[pt] O presente estudo discute um problema teológico: Deus é ou não é silencioso? Depois da encarnação em Jesus Cristo, não se pode mais julgar Deus de omisso ou silencioso. Na segunda pessoa da Trindade, Ele se revela solidário ao homem, caminha junto, sofre junto, é presente na sua forma kenótica. Isso nos é revelado por Jesus em sua vida e missão. A pesquisa chega assim a primeira questão: o que aconteceu com o humano que se distanciou deste ponto de referência? Jesus, Deus encarnado, traz a esperança que nos afirma que hoje, como sempre, ainda se pode crer que a paz e o bem são possíveis porque o mal não é mais forte que o bem. Ainda é possível falar de um Deus que se faz cercar e preceder da presença da paz e da justiça e cujo outro nome é Amor. O Crucificado não é a sacralização do absurdo do mal e da violência, mas a mais completa expressão da definição joanina: Deus é amor! E por isso a fonte de toda esperança. Mas se Deus é amor, perguntar-se pelo silencio de Deus é inerente ao homem que olha ao seu redor. Questiona-se sobre o mal, pergunta-se pela finitude não aceita, pela morte indesejada e, apesar disso, acontecida, pelo absurdo da morte do inocente, do sofrimento do justo, dos acidentes inexplicáveis, das doenças degenerativas, das violências vivenciadas em cada dia... O presente trabalho fundamentará seu estudo e buscará algumas respostas na obra O Deus Crucificado de J. Moltmann e no livro Jesus libertador de Jon Sobrino. / [en] This study discusses a theological problem: Is GOD silent or not? After the reincarnation of Jesus Christ, we can no longer judge GOD absent or silent. In the second person of the Trinity, He reveals himself with solidarity to men, walks alongside them, suffers with them, and is present in his kenotic form. This is revealed to us by Jesus Christ in his life and mission. This research brings to life the first question: What happens with the person who distances himself from this reference point? Jesus, GOD reincarnated, brings hope that tell us that today, as always, we can still believe that the peace and goodness are possible because evil is not stronger than good. It is still possible to speak of a GOD that it is surrounded and preceded by the presence of peace and justice and whose other name is LOVE. The crucified is not the sacralisation of the absurdity of evil and violence, but the most complete expression of the John definition: GOD IS LOVE! And so the source of all hope. But if GOD is love, to question Jesus Christ silence, is inherent to the men looking around themselves. Questions about evil, the end not welcomed, the unwanted death, and nevertheless, taking place, the absurd death of the innocent, the suffering of the just, the inexplicable accidents, the degenerative diseases, violence experienced every day… This work reasons for the study and will seek for some answers in the works of The Crucified God by J. Moltmann and Christ, the Liberator by Jon Sobrino.

The issue of drugs and drug addiction is one of the greatest unresolved (and probably unresolvable) problems of mankind. This topic encountered a rocket rise in the Czech environment especially after the Velvet Revolution. The problem itself, nevertheless, germinated in the times of Communist dictatorship. For ideological reasons, however, it has long been trivialized, concealed, or attributed to the "decadent West" and to its affiliated domestic "elements". Serious drug-related debates took place in the Normalization period almost exclusively on the pages of professional publications and magazines kept from the eyes of ordinary citizen. The topic of drug addiction began to penetrate the public space without the old ideological templates in the second half of the 1980s, in connection with liberalization after the inauguration of M.S. Gorbachev into the leader of Communists in the Soviet Union. Regardless of the "wishes and complaints" of the Communist establishment, a subculture of young drug addicts emerged in Czechoslovakia, which had its values, hierarchies, symbols and its problems too. In the 1980s, several tens of thousands of people were involved, and if we add several hundreds of thousands elderly people who abused psychotropic medications, we find out how a major problem it was in the...

