This thesis introduces China's contemporary history especially the period 1949-1976 based on the analysis of selected British and American historiography. Through the criticism and comparison of British and American scholars' discourse, this thesis will obtain a deeper understanding of China's history. This thesis regards Mao Zedong as the main China's historical figure, as well as the construction of new China as the main line of writing. So the position of Mao and the Chinese Communist Party during the period of the construction of new China is an important part to discuss in this thesis. The thesis mainly talks about the period 1949-76 of China from the perspective of political and economic policies and movements, international relations, social issues, military actions and cultural movements. In addition, this thesis also emphasizes on discussing the angles, methodology and terminology of British and American historiography on China's contemporary history.

The dissertation focuses on the microhistorical analysis of the last years of the life of Hugo Vavrečka (1880-1952), technician, journalist, economist, diplomat and sales director of the Baťa company. The theoretical and methodological part elaborates on the epistemological differences between biographical and microhistorical research, after which attention is paid especially to the possibilities of microhistorical research in the field of contemporary history. The methodology of clues (Carlo Ginzburg) and the researcher's own positionality follow, while the sources used are presented. The interpretative part briefly summarizes the basic outlines of Hugo Vavrečka's life before 1944, after which the main research focus is put on his actions from autumn 1944 to his death in August 1952. Thesis analyses Vavrečka's post-war life, his own attitude to the personal and socio- political situation, to its changes, trying to name the approaches and individual motivations or beliefs with which he chose them. Last but not least, the work also focuses on the broader context of his family and friends, as well as on at least partially exposing the steps of his post-war opponents, who largely led him into this uneasy situation.

This article presents a study that has explored the concept of intuitivity in HCI research. A literature study was carried out on 76 articles published at the CHI conference between years 2004 and 2017, all discussing or claiming to design for intuitivity in some capacity. The articles have been approached through the lens of discourse analysis, and an inductive reading has been carried out to identify different perspectives on intuitvity, and themes related to intuitivity that appear in the articles. Ten different perspectives on intuitvity have been found within these articles, providing different views on what intuitivity is, and how to design for it. As they mostly, with a few exceptions, argue that intuitivity is a desirable quality despite these large differences in perspectives it is argued that the term has an exclusionary quality, making that which it does not consider invisible. Implications of this are discussed, with a focus on the fact that all articles assume and design for able-bodied users. / I den här artikeln presenteras en studie som har utforskat konceptet intuitivitet i Människa-Datorinteraktion (MDI). En litteraturstudie har genomförts på 76 artiklar som publicerats vid CHI-konferensen mellan åren 2004 och 2017, som alla diskuterar eller gör anspråk på att designa för intuitivitet i någon bemärkelse. Dessa artiklar har angripits genom användande av diskursanalys, och en induktiv läsning har genomförts för att identifiera olika perspektiv på intuitivitet, samt teman relaterade till intuitivitet, som finns i texterna. Tio olika perspektiv på intuitivitet har hittats inom de artiklar som studerats som alla i någon mån ger olika idéer om vad intuitivitet är eller hur den uppnås. Då de flesta artiklar, med några få undantag, presenterar intuitivitet som en eftersträvansvärd kvalitet trots ganska stora skillnader i perspektiv på begreppet argumenterar den här texten för att termen intuitivitet har en exkluderande kvalitet, där den osynliggör det som termen inte tar i åtanke. Implikationer diskuteras med fokus på det faktum att alla artiklar antar och designar för en normativt funktionell kropp.

As obras do escritor norte-americano Edgar Lawrence Doctorow aqui estudadas desenham um panorama criticamente iluminador da história dos Estados Unidos no século XX. Em The Book of Daniel, acompanhamos a trajetória da Esquerda americana dos anos 30 aos anos 60. Em Ragtime, o cenário histórico é a Belle Époque e a era do ragtime, do começo do século XX até a Primeira Guerra Mundial. Em Homer & Langley, o arco temporal se expande para abrigar grande parte do século da Primeira Guerra aos anos 80. Nos três romances há uma dialética entre o impulso de suscitar conexões e de figurar um quadro histórico e social mais amplo e a dificuldade de se realizar esse projeto por meio da própria linguagem e lógica da fragmentação, que impedem as articulações e emperram a representação. Nessa tese, procuro ler as ambiguidades e hesitações da forma nesses três romances como incertezas produtivas potenciais lições para o pensamento crítico contemporâneo, o qual tateia certezas num mundo em crise. Romances como Ragtime, The Book of Daniel e Homer & Langley são animados mais por uma hermenêutica da concretude do que por uma poética da relativização. A análise das estratégias de figuração do material histórico que compõe essas obras mostra como essas três narrativas revigoram o romance histórico na contemporaneidade / The novels by E. L. Doctorow studied here draw a critically illuminating panorama of American History in the 20th century. In The Book of Daniel, we follow the trajectory of the American Left from the thirties up to the sixties. In Ragtime, the historical scenery is the Belle Époque and the ragtime era, from the beginning of the century up to World War I. In Homer & Langley, the time frame is broadened to include almost the entire century from World War I up to de eighties. In those novels, we find a dialectical relationship between the impulse to bring forth connections and represent a larger social and historical picture, and the difficulty of achieving such a project through the very language and logic of fragmentation which obstructs the making of articulations and renders representation difficult. In this work, I try to read the ambiguities and hesitations of the form in those three novels as productive uncertainties potential lessons to contemporary critical thinking. Novels such as Ragtime, The Book of Daniel e Homer & Langley are animated more by a hermeneutics of the concrete than by a poetics of relativity. The analysis of the representational strategies those novels employ to depict the historical material from which they are made shows how those narratives reinvigorate the historical novel today

