant and explicit in his critique of fashion’s alienating influence on the collective, but despite this he seems at times to ascribe to it some kind of revolutionary potential. The most well-known instance of this is the 14th thesis of “Theses on the Concept of History”. There, Benjamin compares the ”tiger’s leap” of sartorial citation to the historical leap of the Marxist revolution. Employing Benjamin’s philosophy of history as a theoretical framework, this thesis examines the roles ascribed to fashion in The Arcades Project, in order to elaborate on its political potential in Benjamin’s late thinking, as well as to understand this potential in light of Benjamin’s critique of fashion as fetishism and phantasmagoria.

Nesta tese de doutorado tentamos compreender como a experiência da história e do tempo nos Estados Unidos deu origem a uma cultura histórica singular e distinta, se comparada com outras experiências da história e do tempo em outros contextos nacionais do Ocidente. Neste sentido, se no âmbito da história política e disciplinar, desde o século XIX, existe uma valorização de determinados eventos consagrados a Revolução Americana, os pais fundadores, por exemplo por outro lado, alguns eventos e grupos sociais foram negligenciados por aquelas macronarrativas. Entretanto, tais eventos e grupos sociais permanecem como aquilo que poderíamos chamar de presença do passado no presente. / In this Ph.D. Thesis we attempt to understand how the experience of history and time in the United States originated a singular and unique historical culture, if we compare with the others experiences of history and time developed in different national contexts in the Western World. Since the beginning of the 19th century, the realm of political history and disciplinary history started to shed more light over some established events and social groups - such as the American Revolution and the founding fathers. On the other hand, some important social groups and events had been neglected since then over a macro narrative that overshadow them. However, such neglected events and social groups that had been silenced since then still persist as we could call the presence of the past in the present.

[pt] Em 1921, Walter Benjamin publicou, com apenas 28 anos, seu controverso ensaio Da crítica da violência, representando um acerto com o modelo republicano de governança e desenvolvimento à luz da Primeira Guerra Mundial. Identificando uma relação intrínseca e necessária entre autoridade legal e violência física, Da crítica da violência tem se tornado um texto altamente influente para a discussão de violência na política, inspirando teóricos tão diferentes como Carl Schmitt, Herbert Marcuse, Jurgen Habermas, Jacques Derrida e Giorgio Agamben. Esta dissertação de mestrado propõe uma leitura do ensaio benjaminiano que o entende primeiramente como resposta à filosofia crítica e política de Immanuel Kant. Discutindo os conceitos de crítica, política vis-à-vis violência e história nas obras dos dois autores, essa dissertação visa esclarecer as divergências e também paralelas nos pensamentos dos dois autores, argumentando que ambos autores defendem uma visão que considera a violência como o único meio para alcançar a liberdade. / [en] In 1921, Walter Benjamin published, at the age of only 28, his controversial essay Critique of violence, representing an account on the republican model of governance and development in the light of the First World War. Identifying an intrinsic and necessary relationship between legal authority and physical violence, Critique of violence has become a highly influential text for the discussion on the role of violence in politics, inspiring theorists as different as Carl Schmitt, Herbert Marcuse, Jurgen Habermas, Jacques Derrida and Giorgio Agamben. This master thesis proposes a reading of Benjamin s essay which it comprehends primarily as an answer to the critical and political philosophy of Immanuel Kant. Discussing the concepts of critique, politics vis-à-vis violence, and history in the works of both authors, this master thesis has the goal to clarify the divergences but also the parallels within the thought of both authors, arguing that both authors defend a position which considers violence as the only means for achieving freedom.

Identity, Ethnicity and Empires: Some Final ThoughtsThe article doesn't have an abstract / El artículo no presenta resumen.

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My thesis discusses the ways in which Julia Alvarez's In the Time of the Butterflies (1994) and In the Name of Salomé (2000) are revolutionary texts contesting traditional, male dominated history and redirecting historical and communal foci to the lives of Dominican women. I employ Walter Benjamin's theories found in his essays "The Storyteller" (1936) and "On the Concept of History" (1940) to assist my exploration of Alvarez's questions concerning the power and effect of storytelling, and the importance of reconstructing various historical voices and images, specifically, the importance of reconstructing female voices in male dominated cultures. I discuss the female-narrated component to Dominican history which Alvarez creates in her reconstruction of the lives of these women. Alvarez confronts the challenge of breaking these women out of their marginalized status by combining fiction with history in her reconstruction of their lives. Alvarez assumes the multifaceted role of mediator, story-teller, and historian as she remembers and re-presents Dominican history through the eyes of women who lived, experienced, and affected change within the Dominican Republic. Without merely act as a reporter of historical "facts," Alvarez reconstructs the lives of these women fictionally, applying her impressions and ideas about the personalities, feelings, and thoughts of these women, and historically, utilizing first and secondhand accounts and information about the women. Ultimately, the women are presented as individuals but are also connected to a collective memory and history. As individuals with human characteristics, the women are no longer inaccessible legends. As members of a collective memory and history, the women are redeemed from the isolating effect of their patriarchal society which would have women remain silent. Due to Alvarez's reconstruction, their stories finally have the potential for further dissemination in the future with the possibility to affect other oppressed peoples. Thus, Alvarez's reconstruction of the resistance of a few women in Dominican history produces the capacity for additional resistance by Alvarez's audience to the same forces that these women were combating which continue to exist today — forces such as patriarchy, dictatorial governments, fascism, and economic disparity.