The dissertation uses the lens of electricity provision to examine processes of state formation in Somaliland, an unrecognized, self-declared independent state in the northwest of the former Somali Republic. The dissertation focuses on Hargeisa, the capital city at the heart of Somaliland's state-building project. After the collapse of the Somali state in 1991, private companies arose from the ruins of Hargeisa and turned the lights back on, navigating a fragmented post-war landscape by mobilizing local connections and transnational ties. However, being dependent on the political settlement that engendered the peace necessary for business, emerging private power providers were tied into a state-building project. The dissertation analyses the resulting tensions at the heart of this project, by examining the struggle to define the role, extents and limits of an emerging state in an interconnected world. Based on interviews in Somaliland and a survey of news media and grey literature, the dissertation has three aims. First, it provides a view into how social order and service provision persist after the collapse of the state. Secondly, it investigates how patterns of provision emerging in the absence of the state shape subsequent processes of state formation. Finally, it discusses how patterns of provision affect the interaction of state-building and market-making. In order to fulfil these aims, the dissertation examines how people invest in the project of building a state, both materially and discursively. The chapters present a narrative history of the electricity sector, explaining the attempts of both private companies and the government to claim sovereignty over the market and shape statehood in their own interests. The struggles shaping Somaliland's economic order reveal the contemporary significance of transnational connections, interconnected systems of capital flows, and the rise of corporate business actors. At the same time, they underline the abiding power of social structure, local identities, and historical memory.

[pt] Questões silenciadas ao longo de décadas podem continuar a reverberar ainda hoje, atravessando gerações e experiências de vida distantes no tempo e no espaço. Anos de silêncio não são simplesmente um vazio, pois se acumulam quase imperceptivelmente. Como têm materialidade, embora extremamente sutil, eles afetam as pessoas que os herdam - seja por sorte, azar, acaso ou nascimento. Nesse sentido, esta tese de doutorado se inspira especialmente em uma fotografia na qual a artista japonesa Yamashiro Chikako aborda o legado da guerra em Okinawa, ilha no extremo sul do Japão. Para refletir sobre modos artísticos de escutar silêncios herdados, doze ensaios breves oscilam entre a pesquisa acadêmica e fragmentos de memória e de ficção. Os textos enfatizam sobretudo o potencial criativo da arte para sintonizar os aspectos sonoros, visuais e táteis do silêncio e lidar com o que não coube nos registros oficiais. / [en] Unsettled issues silenced for decades may still resonate today, crossing generations and life experiences even when they are distant in time and space. Years of silence are not simply empty for they accumulate almost imperceptibly. Though extremely subtle, they have materiality, affecting those who inherited them - be it by sheer chance or birth. This dissertation takes inspiration from Japanese artist Yamashiro Chikako s work dealing with war legacy in Japan s southernmost island of Okinawa. These twelve short essays alternate between academic research and pieces of memory and fiction in order to reflect on artistic ways of hearing inherited silences. The texts highlight art s creative potential to perceive synesthetic aspects of silence (especially those related to hearing, sight, and touch), and its ability to cope with whatever was left outside official registers.

The work deals with the postwar period of Monastery Teplá in the years 1945 - 1950. It records the renewal of the monastery after the war and transfer of German religious and priests. Special attention is focused on the problems with the establishment of communism in the year 1948 and impact of the communist upheaval upon the life in this monastery. It is based on the archival sources and on the witnesses testimonies. The first part introduces Premonstratensian friary in the world, the first friary information in the Czech Republic, the history and the importance of the friary. The second part deals with the Monastery Teplá itself, its founders, it represents the history and the importance of the monastery. The last part is the most comprehensive and key part of the whole work. It describes the life in the monastery at the end of the Second World War and the life of the prior H. J. Tyl.

