Através da utilização de bibliografia e de fontes documentais, busquei analisar de que maneira os movimentos de oposição ao regime militar brasileiro se organizaram a partir da segunda metade da década de 1970, dando especial ênfase ao Movimento Estudantil, aos Movimentos Sociais e a algumas manifestações culturais da juventude brasileira do período. Tendo como ponto de comparação os mesmos movimentos nos anos 60, foi possível concluir que a oposição ao regime, nos anos 70 e 80, adquiriu novas formas de contestação, especialmente no interior dos movimentos sociais, nos quais as reivindicações partiam de suas bases, e não mais de uma cúpula. Frente a essa nova realidade, o movimento estudantil, com suas entidades e lideranças, se viu forçado a inserir-se na luta daqueles movimentos, enquanto grande parte da juventude, descrente face à contínua partidarização de suas reivindicações, voltou-se a novas formas culturais para demonstrar seus valores e desejos, fossem eles políticos ou não. / Using the bibliography and historical documents, I tried to analyze how the movements against the Brazilian military dictatorship reorganized themselves in the second part of the 1970s, especially the Students Movement, the Social Movements and some cultural manifestations of the countrys youth groups in that period. Making a comparison with the same groups in the 1960s, I could conclude that the opposition to the regime, in the 1970s and the 1980s, developed new ways of contestation, especially inside the social movements groups, in which the demands came from the people, not from the leaders anymore. Facing this new reality, the students movement, with its representative entities and leadership, had to join the struggle of the social movements groups, while many part of the Brazilian youth, not pleased with the interference of political groups in their demands, turned themselves to new cultural demonstrations to show their values and desires, being them political or not.

Wild Abandon traces a literary and cultural history of late twentieth-century appeals to dissolution, the moment at which a text seems to erase its subject’s sense of selfhood in natural environs. I argue that such appeals arose in response to a prominent yet overlooked interaction between discourses of ecology and authenticity following the rise and fall of the American New Left in the 1960s and 70s. This conjunction inspired certain intellectuals and activists to celebrate the ecological concept of interconnectivity as the most authentic basis of subjectivity in political, philosophical, spiritual, and literary writings. As I argue, dissolution represents a universalist and essentialist impulse to reject self-identity in favor of an identification with the ecosystem writ large, a claim to authenticity that flattens distinctions among individuals and communities. But even as the self appears to disintegrate, an “I” always remains to testify to its disintegration. For this reason, dissolution performs a primarily critical function by foregrounding an unsurpassable representational tension between sense of self and ecosystem. Each chapter explores a different perspective on this tension as it conflicts with matters of gender and race in works by Edward Abbey, Peter Matthiessen, Toni Morrison, Margaret Atwood, and Jon Krakauer. Assuming an anti-essentialist stance, all the texts I study acknowledge ecological interconnectivity as a universal condition but maintain the necessity of culturally mediated and individually constructed identity positions from which to recognize that condition.

Esta tese analisa seis peças de Tennessee Williams escritas entre as décadas de 1960 a 1980 [The Mutilated, I Can´t Imagine Tomorrow, A Cavalier for Milady, Kirche, Küche, Kinder (An Outrage for the Stage), Now the Cats with Jewled Claws e The One Exception)] a fim de serem investigadas as personagens femininas, sua abordagem e conjuntura a partir de um aprofundamento social, histórico e político que se afasta da leitura hegemônica das obras canônicas do autor, de realismo psicológico, biografismo e glamourizadas pelas versões fílmicas hollywoodianas. São identificadas as considerações estéticas que levam em conta as experimentações e inovações a partir dos contextos da contracultura, negligenciando, portanto, a ideia de que o autor é realista por excelência. As obras mostram uma abordagem de uma mulher que, apesar da conjuntura contracultural, não consegue se livrar do papel social prescrito. Ela é retratada em contraposição a este papel de forma crítica e paródica. Como elemento complementar de análise dramatúrgica, as características destas peças que se alinham com os expedientes mais importantes daquele momento histórico são sublinhadas, levando em conta que Williams trata estas formas a partir de sua própria estilística lírica e lacônica. Os elementos são: o épico, o teatro da crueldade, o chamado teatro do absurdo, contextualizado na conjuntura estadunidense como existencialismo metafísico, o camp e o grotesco. / This thesis aims at analyzing the female characters in six of Tennessee Williams\' late plays written between 1960 and 1980: [The Mutilated, I Can\'t Imagine Tomorrow, A Cavalier for Milady, Kirche, Küche, Kinder (An Outrage for the Stage), Now the Cats with Jeweled Claws and The One Exception]. The analyzes focus on the historical and political aspects in these plays and avoid the reiteration of hegemonic readings of the author\'s canonical play, which tend to stress aspects such as the one of the so called psychological realism of his works, the parallels between themes and characters in Tennessee Williams´ plays and in his biography, and the glamour of the Hollywood versions of his plays. The analyses of Tennessee Williams\'s experimentalism in the aforementioned plays discuss the innovations that stem from the context of counterculture, rather than the idea that he is na essentially realistic author. The six plays studied in this thesis show that, in spite of living in a countercultural context, women were still unable to free themselves from the socially imposed roles. The parodic representation of female characters in these plays is a critical response to this. As a complementary element of dramaturgical analysis, these analyzes will also deal with the characteristics these plays eventually share with the most important sources of theatrical experimentalism, taking in consideration the author\'s stylistic lyricism. These elements are the ones of the epic theatre, of the theatre of cruelty and of the so called theatre of the absurd. In the United States, they are re-contextualized as metaphysical existentialism, the camp and the grotesque.