Since the most ancient of the Shijing songs were accompanying the rites of the ancestral sacrifice, which already by definition represented communication with the past, the notion of history is present in these hymns as well. In the latter half of the Western Zhou period, significant changes occurred in the ritual practice. These changes are evident in the shift of perspective in several Zhou song hymns, too. At the same time, the banquet odes appear for the first time on Zhou court. These odes already explicitly describe the glorious history of the house of Zhou, and so become the means of legitimacy of the weakening royal clan. History here also represents the pattern of the exemplary rule and the source of premonitory precedents. By the end of the Western Zhou dynasty, the notion of remote past becomes fully idealized.

Jag har i min masteruppsats, utifrån ett begreppshistoriskt perspektiv med transnationell tillämpning, analyserat begreppsöverföringen och etableringen från begreppet Holocaust till det svenska ordet förintelsen med dess nya betydelse Förintelsen. Jag har även analyserat när, hur och vilka som befäste begreppet Förintelsen i svenskt språkbruk. Ordet och begreppet Holocaust Min analys visar att begreppet Holocaust överförs till Sverige och etableras i Sverige genom det svenska ordet och begreppet Förintelsen. Ordet och begreppet Förintelsen Mitt arbete presenterar ett resultat som kullkastar tidigare uppfattningar om etableringen av ordet och begreppet Förintelsen i svenskt språkbruk. Etableringen av ordet och begreppet Förintelsen genomfördes på följande sätt. Bonniers Förlag lanserade år 1978 en översättning av romanen Holocaust, i Sverige marknadsförd med titeln Förintelsen. År 1979 premiärvisade SVT den amerikanska tv-serien Holocaust, i Sverige marknadsförd med titeln Förintelsen. Tidningarna fylldes från år 1979 av artiklar om det nazistiska folkmordet på judar under andra världskriget med rubriken Förintelsen samtidigt som Skandinaviska Institutet för judisk utbildning och kultur producerade läromedel för Sveriges samtliga skolor och bibliotek under begreppet Förintelsen. År 1982 repriserades tv-serien Förintelsen, omgärdad av faktaprogram, allt under det samlande namnet Förintelsen. Ordet och begreppet Förintelsen hade slutligen, efter fyra års intensiv användning, slagit igenom i svenskt språkbruk. Mitt arbete visar att det fanns en samstämmighet, en gemensam vilja hos Bonniers Förlag, SVT, massmedia och judiska organisationer att benämna det nazistiska folkmordet på judar under andra världskriget under den gemensamma benämningen Förintelsen. Alla samverkade för att befästa ordet och begreppet Förintelsen. Jag har i mitt arbete visat att det inte enbart var titeln på en tv-serie som befäste begreppet Förintelsen i svenskt språkbruk. Det krävdes en omfattande samverkan för att etablera ordet och begreppet Förintelsen i Sverige såsom ett samlande begrepp för det nazistiska folkmordet på judar under andra världskriget. / In my master's thesis, from a conceptual historical perspective with transnational application, I have analyzed the concept transfer and the establishment from the concept of Holocaust to the Swedish word förintelsen with its new meaning Förintelsen. I have also analyzed when, how and who consolidated the concept of Förintelsen in Swedish language use. The word and the concept of the Holocaust My analysis shows that the concept of the Holocaust is transferred to Sweden and established in Sweden through the Swedish word and the concept of Förintelsen. The word and the concept of Förintelsen My work presents a result that overturns previous perceptions about the establishment of the word and the concept of Förintelsen in Swedish language. The establishment of the word and the concept of the Holocaust was carried out in the following way. Bonniers Förlag launched in 1978 a translation of the novel Holocaust, in Sweden marketed with the title Förintelsen.In 1979, SVT premiered the American television series Holocaust, in Sweden marketed with the title Förintelsen. From 1979, the newspapers were filled with articles about the Nazi genocide of Jews during World War II, entitled Förintelsen, while the Scandinavian Institute for Jewish Education and Culture produced teaching materials for all of Sweden's schools and libraries under the term Förintelsen. In 1982, the television series Förintelsen was repeated, surrounded by factual programs, all under the collective name Förintelsen. The word and the concept of Förintelsen had finally, after four years of intensive use, made its way into Swedish language. My work shows that there was a consensus, a common will at Bonniers Förlag, SVT, the media and Jewish organizations to name the Nazi genocide of Jews during World War II under the common name Förintelsen. Everyone worked together to consolidate the word and the concept of Förintelsen. In my work, I have shown that it was not only the title of a TV series that consolidated the concept of Förintelsen in Swedish language. Extensive collaboration was required to establish the word and concept of Förintelsen in Sweden as a unifying concept for the Nazi genocide of Jews during World War II.