Este trabalho se propõe a uma revisão crítica das possíveis motivações do levante de julho de 1932. Uma breve analise da historiografia sobre o movimento mostra, especialmente no Estado de São Paulo, o predomínio da versão constitucionalista do levante. Tentaremos mostrar as inconsistências (inclusive cronológicas) desta e de outras explicações tradicionais e depois buscaremos formular algumas hipóteses sobre a gênese e o desenvolvimento do levante de 1932. / This paper aims to critically review the possible motivations of the São Paulo´s uprising in July 9, 1932. A brief review of the history of the movement shows the prevalence of the constitutionalist version of the uprising. We try to show the inconsistencies (including chronological) of this and other traditional explanations and then seek to formulate some hypotheses about this uprising´s genesis and development.

Dos Estados Unidos da América, o movimento denominado \"contracultura\" se propagou, nos anos sessenta do século XX, para diversos países, entre os quais o Brasil. Em meio à repressão imposta pelo regime militar, sobretudo a partir do AI-5, de dezembro de 1968, o ideário libertário da contracultura foi discutido por Luiz Carlos Maciel na coluna Underground de O Pasquim. Este trabalho analisa as motivações do movimento contracultural internacional e sua introdução no Brasil em um período marcado por fortes rivalidades políticas e ideológicas. Questiona, com base no discurso do autor acima citado, se a concepção de liberdade proposta pelo movimento é, como defende a crítica, mera expressão de escapismo hedonista ou efetivamente revolucionária. Investiga as origens históricas desse ideário, o qual é identificado como uma resposta à emergência do capitalismo e do cientificismo. / In the 1960s, a movement named counterculture spread out from the United States of America over many other countries in the world, including Brazil. Along with the repression imposed by the Brazilian military regime - mainly just after AI-5 - the set of libertarian doctrines of the counterculture started being discussed by Luiz Carlos Maciel in his column called \"Underground\" in the weekly newspaper O Pasquim. This study goes through the motivations of the international countercultural movement and its introduction into Brazil in a period distinguished by severe political and ideological rivalries. Furthermore, based on Maciel´s viewpoints, the text raises questions whether the concept of freedom proposed by the movement is either a simple expression of a hedonistic escapism - as defended by the critics - or actually revolutionary. The text also investigates the historical origins of these doctrines which are identified as an answer to the rise of both the capitalism and the scientificism.

