This dissertation examines Soviet and Polish science fiction from the 1960s to 1980s as a political genre that investigates power and society. The problem of alterity is central for this genre: it is ungovernable because it is incomprehensible. Science fiction of this kind explores the possibilities and impossibilities of living with the Other that can impact social organization dramatically and lethally while that Other cannot be impacted in return. Living peacefully with such alterity is the fundamental premise of pluralism as a principle of social organization, according to the conclusions of the study. The dissertation explores alterity in science fiction by Ivan Efremov (1908–1972), Arkady and Boris Strugatsky (1925–1991 and 1933–2012), Stanisław Lem (1921–2006), and Volodymyr Savchenko (1933–2005). My goal is to reveal in their works a transformative epistemological shift that had manifested itself through the tropes of alterity. Among these tropes the dissertation highlights aliens and alien civilizations, artificial intelligence, anisotropic universe, distant planets endowed with unique natural attributes, the more abstract unknown, and non-human elements running out-of-control within human species. I also examine specifically science-fictional notions such as the bull and progressor, which represent the intelligentsia’s relations with power and the masses. The analyzed literary worlds also represent their authors’ views of alternative societal organization, ruled by the powerful alterity such as a mega-computer or alien super-intelligence. Another important trope of alterity is based upon a simultaneous performance of contradictory competing logics that create an effect known as parallax: the reader may interpret the same characters and/or stories in multiple, mutually incompatible, ways. Beyond avoiding censorship, these tropes set the stage for the authors’ utopias, in which the Other appears as an impenetrable alterity that affects those who encounter it. For these writers, alterity serves as the tool for problematizing progress, as it was imagined after World War II by the majority of political elites under socialism and in the West. I suggest that their science fiction contributed, among many other factors, to the lexicon and the imaginary of a cohort of political dissidents and Communist Party functionaries alike who translated science-fictional themes into political science terms to shape Perestroika’s discourse. The dissertation, thus, establishes a historical connection between Soviet and Polish science fiction of the post-Stalin period and the ways in which democracy was discursively constructed in Russia, Ukraine, Poland, and other former socialist nations.

Ce mémoire envisage, grâce à l'examen de l'article de Lynn White sur les racines historiques de la crise écologique, de faire avancer une théologie écologique propre aux communautés chrétiennes évangéliques. Suite à la considération de trois voix de la tradition évangélique, nous voulons cerner la contribution qu'apporte l'encyclique du pape François *Laudato si'* à la théologie évangélique au sujet de la crise écologique. Au cœur de ce projet est l'effort d'établir un pont entre les expressions évangéliques et le message de l'encyclique du pape François *Laudato si'*. Cette perspective entre *Laudato si'* et la théologie évangélique porte un regard sur les points de croisements entre la position catholique et le regard évangélique, et ce, toujours à la lumière de la critique de Lynn White. L'écologie durable que propose le pape a le potentiel de nourrir et d'enrichir une réflexion écologique évangélique qui conduit vers une pratique environnementale saine et responsable dans les communautés chrétiennes évangéliques. Notre lecture et notre analyse des discours évangéliques et du message de *Laudato si'* nous mènent à reconnaitre dans le travail de *Laudato si'* l'importance de l'écologie intégrale qui doit être au cœur de nos actions en tant que chrétien dans la création. / This thesis endeavors, through the examination of Lynn White's article on the historical roots of the ecological crisis, to advance an ecological theology that is specific to evangelical Christian communities. After constructively engaging with the three voices of the evangelical tradition, we go on to explore the contribution that Pope Francis's encyclical *Laudato si'* brings to evangelical theology on the subject of the ecological crisis. At the heart of this project is the effort to establish a bridge between evangelical theology and the message of Pope Francis's encyclical *Laudato si'*. This comparison looks at the point of intersection between the Catholic position and the evangelical view, always in light of Lynn White's criticism. The sustainable ecology that the Pope proposes has the potential to nourish and enrich evangelical reflection, which leads towards healthy and responsible environmental practice in evangelical Christian communities. Our analysis of the evangelical position and the message of *Laudato si'* leads us to recognize in the work of *Laudato si'* the importance of integral ecology, which must be at the heart of our actions as Christians in God's creation.