This study explores three dimensions in the integration of Iranian immigrants in Sweden: economic, cultural and social. To test the generalisability of the ideas presented, and to place them in a wider framework the integration of Iranians has been compared with those of three other minorities: Chileans, Poles, and Finns. Data used in the statistical analyses have been obtained from the Centre for Research in International Migration and Ethnic relations (CEIFO). Economic integration of an immigrant group in a new society has been defined as its economic equality with the host population. The first part dealing with this aspect of integration compares Iranians with Swedes by three economic indicators: the ratio of unemployment, socio-economic status and income. By all indicators Iranians hold a considerably lower position as compared with Swedes. Both socio-demographic factors related to the Iranians and discrimination exercised by Swedish employers have been found to be relevant to the economic integration of Iranians in Sweden. The comparison of Iranians with the three other minorities, in terms of discrimination, indicates that the discrimination of these minorities corresponds to their cultural distance from Swedes. Iranians, with the remotest culture from Swedes among the four minorities, suffer the highest degree of discrimination. Finns, with the closest culture, suffer the lowest degree of discrimination. And the two other minorities lie between these two groups, respectively. Discrimination manifests itself mainly in a differential size of incomes which derives from the differential distribution of these groups among the least desirable occupations. The second part dealing with cultural integration evaluates the adaptation of Iranian to Swedish culture by two indicators representing cognitive and normative acculturation. This part is especially focused on the proposition that the westernisation process in Iran and differential reactions against this process are relevant in the acculturation of Iranians in Sweden. Two hypotheses formulated on the basis of this proposition- the negative effects of commitment to Iranian culture and radicalism on the acculturation of Iranians in Sweden- have been supported by the indicator of normative acculturation, but not by that of cognitive acculturation. The comparison of the four minorities has demonstrated that generalities, clustering and uniqueness all exist among the factors explaining their acculturation. The generalities and clustering are more striking in cognitive acculturation. Similarities are more evident between Iranians and Chileans. Finally, the last part dealing with social integration concentrates on the association of Iranians with Swedes. Assuming that association of two individuals with each other requires a common language and a minimum degree of intersubjectivity, it has been generally hypothesised that: 1) social integration of minorities in the new society will be a function of their cultural distance from the host population, and 2) all processes contributing to the increasing or decreasing of cultural distance will contribute also to the increasing or decreasing of their social integration. On the basis of these general hypotheses the following concrete hypotheses have been tested. 1) Among the four minorities, Iranians, as culturally remotest from Swedes, will have the least degree of social integration, followed by Chileans, Poles and Finns, respectively. 2) Commitment of Iranians to Iranian culture, as a medium increasing cultural distance, will correlate negatively with their social integration in Sweden. 3) Countercultural elements in Swedish society, as a medium of cultural-distance reduction, will contribute to the social integration of immigrants in this society. All hypotheses have been supported by the existing data.

For a short period during the 1960s Toronto’s Yorkville district was found at the centre of Canada’s youthful bohemian scene. Students, artists, hippies, greasers, bikers, and “weekenders” congregated in and around the district, enjoying the live music and theatre in its many coffee houses, its low-rent housing in overcrowded Victorian walk-ups, and its perceived saturation with anti-establishmentarian energy. For a period of roughly ten years, Yorkville served as a crossroads for Torontonian (and even English Canadian) youth, as a venue for experimentation with alternative lifestyles and beliefs, and an apparent refuge from the dominant culture and the stifling expectations it had placed upon them. Indeed, by 1964 every young Torontonian (and many young Canadians) likely knew that social rebellion and Yorkville went together as fingers interlaced. Making the Scene unpacks the complicated history of this fraught community, examining the various meanings represented by this alternative scene in an anxious 1960s. Throughout, this dissertation emphasizes the relationship between power, authenticity and identity on the figurative stage for identity performance that was Yorkville. / Thesis (Ph.D, History) -- Queen's University, 2007-10-02 09:46:00.077