Este trabalho tem como proposta central investigar as aproximações e os distanciamentos, as semelhanças e as diferenças entre dois campos de atuação: a história e o jornalismo. Embora tenham especificidades e características muito próprias, os dois ofícios dividem algumas práticas em comum, entre elas contar histórias. O que se propõe aqui é um debate teórico e uma interpretação da escrita da história protagonizada por jornalistas. Os quatro volumes da série As ilusões armadas, publicados entre 2002 e 2004 pelo jornalista brasileiro Elio Gaspari, funcionam como um pano de fundo para discutir alguns conceitos-chave da história e do jornalismo, como fato histórico e notícia, entrevista e fontes orais, a crítica da fonte, além de debater a escrita da história, especialmente quando ela é executada por repórteres que se valem das técnicas jornalísticas para construir obras de maior fôlego, a partir de temas, momentos e personagens históricos. Para compor os quatro capítulos, foram fundamentais os textos de autores que pensam sobre a história a partir de reflexões teóricas, como Paul Ricoeur, François Hartog, Jörn Rüsen e Reinhart Koselleck, além dos trabalhos produzidos no Institut d´Histoire du Temps Présent (IHTP). Entre os teóricos do jornalismo, as pesquisas de Nelson Traquina e Luiz Gonzaga Motta balizaram as discussões em torno da notícia e da pretensa objetividade jornalística. Na primeira parte, a tese de Tobias Peucer (1690) foi ponto de partida para as (antigas) relações entre história e jornalismo. O capítulo seguinte trata do conceito de notícia, do fato histórico e de como esses dois temas aparecem nos livros de Gaspari. O terceiro capítulo analisa como o jornalista se apropria das fontes, unindo técnicas da história e do jornalismo para construir o texto. As estratégias de escrita do autor estão apresentadas no quarto e último capítulo, mescladas com discussões teóricas e metodológicas a respeito da escrita da história. Gaspari escreve livros históricos com técnicas da reportagem e do jornalismo e, assim, compõe uma produção classificada neste tese como “híbrida”. / This paper has the objective of investigating the approach and gaps, the possibilities and differences, between two action fields: History and journalism. Tough having their very own characteristics and specifications, the two occupations share a few practices, and telling stories is one of them. The purpose here is a theoric debate and an interpretation on the historic writing performed by journalists. The four volumes of "As Ilusões Armadas", published between 2002 and 2004 by Brazilian journalist Elio Gaspari, work like a background for discussing key-concepts of journalism and history, as both historic fact and news, interview and oral source, the critic on the source, and also debating the writing of history, specially when carried out by reporters who make use of journalism technics to build more breathtaking texts, from themes, moments, and historic characters. For making the four chapters, texts from authors that think about history from theoretical reflections, like Paul Ricoeur, François Hartog, Jörn Rüsen and Reinhart Koselleck, as well as papers produced at Institut d'Histoire du Temps Présent (IHTP). Between theoreticals of journalism, the researches of Nelson Traquina and Luiz Gonzaga Motta guided the discussions about news and the alleged journalistic objectivity. In the first part, Tobias Peucer's thesis (1690) served as a starting point for the (old) correlations between history and journalism. The following chapter deals with the concept of news, the historic fact and how these two themes are shown in Gaspari's books. The third chapter analyses how the journalist appropriates the used sources, and joins history and journalism technics to write a text. The author's writing strategies are introduced in the fourth and last chapter, mixed with theoretical and methodological discussions about the writing through history. Gaspari writes historical books using journalistic technics, creating an hybrid text.

La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986). L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis. La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui : le théâtre de l’Éveil. La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste : transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)… / The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization. Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982. In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new : it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions. Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium. All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre.

This doctoral thesis deals with the intellectual biography of the writer and journalist Manuel Brunet (Vic, 1889, Figueres, 1956). It reconstructs the life and professional studies of the author, and the most important facets of his literature and journalism. In addition, it examines his literary texts. A special emphasis has been placed on the study of journalistic production of Brunet and on the analysis of the professional profile of the author. Examination and assessment of its production has been accurate, including a classification of the items and a comparison of his journalistic style with that of other contemporary authors, both Catalan (Josep Pla and Joseph M. de Sagarra), French (Charles Maurras and Léon Daudet) and English (GK Chesterton and Hilaire Belloc). The latter part of the work analysises the condition of "victor won" of Manuel Brunet after the Spanish Civil War, and how this author is an example of a whole generation of conservative Catalan nationalist witers who lived a difficult situation after the conflict. / Aquesta tesi doctoral aborda la biografia intel•lectual de l’escriptor i periodista Manuel Brunet (Vic, 1889-Figueres 1956). Reconstrueix la trajectòria vital i professional de l’autor i estudia les facetes més rellevants de la seva producció literària i periodística. A més s’hi analitzen els seus textos literaris. S’ha posat especial èmfasi en l’estudi de la producció periodística de Brunet, així com en l’anàlisi del perfil professional de l’autor. L’examen i valoració de la seva producció ha estat detinguda, amb l’agrupació dels articles per àmbits temàtics i la comparació del seu estil amb el d’altres autors contemporanis, tant catalans (Josep Pla i Josep M. de Sagarra) com francesos (Charles Maurras i Léon Daudet) i anglesos (G. K. Chesterton i Hilaire Belloc). A l’última part del treball, s’aborda l’anàlisi de la condició de “vencedor vençut” de Manuel Brunet després de la guerra, i la forma com aquest autor és exemple de tota una generació d’escriptors catalanistes conservadors que van viure una situació complicada després del conflicte.