This thesis explores the role and representation of the natural world in a selection of Canadian dystopian novels: After the Fact (1986) by Hélène Holden, Voices in Time (1986) by Hugh MacLennan, Oryx and Crake (2004) and The Handmaid's Taie (1985) by Margaret Atwood. In order to argue that Canadian dystopian fiction varies from conventional literary dystopias because of its predominant use of nature, this thesis first examines the influence that archetypal images and symbols of nature have on specific dystopian conventions in Holden's and MacLennan's respective novels. Then, this study looks at how Atwood's critique of nature as a victim in Oryx and Crake and The Handmaid's Taie engages with ecocritic and ecofeminist ideas causing a breakdown in the generic conventions of Atwood's dystopian novels. / Cette thèse explore le rôle et la représentation de la nature dans les romans dystopiques canadiens suivants: After the Fact (1986) d'Hélène Holden, Voices in Time (1986) de Hugh MacLennan, Oryx andCrake (2004) et The Handmaid's Taie (1985) de Margaret Atwood. Ayant pour objectif de démontrer que la fiction canadienne dystopique se distingue de la littérature dystopique traditionnelle en fonction de son utilisation dominante de la nature, cette thèse examine l'influence des images, des symboles et des archétypes de la nature sur les conventions dystopiques spécifiques à After the Fact de Holden et Voices in Time de MacLennan. Ensuite, cette étude analyse la représentation de la nature comme victime dans Oryx and Crake et dans The Handmaid's Taie de Atwood qui diffère des conventions traditionnelles du roman dystopique en s'inspirant des idées découlant de l'écoféminisme et de l'écocritique.

A presente dissertação parte do princípio da relevância da produção arquitetônica para uso residencial no contexto das mudanças sociais ocorridas entre as primeiras décadas do século XX e o período do segundo pós-guerra, bem como da observação de que inúmeras obras residenciais paradigmáticas deste período foram projetadas e executadas por arquitetos para uso próprio. Buscou-se, através do recorte do objeto, estudar a arquitetura que resultou de situações que, embora possam ser consideradas excepcionais na atividade produtiva do arquiteto - e talvez até pelo mesmo motivo - puderam propiciar aos autores estudados a oportunidade de elaborar questões pertinentes à disciplina com mais liberdade, do ponto de vista de condicionantes mercadológicas e sócio-culturais vigentes, do que em situações convencionais de produção. Procuramos também, através da comparação entre as residências próprias de arquitetos e o conjunto de sua produção, compreender em que medida as condicionantes do projeto representadas pela figura do cliente podem interferir no resultado final da obra. O objetivo geral do trabalho consiste no levantamento e classificação de obras residenciais de arquitetos (projetadas e construídas para uso próprio) consideradas relevantes na historiografia da arquitetura mundial e brasileira do período estudado, bem como na análise de sua representatividade no conjunto da obra de seus autores, sua relação com as principais correntes arquitetônicas identificadas para a época e suas contribuições ao pensamento e à cultura arquitetônica do período. Apresentamos também a análise aprofundada de alguns casos individuais, com o objetivo de revelar elementos do programa, processo projetual, linguagem, e valores dos arquitetos estudados - além de sua representatividade em relação ao contexto histórico da disciplina. / This dissertation begins with the relevance of residential architecture within the context of the social transformations of the first decades of the 20th century and the period following World War II. It is noted that many of the milestone residences of that time were designed and built by architects for their own use. This work aims to study the architecture resulting from arguably exceptional situations of architectural production, which provided its architects with the opportunity to elaborate issues pertinent to the discipline with greater freedom - in terms of the market and socio-cultural conditions in force at the time - than would have been possible if these situations had been conventional. We have also sought to understand the measure to which the design constraints imposed by clients can impact on the final result, by comparing the architects\' own homes to their output as a whole. The main objective of this work is to survey and classify the residential projects designed and built by architects for their own use that are considered important in global and Brazilian architectural history for the period under study, as well as analyze them within the context of all their architectural production, their relationships with the main architectural movements at the time and their contributions to architectural thinking and culture. In depth analyses of certain cases are employed to reveal elements of the brief, design process, language and values of the architects in question, as well as their representativeness in relation to the discipline\'s historical context.

This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.