The thesis maps the change in the territorial structure of Czechoslovak foreign trade in 1945-1953. The aim of the study is verification of the hypothesis that allows for direct foreign trade policy constraints on political events. In other words, as the gradual political integration of Czechoslovakia into the Soviet bloc touched territorial structure of foreign trade. The text examines the changing trend in foreign trade, which has been shown by growth of the share of the USSR at the expense of the capitalist states, and addresses the question of whether and how much the Soviet Union could replace the liberal market economy. The work contributes to the knowledge of the functioning of the post-war period with foreign exchange trading and describes the influence of foreign trade by the disproportionately greater economic and political entity.

While it may be argued that aggression against women is part of a culture of violence deeply rooted in Spanish society, the gender-related violence that exists in today’s Spain is more specifically a legacy of Franco’s dictatorship (1939-1975). Franco’s Spain endorsed unequal gender relations, championed patriarchal dominance and power over women, and imposed models of hegemonic and authoritarian masculinities that internalized violence by rendering it a feature inseparable from manhood and virility. This dissertation provides a comprehensive analysis of masculinity and gender violence in Franco’s Spain, by analyzing the novel as the primary cultural vehicle of social criticism and political dissent against the new regime during a period (1939-1962) dominated by silence and censorship. The first part of this work defines and elucidates the concepts of masculinity and gender violence and the relationship between them. It also compares the significant social and cultural achievements of Spanish women during the Second Republic (1931-1939) with the reactionary curbing of those achievements during Francoism. The second part of this research presents a multidisciplinary analysis of masculinity and gender violence in three novels: Nada (1944) by Carmen Laforet, Juegos de manos (1954) by Juan Goytisolo and Tiempo de silencio (1962) by Luis Martin Santos. Through the literary representation of different models of masculinity and the psychological and social parameters that encourage and incite gender violence, these authors conceptualize and express their political ideology, as well as their symbolic interpretation of Francoist Spain.

This thesis describes the non-profit sector in Czechoslovakia in 1945 - 1951 period. In this pivotal period, the independent non-profit organizations were partly revived during the post-war reconstruction, but they have been gradually limited by the state pressure, aiming to achieve their ultimate liquidation. This study examines the causes and transformation tools of the NGO sector until its abolition, as well as their subordination to direct government oversight. This work views the topic especially in terms of financial and managerial aspects of the organizations during this period. Due to the fact that this is an unexplored issue, the theoretical knowledge related to the topic is presented first, and the terminology and legislative developments of this type of organization are subsequently clarified. The practical part uses the example of three socially oriented associations: YMCA, Czechoslovak Red Cross and Charita (Caritas), their specific economic issues and the examples of contemporary management.

Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture traite de la série de romans gothiques écrits par Shirley Jackson entre 1957 et 1962, de The Sundial à The Haunting of Hill House en passant par We Have Always Lived in the Castle. L’ouvrage situe son rapport au style gothique domestique dans le contexte du discours contemporain sur l’architecture et les formes de l’après-guerre. En particulier, cette étude fait valoir que sa trilogie « House » est une véritable intervention dans l’histoire de l’architecture et le discours domestique, Shirley Jackson utilisant une poétique gothique de l’espace pour évoquer la répétition spectrale des structures de pouvoir et de l’imaginaire idéologique liés à l’architecture. Grâce à son symbolisme architectural approfondi, elle explore la maison américaine et ses racines à travers les mythes et croyances les plus tenaces et les plus discordants du pays, suggérant que la maison elle-même, à la fois structure physique et symbole structurel, est un « fantôme » sociologique qui hante le projet domestique américain. L’auteure nous rappelle que l’architecture et la culture domestiques ne sont jamais neutres et que, bien plus qu’on ne l’a reconnu, sa fiction met en lumière les caractéristiques particulières des formes, des mouvements, des guerres de style et des discours architecturaux ayant activement contribué aux structures culturelles des genres, des classes et des races en Amérique. La carrière de Shirley Jackson, qui s’inscrit dans les deux décennies suivant la Seconde Guerre mondiale, coïncide avec le plus grand boom immobilier de l’histoire américaine, ainsi qu’avec l’une des périodes les plus expérimentales et les plus fébriles de l’architecture américaine. Pourtant, malgré les belles promesses et visions utopiques de cette époque, son architecture et sa culture domestique ont plutôt eu tendance à reproduire les structures de pouvoir oppressives du passé, qu’il s’agisse des normes de genre étouffantes de la maison familiale des années 1950 ou de la ségrégation dans les banlieues. Les maisons de madame Jackson se veulent des allégories gothiques de ce milieu et de sa structure temporelle « fantomatique », marquées par la routine et les revirements angoissants. Chacune des maisons de sa trilogie témoigne de ce que l’on pourrait appeler une « historicité hybride », évoluant à la fois vers le passé et vers l’avenir à travers l’architecture et le discours domestique américains. Dans les manoirs des années glorieuses et les constructions gothiques victoriennes de ses romans, l’auteure satirise l’architecture d’après-guerre et son futur nostalgique, suggérant que les maisons du présent restent hantées par les fantômes du passé. Contrairement à l’architecture de son époque, qui prétendait avoir banni ces fantômes, Shirley Jackson ne cherche pas à échapper aussi facilement aux spectres de l’histoire américaine et de l’assujettissement qui s’y rattache. Plutôt, elle entreprend de les affronter. Pour ce faire, elle pénètre dans la « maison hantée » de l’architecture et de la domesticité américaine : elle l’explore, l’examine, l’interroge et, finalement, la brûle, la met en pièces et la reconstruit. / Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture considers Shirley Jackson’s suite of gothic novels written between 1957 and 1962, from The Sundial to The Haunting of Hill House to We Have Always Lived in the Castle. It places her treatment of the Domestic Gothic alongside the actual architecture and design discourse of her postwar moment. In particular, it argues that her House Trilogy constitutes an intervention within architectural history and domestic discourse, with Jackson using a gothic poetics of space to suggest the spectral repetition of architecture’s structures of power and ideological imaginary. Through her extensive architectural symbolism, she probes the American house and its roots within the country’s most abiding myths and divisive beliefs, suggesting that the house itself, as both a physical structure and structuring symbol, is a sociological “ghost” that haunts the American domestic project. Jackson reminds us that domestic architecture and culture are never neutral and that, much more so than has been acknowledged, her fiction excavates the specific design features, movements, style wars, and architectural discourses which actively participated in the cultural constructions of gender, class, and race in America. Her writing career — from her first major publication in 1943 to her untimely death in 1965 — coincides with the largest housing boom in American history, as well as one of the most experimental and anxious periods in American architecture. And yet despite the era’s broad promises and utopian visions, its architecture and domestic culture tended to reproduce the oppressive power structures of the past, from the stifling gender norms of the 1950s family home to the segregated suburb. Jackson’s houses are gothic allegories of this milieu and its “ghostly” time structure of uncanny repetition and return. Each of the houses in her trilogy exhibits what might be called a “hybrid historicity,” gesturing at once backwards and forwards through American architecture and domestic discourse. Inside the Gilded Age mansions and Victorian Gothic piles of her novels, Jackson satirizes postwar architecture and its nostalgic futures, suggesting how the houses of the present remain haunted by the ghosts of the past. Unlike the architecture of her time, which claimed to have banished these ghosts, Jackson does not seek to escape the spectres of American history and subjecthood so easily. Instead, she endeavours to face them. In order to do so, she enters the “haunted house” of American architecture and domesticity itself — exploring it, examining it, interrogating it, and, eventually, burning it down, tearing it apart, and remaking it.

第1章，第2章，第3章，第6章は著作権者の規定により非公開 / はじめに / 第Ⅰ部 昭和天皇戦後巡幸にみる象徴天皇制の形成過程 / 第Ⅱ部 皇太子明仁と象徴天皇制の形成過程 / 結論 / 博士（社会学） / 甲第601号 / 205p / Hitotsubashi University(一橋大学)