El objeto de esta investigación es visibilizar la presencia femenina en las dinámicas de cambio social acaecidas en las islas occidentales del Archipiélago Canario durante la II República, la Guerra Civil y la dictadura franquista. El presente trabajo inicia el camino para cubrir un vacío en la historia reciente de nuestras islas: la presencia histórica de las mujeres durante la Segunda República y la Dictadura franquista, ya que los estudios feministas y de género sobre estas cuestiones son, en las islas, todavía muy escasos y además parciales al tratar sobre cuestiones muy diversas, de manera que el conocimiento sobre la labor de las mujeres de la provincia de Santa Cruz de Tenerife en este periodo histórico no había sido tratado de manera general. Nuestra investigación abarca tanto la construcción socio-cultural de los diferentes modelos de feminidad existentes en Canarias en el periodo estudiado como el modo de comprender el impacto de las dinámicas políticas, sociales y económicas en la concepción social de la mujer canaria. Profundizando en algunos aspectos más específicos y determinantes en la vida cotidiana de la población femenina; aspectos como la violencia de género, la presencia de las mujeres en el ámbito laboral, la religiosidad, la educación, etc. Gracias a estos elementos analizados se pueden establecer diferentes parámetros que explican las ideas de feminidad existentes en las islas, las modificaciones que sufren y las actuaciones socio-políticas más destacadas de las mujeres isleñas en las etapas históricas estudiadas. Algunos de los parámetros destacados en el estudio fueron: el alto índice de analfabetismo, la existencia de una rígida moral sexual frente a la supervivencia de determinadas conductas culturalmente más laxas en lo referente al sexo fuera del matrimonio, el aumento de la presión social y moral al imponerse el ultracatolicismo de la España franquista, el machismo confrontado con la emigración masiva de hombres a América Latina, la infravaloración del trabajo de las isleñas, la de la participación activa de las mujeres en las revueltas sociales en la etapa republicana, la destrucción tras el golpe de estado del 18 de julio de los logros alcanzados por las mujeres durante la República, la represión sistemática a las mujeres que cuestionaban el orden político o social impuesto por las fuerzas franquistas, etc. Este trabajo se divide en dos grandes etapas: la II República y su impacto entre las mujeres de las islas (realizamos un análisis comparando cuatro tipologías ideales que representan cuatro maneras de entender la feminidad: mujeres modernas, obreras, católicas y falangistas) y la dictadura franquista desde el golpe militar del 36, momento en que se configura el nuevo régimen en el archipiélago. Para completar la realidad femenina del periodo histórico investigado se estudia a aquellas mujeres que quedaron al margen en su paso por la prisión provincial de Santa Cruz de Tenerife. Para la elaboración del presente trabajo de investigación se han consultado diversos archivos y fuentes: el Archivo Histórico Provincial de Santa Cruz de Tenerife (fondo de la Sección Femenina, expedientes de reclusas de la prisión provincial, series del Gobierno Civil, expedientes del Tribunal de Represión de la Masonería y el Comunismo, etc.) / Thesis title: WOMEN AND SOCIAL CHANGE IN THE PROVINCE OF SANTA CRUZ DE TENERIFE.1931-1975. HOUSEWIVES, COMRADES AND MARGINALIZED. The purpose of this research is to demonstrate the presence of women in the dynamics of social change that occurred in the western islands of the Canary Archipelago during the Second Republic, the Civil War and the Francoist dictatorship. We studied the presence of women in the province of Santa Cruz de Tenerife between 1931 and 1975. There are two main stages: in the first place the Second Republic, and its impact among women in the islands (performing an analysis comparing four ideal types representing four understandings of femininity, modem women, working c1ass, Catholics and Falangists) and in the second place the Francoist dictatorship since the military coup of 36, at which time the new regime is set in the archipelago (studying women's participation in various associations, standing out one called Sección Femenina). To complete the feminine reality of the studied historical period, we investigated women who were marginalized (government opponents, prostitutes, etc.) on their way through the provincial prison of Santa Cruz de Tenerife. Special attention is paid to the socioeconomic asymmetries existing in the Canary Islands population of the first half of the twentieth century, to understand the reality of multiple and variable inequalities faced by the island women in this historical period, characterized by profound social conflicts and major changes within the sphere of politics, economics and socio-culture. It also discusses the presence of women at different social classes, the development of patriarchy within a chieftainship system and increasingly repressive (especially after the military uprising of 1936) and, therefore, the inequality and violence of a kind on another, exercising their power of repression and domination over all the women. For the preparation of this research have been consulted various sources in the Provincial Historic Archive of Santa Cruz de Tenerife (collection of the "Sección Femenina", records of inmates in the provincial prison, series of civil government, court records for the Repression of Freemasonry and Communism, etc..) municipal and parish archives, insular press, and so on.