The thesis focuses on Germany's Mexican policies from 1911 to 1917, with particular attention given to the connection of these policies to political relations between the United States and Germany and between the United States and Mexico. The paper also attempts to place German activities in Mexico within the context of Germany's desire to promote its political and economic interests on a worldwide scale. Although some unpublished sources were consulted, the account relies mostly on published documents, memoirs, and secondary sources for its factual basis.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

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In twentieth-century poets such as W. B. Yeats, T. S. Eliot, Robert Lowell and Allen Ginsberg, the literary apocalyptic--identifiable by its homology with the major elements of the biblical Apocalypse--undergoes progressively complex transmutations. While in the early Yeats the apocalyptic is evocative of earnest Romantic moods, in his later work it is complicated by irony, yoked to the cycles of Yeatsean history, and counteracted by exaggerated postures of defiance. In Eliot, a reductive juxtaposition of the apocalyptic and the contemporary foreshortens the traditional paradigms to a diminutive modern-day scale. In Lowell, the apocalyptic is manifested variously as a bitter inversion of American Puritan eschatology, the telescoping of the personal and the cosmic, and a catastrophe in slow-motion. The climactic point of distortion, however, is reached in Ginsberg's poetry in which apocalyptic horrors form a bizarre combination with humour and bathos. While their treatment of the eschatological is widely divergent, an element common to all four poets is their ambivalence towards the paradigms of an apocalyptic new world.

In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

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Apesar da grande quantidade de estudos acerca da obra de Fernando Pessoa, um número ínfimo deles enfoca o Fausto, poema dramático no qual Pessoa trabalhou entre 1908 e 1933, deixando-o, inconcluso e fragmentário, depositado na famosa arca junto com todo o seu espólio. Este trabalho pretende, tomando por base a edição organizada por Teresa Sobral Cunha, analisar como se processa a retomada do Fausto de Goethe pelo texto do poeta português. Para tanto, servem como pressupostos teóricos os conceitos de dialogismo, intertextualidade e, especialmente, hipertextualidade. Fernando Pessoa se apropria do texto do poeta alemão para transformá-lo, ou seja, ainda que algumas cenas de Fausto: tragédia subjectiva sejam reminiscências goetheanas, há uma reelaboração dos elementos alheios e o texto é relançado em um novo circuito de sentido. Existem, é certo, analogias entre os textos; todavia, as diferenças – que aqui serão enfatizadas – são marcantes. O Fausto de Goethe é um drama de ação, já o de Fernando Pessoa se enquadra na categoria de teatro estático, ideal para a representação de uma tragédia anímica. O personagem de Pessoa, a exemplo do seu antecessor, deseja ultrapassar limites; tenciona fazê-lo, porém, através do pensamento. Aqui, uma vez que o pacto inexiste, não há ameaça de danação eterna. Além disso, o protagonista é abúlico, não age, não ama e não se transforma. Enquanto o Fausto de Goethe, na figura do seu herói, expressa o otimismo e a crença no progresso, o de Pessoa, por sua vez, é a representação do sentimento de crise, da descrença na ação e da falta de esperança, características próprias do Decadentismo. / Despite the large number of studies concerning the work of Fernando Pessoa, a small percentage of them focuses on Faust, a dramatic poem in which Pessoa worked between the years of 1908 and 1933, leaving it, incomplete and fragmentary, deposited in his famous ark along with all his estate. This study aims to, based on the edition organized by Teresa Sobral Cunha, examine how the Portuguese poet text processes the resumption of Goethe's Faust. To do so, were used as theoretical concepts dialogism, intertextuality, and especially hypertextuality. Fernando Pessoa appropriates the text of the German poet to transform it, that is, even if some scenes of Faust: subjective tragedy are goetheans reminiscences’, there is a reworking of the extraneous elements and the text is relaunched in a new circuit of meaning. There are, of course, analogies between the texts, however, the differences - which are emphasized here - are striking. Goethe's Faust is a drama of action while Fernando Pessoa’s fits in the category of static theater, ideal for the representation of a tragedy pertaining to the soul. Pessoa’s character, like his predecessor, would exceed limits, it intends to do so, however, through thought. Here, since the pact does not exist, there is no threat of eternal damnation. Moreover, the protagonist is apathetic and does not act, love and transform. While Goethe's Faust, in the figure of his hero, expressed optimism and belief in progress, Pessoa’s, in turn, is the representation of the sense of crisis, of disbelief in action and lack of hope, characteristics of Decadence.