Ce mémoire porte sur les deux premiers recueils de Raoul Duguay (ruts et or le cycle du sang dure donc). Il cherche à examiner les liens étroits qu’entretient la poésie de Duguay avec la production parallèle du poète, qui s’oriente dès la fin des années 1960 vers la chanson. Le mémoire s’attachera d’abord, dans le premier chapitre, à présenter l’histoire des liens entre les poètes et la chanson au Québec afin de relever les points de contact significatifs au cours des années 1960 et de poser le cadre théorique de la chanson comme objet d’étude. Dans un deuxième temps, l’analyse des deux premiers recueils de poèmes de Duguay nous mènera à une réflexion sur la présence de la métaphore du chant, puis de la parole poétique en poésie québécoise, qui annonce un changement de paradigme dans l’approche du lyrisme et du sujet lyrique. Enfin, le troisième chapitre se penchera sur le contexte contre-culturel québécois, pour examiner le discours et le contre-discours sur la poésie, pour expliquer le phénomène de décloisonnement des genres qui conduit Raoul Duguay à investir le champ de la culture populaire de sa poésie. Il y sera aussi question du sujet « dans le langage », de l’expérience de la langue et de la subjectivité de la voix. / This thesis addresses the early works of Raoul Duguay. Our study focuses on the first two collections of poem (ruts [1966] and or le cycle du sang dure donc [1967]), while examining Duguay’s parallel production as an experimental musical artist and eventually songwriter. Hereby, our study wishes to unveil the close ties between poetry and what could be considered as its popular derivatives: songwriting. Indeed, a significant number of poets wrote songs, especially among the proponent of the counterculture. Therefore, the first chapter will present a portrayal of Quebec’s cultural history that underlies the ties between songwriters, poets and artists in general in the 1960s. Furthermore, it will lay the theoretical framework to address the song as a study object. The second chapter studies the notion of lyricism in Quebec’s early modern poetry. It will study the use of song – or singing – as a metaphor, to demonstrate how it later loses its relevancy in regard of the modern poetry, which prefers the use of speech as metaphor. This shift heralds a change of paradigm in approaching lyricism and the lyrical subject. However, it will appear that Duguay persists in using song and singing metaphors – as well as speech – as he experiences language in its vocal and oral undertone. The third chapter studies the context – Quebec’s counterculture – in which the ties between poetry and song are tighten around the question of their function. It addresses the notion of popular art and its legitimacy.

abstract: During the 1960s, American youth were coming of age in a post–war period marked by an unprecedented availability of both money and leisure time. These conditions afforded young people new opportunities for exploring fresh ways of thinking and living, beyond the traditional norms of their parents' generation. Tom Wolfe recognized that a revolution was taking place, in terms of manners and morals, spearheaded by this latest generation. He built a career for himself reporting on the diverse groups that were developing on the periphery of the mainstream society and the various ways they were creating social spaces, what he termed “statuspheres,” for themselves, in which to live by their own terms. Using the techniques of the New Journalism—“immersion” reporting that incorporated literary devices traditionally reserved for writers of fiction—Wolfe crafted creative non–fiction pieces that attempted not only to offer a glimpse into the lives of these fringe groups, but also to place the reader within their subjective experiences. This thesis positions Wolfe as a sort of liminal trickster figure, who is able to bridge the gap between disparate worlds, both physical and figurative. Analyzing several of Wolfe's works from the time period, it works to demonstrate the almost magical way in which Wolfe infiltrates various radical, counterculture and otherwise “fringe” groups, while borrowing freely from elements across lines of literary genre, in order to make his subjects' experiences come alive on the page. This work attempts to shed light on his special ability to occupy multiple spaces and perspectives simultaneously, to offer the reader a multidimensional look into the lives of cultural outsiders and the impact that they had and continue to have on the overarching discussion of the American Experience. Ultimately, this paper argues that by exposing these various outlying facets of American culture to the mainstream readership, Wolfe acts as a catalyst to reincorporate these fringe elements within the larger conversation of what it means to be American, thereby spurring a greater cultural awareness and an expansion of the collective American consciousness. / Dissertation/Thesis / M.A. English 2014

Orientador: Luzia Margareth Rago / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-16T14:52:43Z (GMT). No. of bitstreams: 1 Murgel_AnaCarolinaArrudadeToledo_D.pdf: 2219053 bytes, checksum: c9fbf64042901c7f9af7533dd0171f5b (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa focaliza o trabalho artístico da poeta e compositora Alice Ruiz, buscando compreender como se dá a construção de sua subjetividade através de sua experiência e práticas estéticas. A proposta é fazer o levantamento e análise histórica dos textos feministas da poeta, assim como de seus poemas e letras de canções utilizando as categorias gênero, estéticas da existência, subjetividade e poética feminista. O trabalho se norteia metodologicamente pelas concepções da filosofia da diferença, em especial no pensamento de Michel Foucault e nos debates de gênero. / Abstract: This research focuses on the artistic work held by the poet and composer Alice Ruiz, trying to comprehend the ways of construction of her subjectivity through her self aesthetics practices and experience. I aim at investigating and analyzing of the poet's feminist writings, as also her poems and music lyrics, using such categories as gender, aesthetics of existence, subjectivity and feminist poetic. The work is methodologically guided by the conceptions of the philosophy of difference, in special on the thoughts of Michel Foucault and in the debates on gender. / Doutorado / Historia Cultural / Doutor em História

