Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 107-111). Also available on the Internet.

Thesis (Ph.D.)--George Mason University, 2009. / Vita: p. 370. Thesis director: Dan Rothbart. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Conflict Analysis and Resolution. Title from PDF t.p. (viewed Nov. 11, 2009). Includes bibliographical references (p. 360-369). Also issued in print.

Thesis (M.S.)--University of Central Florida, 2008. / Adviser: Houman Sadri. Includes bibliographical references (p. 71-74).

Thesis (M.A.)--Ohio University, June, 2003. / Title from PDF t.p. Includes bibliographical references (leaves 85-88)

Thesis (M.S.)--Ball State University, 2004. / Includes bibliographical references (leaves 42-43).

Thesis (M.S.)--Naval Postgraduate School, 2007. / Title from title page of source document (p. iii) (viewed on December 6, 2007). Includes Report documentation page (p. ii). Thesis Advisor(s): Susan G. Hutchins, Anthony Kendall. "June 2007." Includes bibliographical references (p. 171-176 ). Also available in print.

Les attentats commis sur le sol américain le 11 septembre 2001 ont transi quasi simultanément une incommensurable communauté de regards. Cette participation scopique plurielle a très vite suscité des analogies avec le cinéma-catastrophe, immense pourvoyeur de fictions d’apocalypse urbaine, accusé d’avoir inspiré les commanditaires de l’attentat, d’avoir déréalisé toute catastrophe et de ne pas nous avoir préparé à son surgissement dans la réalité, ou désigné encore comme mètre-étalon de nos fantasmes apocalyptiques auxquels les images médiatiques ont dû se mesurer au point de déréaliser l’événement lui-même. Pour essayer de saisir les logiques de continuité ou de rupture auquel le cinéma américain se trouve exposé à la suite de cet événement, il importe de se demander dans quelles mesures le 11 septembre a pu entailler les habitudes du regard que le spectaculaire Hollywoodien nous avait intimement inculquées. Par comparaison avec le modèle figuratif des images médiatiques de l’attentat, Hollywood peut-il encore se permettre de mettre en scène le chaos au nom d’une pure invention figurative sans référent réel ? Après le 11/9, la représentation du désastre au cinéma n’est-elle pas en position d’incriminer le plaisir pris autrefois devant le spectacle fictionnel du chaos ? La culpabilité ne s’invite-t-elle pas dans le cœur même de la figuration du désastre, le souvenir dysphorique ne s'immisce-t-il pas dans la représentation urbaine, la reconstitution de l'événement ne déclare-t-elle pas ses limites face aux images médiatiques concurrentielles ? Après le 11 septembre, Hollywood semble se laisser déborder par une réalité insaisissable. / Throughout the world on September 11 2001, people watching their screens simultaneously suffered a deep shock caused by the attacks on the American soil. Given the variety of the viewers, parallels were at once made with Hollywood disaster-films which had always been huge providers of urban apocalyptic fiction. These films were charged with having inspired the perpetrators of the attacks, by naturalising disaster as such – so to speak – and thus leaving us unprepared for its intrusion into the real. In other words, Hollywood would have created a reference for our apocalyptic fears to the point that the media, by replicating such fictional images, thus deprived the tragic event itself of its reality. Because since then, American cinema cannot avoid dealing with narratives ruled by ruptures vs continuities which call for analysis, one needs to examine how deeply the 9/11 tragedy has altered the Hollywood spectator’ s gaze, i.e. one’s visual expectations and habits regarding spectacular attraction. Given the realistic images of the attacks in the media, can Hollywood still afford to show chaos on the screen as mere pleasurable fiction? After 9/11, has it become impossible for us to enjoy chaos on the screen without experiencing a feeling of guilt? How far do tragic memories interfere with any kind of urban representation? How does the cinematic reconstruction of the very event suffer from the essentially competitive nature of media images? After September 11, Hollywood appears unable to cope with a reality which remains forever elusive.

Orientador: Giséle Manganelli Fernandes / Banca: Manuel Fernando Medina / Banca: Norma Wimmer / Resumo: Os atentados de 11 de setembro originaram diversas manifestações artísticas buscando não apenas explicações para a tragédia, mas também tentando repensar os acontecimentos. Neste sentido, esta pesquisa apresenta uma investigação a respeito da maneira como um romance e um documentário se apropriaram desse episódio para reavaliá-lo. Com os ataques, os Estados Unidos experimentaram uma forte sensação de vulnerabilidade, desencadeando reações do governo americano, que formulou com bastante rapidez uma nova doutrina de segurança nacional, baseada no combate ao terrorismo. Esta dissertação analisa as estratégias narrativas utilizadas pelo autor americano Don DeLillo no romance Falling Man (2007), e pelo cineasta Michael Moore, no documentário Fahrenheit 9/11 (2004), e como eles abordam fatores históricos, socioeconômicos e políticos que desencadearam a tragédia, a fim de reexaminá-la. Textos teóricos e críticos sobre a relação entre Literatura e História, ficção Pós-Moderna, aspectos do documentário e questões sobre terrorismo fundamentam as discussões apresentadas no trabalho. Este estudo objetiva ampliar os questionamentos acerca dos fatos que levaram à catástrofe e suas consequências, examinando personagens e grupos ligados ao 11 de setembro, revelando múltiplas verdades, condicionadas social, ideológica e historicamente / Abstract: September 11 has originated a wide range of artistic manifestations which have not only searched for plausible explanations for the tragedy, but also tried to review the events. In this sense, this thesis aims at showing how a novel and a documentary reevaluate this episode. The attacks made the United States experience a strong sense of vulnerability, triggering reactions from the American government, who quickly established a new national security strategy, associated with the war on terror. This thesis analyzes the narrative strategies employed by the American author Don DeLillo in his novel Falling Man (2007) and by the filmmaker Michael Moore in the documentary Fahrenheit 9/11 (2004), as well as the way they approach socioeconomic and political factors that caused the tragedy in order to reevaluate it. The debate of the topics is based on texts concerning the relationship between literature and history, postmodern fiction, documentary aspects and issues on terrorism. This study contributes to enrich the discussion related to the events that led to the catastrophe and its aftermath, examining characters and groups linked to the September 11 terrorist attacks, revealing multiple truths subjected to social, ideological and historical conditions / Mestre

September 11 terrorist attacks not only affect the United States but also the entire international community. Hundreds perished; most of them innocent citizens from over ninety different nations. It has changed the history of America, much like Japan’s strike against Pearl Harbor. The 9/11 attacks triggered the United States’ ongoing war against terrorism, starting with Afghanistan as the first target to overthrow Taliban, changing the course of world history. The significance of the incident and severity of that traumatic loss makes a case for a memorial on the UMass campus in tribute to those victims. It is worth mentioning that a UMass community member (computer research specialist) lost his life in that event. The intention of this design is to pay a well-deserved tribute to the victims of the September 11 tragedy, together with providing information about the whole story. The statistics of the event have a visceral interpretation. All different aspects and numbers are incorporated into the design: number of the flights, number of the people killed, nationality of the victims, each have their specific place in the design pattern.

No description available.