O presente trabalho justifica-se por duas razões: proporcionar um estudo acerca das relações entre Fernando Pessoa e Clarice Lispector e servir de material de apoio, dada a escassez de textos que aproximem ambos os autores. Objetiva-se, primeiramente, mostrar que Água Viva e os poemas sensacionistas, do heterônimo pessoano Álvaro de Campos, tem características em comum e, ao compará-los, verificar se, de fato, a busca de identidade como proposta é o motivo de sua proximidade, uma vez que pertencem a séries literárias diferentes. A análise das relações entre a estética sensacionista, cujos poemas de Campos são os principais representantes, e Água Viva será realizada por meio de um método comparativo, a fim de desvendar o que tais relações supõem; porém, sem o intuito de mostrar se de fato um escritor leu ou conheceu o outro, mas sim de conhecer e entender o uso dos elementos que aproximam ambas as obras. Para tanto, o corpus deste trabalho é composto pelo romance Água Viva, de Lispector, e os poemas sensacionistas de maior expressão, “Ode Triunfal”, “Ode Marítima”, “Saudação a Walt Whitman”, “Mestre, meu mestre querido”, “Passagem das horas”, “A melhor maneira de viajar é sentir” e “Tabacaria”, todos atribuídos a Álvaro de Campos. Para analisar estes textos, parte-se dos textos teóricos sobre a estética sensacionista escritos por Fernando Pessoa. Por fim, a partir das análises, é possível afirmar que a busca de identidade como proposta é o fator que desencadeia as relações possíveis entre Fernando Pessoa e Clarice Lispector. / The present essay is justified for two reasons: to provide a study of the relations between Fernando Pessoa and Clarice Lispector and to be used as a support material due to the shortage of texts which approximate both authors. It is aimed, first of all, to show that Água Viva and the sensationist poems, by the heteronym of Pessoa Álvaro de Campos, have characteristics in common and, when compared, verify if, in fact, the search of identity as a proposal is the motive of their proximity, although they are from different literary series. The analysis of the relations between the sensationist aesthetic, whose poems of Campos are the main representatives, and Água Viva is done through a comparative method, in order to reveal what such relations suppose, without the intent of showing if, in fact, a writer read or knew the other, but of knowing and understanding the use of elements which make both works close. For this, the corpus of this study consists of the novel Água Viva, by Lispector, and sensationist poems of greater expression, “Ode Triunfal”, “Ode Marítima”, “Saudação a Walt Wittman”, “Mestre, meu querido mestre”, “Passagem das horas”, “A melhor maneira de viajar é sentir” and “Tabacaria”, all attributed to Álvaro de Campos. In order to analyze these texts, the starting point are the theoretical texts about the sensationist aesthetic written by Fernando Pessoa. At last, through the analysis, it is possible to affirm that the search of identity as a proposal is the factor that triggers the possible relations between Fernando Pessoa and Clarice Lispector.

OLIVEIRA, Ângelo Bruno Lucas de. Do canto das sereias à Rua dos Douradores: os espaços da escrita no Livro do desassossego e em Água viva. 2013. 101f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-10-21T14:53:30Z No. of bitstreams: 1 2013_dis_abloliveira.pdf: 817117 bytes, checksum: befb77803eabf822502aa1cf9e0f9a5b (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-10-22T13:07:07Z (GMT) No. of bitstreams: 1 2013_dis_abloliveira.pdf: 817117 bytes, checksum: befb77803eabf822502aa1cf9e0f9a5b (MD5) / Made available in DSpace on 2014-10-22T13:07:07Z (GMT). No. of bitstreams: 1 2013_dis_abloliveira.pdf: 817117 bytes, checksum: befb77803eabf822502aa1cf9e0f9a5b (MD5) Previous issue date: 2013 / Neste estudo nos detemos sobre dois representativos livros da literatura do século XX: o Livro do desassossego, de Fernando Pessoa, e Água viva, de Clarice Lispector. Apoiados, sobretudo, no pensamento de Maurice Blanchot, buscamos, através do método de pesquisa teórico-bibliográfico, compreender a natureza de ambas as obras, visto elas, marcadas pela incompletude e pelo fragmentário, muito se aproximarem do pensamento desse teórico sobre a literatura. Partindo da descrição blanchotiana do encontro de Ulisses com as sereias, buscamos delinear os principais conceitos do pensamento de Blanchot para, em seguida, aplicá-los na análise das obras. Tais conceitos manifestam-se na análise sobre o Livro do desassossego sob a imagem do quarto e do escritório, espaços que se opõem na construção da escrita. É o mesmo que ocorre em Água viva, sob a forma da alegria e do medo, que, do mesmo modo, premem a narradora e exigem dela uma escrita paradoxal. Essa escrita paradoxal é o foco da última parte do trabalho, que analisa suas características, advindas do jogo de opostos descrito nos capítulos anteriores. O fundamento teórico da pesquisa provém de teóricos como Blanchot (1997, 2005, 2007, 2010, 2011), Barthes (2004, 2007, 2010), Deleuze (2011) e Heidegger (2008), que contribuem com uma análise geral da literatura e da arte. A suas ideias unimos o estudo de pesquisadores que se detêm de maneira específica sobre a obra dos escritores analisados, como Cintra (2005), Gil (1996, 2009), Helena (2010) e Nunes (1995, 2009).