Orientador: Marco Antonio Alves do Valle / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-18T10:17:19Z (GMT). No. of bitstreams: 1 Porto_Geraldo_D.pdf: 8335218 bytes, checksum: 77b6b1524adeadfb2eb8a8a34504a8fc (MD5) Previous issue date: 2011 / Resumo: Neste trabalho são comentadas as exposições e participações de Geraldo Porto nos Salões oficiais de Arte Contemporânea do Brasil desde 1966, destacando o ano de 1974, quando conquistou o reconhecimento da crítica especializada pela sua obra artística. É privilegiada uma análise de sua atuação no movimento de contracultura e de suas curadorias de "Arte Incomum" com a apresentação dos registros documentais e publicações na imprensa. Geraldo Porto participou e refletiu criticamente sobre a Arte Contemporânea, contribuindo para a História da Arte em Campinas e no Brasil neste período de rupturas e transgressões no Brasil e no mundo. Teve as suas obras selecionadas pelos mais atuantes e destacados críticos de arte da época, como Mário Schemberg, Walter Zanini, Roberto Pontual, Olívio Tavares de Araujo, Márcio Sampaio, José Roberto Teixeira Leite, Frederico de Morais, Aracy Amaral, Wolfgang Pfeiffer, José Geraldo Vieira, Mário Barata, Waldemar Cordeiro e Walmir Ayala, entre outros. A tese apresenta um breve relato do seu trabalho como monge beneditino, pesquisador, curador e professor de arte na Universidade Estadual de Campinas desde 1984 / Abstract: This work discusses the exhibitions and participating in the Expositions of Contemporary Art in Brazil of Geraldo Porto since 1966, highlighting the year 1974, when he gained recognition from critics for his artistic work. It's an insider analysis of his performance in the counterculture movement and his researches of "Art Unusual", with the presentation of documentary records and publications in the press. Geraldo Porto took part and reflected critically on Contemporary Art, contributing to the History of Art in Campinas in Brazil during this period of disruption and transgressions in Brazil and worldwide. He had their works selected by the most active and prominent art critics of the time as Mario Schemberg, Walter Zanini, Roberto Pontual, Olívio Tavares de Araújo, Márcio Sampaio, José Roberto Teixeira Leite, Frederico de Morais, Aracy Amaral, Wolfgang Pfeiffer, José Geraldo Vieira, Mário Barata, Waldemar Cordeiro and Walmir Ayala, among others. The thesis presents a brief account of his work as a Benedictine monk, researcher, curator and art teacher at the State University of Campinas in 1984 / Doutorado / Artes Visuais / Doutor em Artes

Através da utilização de bibliografia e de fontes documentais, busquei analisar de que maneira os movimentos de oposição ao regime militar brasileiro se organizaram a partir da segunda metade da década de 1970, dando especial ênfase ao Movimento Estudantil, aos Movimentos Sociais e a algumas manifestações culturais da juventude brasileira do período. Tendo como ponto de comparação os mesmos movimentos nos anos 60, foi possível concluir que a oposição ao regime, nos anos 70 e 80, adquiriu novas formas de contestação, especialmente no interior dos movimentos sociais, nos quais as reivindicações partiam de suas bases, e não mais de uma cúpula. Frente a essa nova realidade, o movimento estudantil, com suas entidades e lideranças, se viu forçado a inserir-se na luta daqueles movimentos, enquanto grande parte da juventude, descrente face à contínua partidarização de suas reivindicações, voltou-se a novas formas culturais para demonstrar seus valores e desejos, fossem eles políticos ou não. / Using the bibliography and historical documents, I tried to analyze how the movements against the Brazilian military dictatorship reorganized themselves in the second part of the 1970s, especially the Students Movement, the Social Movements and some cultural manifestations of the countrys youth groups in that period. Making a comparison with the same groups in the 1960s, I could conclude that the opposition to the regime, in the 1970s and the 1980s, developed new ways of contestation, especially inside the social movements groups, in which the demands came from the people, not from the leaders anymore. Facing this new reality, the students movement, with its representative entities and leadership, had to join the struggle of the social movements groups, while many part of the Brazilian youth, not pleased with the interference of political groups in their demands, turned themselves to new cultural demonstrations to show their values and desires, being them political or not.