A presente dissertação parte do princípio da relevância da produção arquitetônica para uso residencial no contexto das mudanças sociais ocorridas entre as primeiras décadas do século XX e o período do segundo pós-guerra, bem como da observação de que inúmeras obras residenciais paradigmáticas deste período foram projetadas e executadas por arquitetos para uso próprio. Buscou-se, através do recorte do objeto, estudar a arquitetura que resultou de situações que, embora possam ser consideradas excepcionais na atividade produtiva do arquiteto - e talvez até pelo mesmo motivo - puderam propiciar aos autores estudados a oportunidade de elaborar questões pertinentes à disciplina com mais liberdade, do ponto de vista de condicionantes mercadológicas e sócio-culturais vigentes, do que em situações convencionais de produção. Procuramos também, através da comparação entre as residências próprias de arquitetos e o conjunto de sua produção, compreender em que medida as condicionantes do projeto representadas pela figura do cliente podem interferir no resultado final da obra. O objetivo geral do trabalho consiste no levantamento e classificação de obras residenciais de arquitetos (projetadas e construídas para uso próprio) consideradas relevantes na historiografia da arquitetura mundial e brasileira do período estudado, bem como na análise de sua representatividade no conjunto da obra de seus autores, sua relação com as principais correntes arquitetônicas identificadas para a época e suas contribuições ao pensamento e à cultura arquitetônica do período. Apresentamos também a análise aprofundada de alguns casos individuais, com o objetivo de revelar elementos do programa, processo projetual, linguagem, e valores dos arquitetos estudados - além de sua representatividade em relação ao contexto histórico da disciplina. / This dissertation begins with the relevance of residential architecture within the context of the social transformations of the first decades of the 20th century and the period following World War II. It is noted that many of the milestone residences of that time were designed and built by architects for their own use. This work aims to study the architecture resulting from arguably exceptional situations of architectural production, which provided its architects with the opportunity to elaborate issues pertinent to the discipline with greater freedom - in terms of the market and socio-cultural conditions in force at the time - than would have been possible if these situations had been conventional. We have also sought to understand the measure to which the design constraints imposed by clients can impact on the final result, by comparing the architects\' own homes to their output as a whole. The main objective of this work is to survey and classify the residential projects designed and built by architects for their own use that are considered important in global and Brazilian architectural history for the period under study, as well as analyze them within the context of all their architectural production, their relationships with the main architectural movements at the time and their contributions to architectural thinking and culture. In depth analyses of certain cases are employed to reveal elements of the brief, design process, language and values of the architects in question, as well as their representativeness in relation to the discipline\'s historical context.

This project considers four writers that have used postmodern narrative strategies to reconfigure classic pulp science fiction tropes. The primary texts are Catherine L. Moore's "Shambleau," Eleanor Arnason's "The Warlord of Saturn's Moons", Robert Heinlein's "The Rolling Stones", and Margaret Atwood's "The Blind Assassin". Each experiments with narrative voices or uses a story-within-a-story structure. These strategies enable the authors to engage and comment on the process of how traditional tropes and narratives are brought into a new context through appropriation and reconstruction. / by Alexandria S. Gray. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Made available in DSpace on 2016-04-25T19:21:04Z (GMT). No. of bitstreams: 1 Wilson Santana Silva.pdf: 2376159 bytes, checksum: a5d25bf6418c1a95c8fa47ab78693d4e (MD5) Previous issue date: 2009-11-25 / The Civil Government with the use of Padroado , exerted unlimited power over ecclesiastic affairs, changing the Brazilian Catholic Church into an ordinary State department, or a branch of the secular government. That relationship had caused tension between those two spheres, secular government and ecclesiastical government in the main stages of development of the country. Within these parameters, not always in a visible way, brazilian culture has been shaped. Aiming at a critic comprehension of these cultural developments, the figure of the intellectual has been analysed in that process. Besides the study of intellectuals, in that process our goal was to describe the new ideas being established in Brazil, specially in the academy. Comte, Marx and Weber, through their works, had a powerfull influence on brazilian thought. The founding of the University of São Paulo (USP) is representative of the power of these new ideas and their reception by our intelectuals in 1934. This thesis analysed how religion was seen in the academies and specially by some thinkers who wrote classics on the field both of Human and Social Sciences. The works Casa Grande & Senzala, Raízes do Brasil e Formação do Brasil Contemporâneo and their authors Gilberto Freyre, Sérgio Buarque de Holanda e Caio Prado Júnior, respectively, were discussed in order to identify the role of religion and its value to create a solid and clear scientific vision of Brazil. The Thesis analyses the development of a social thinking of Portuguese matrix, and its growth in Brazil. The question of religion in Brazil is complex and varied. The strong influence of religion in Brazilian society opens a vast field of research into the social construction of Brazilian identity / O Poder Civil que se valia do Padroado, exerceu, no Brasil, um poder ilimitado sobre os assuntos eclesiásticos, transformando, desta forma, a Igreja Católica Brasileira em simples departamento do Estado, em um braço do poder secular. Esta relação causou tensões entre as duas esferas, poder secular e poder religioso, nas principais etapas de desenvolvimento do país. Circunscrita a estas fronteiras, nem sempre perceptíveis, moldou-se a cultura brasileira. Objetivando uma compreensão crítica deste desenvolvimento cultural, analisou-se a figura do intelectual nesse processo. Além do intelectual, a tese se preocupou em descrever as novas idéias que estavam sendo consumidas no Brasil, principalmente nas academias. Comte, Marx e Weber, exerceram significativamente, através de suas obras, poderosa influência sobre o pensamento brasileiro. A fundação da Universidade de São Paulo em 1934, serviu para demonstrar a força das novas idéias e sua recepção pelos nossos intelectuais. Esta tese se preocupou em analisar como a Religião tem sido vista nas academias e principalmente por pensadores capazes de produzirem literaturas clássicas nos domínios das Ciências Humanas e Sociais. As obras: Casa Grande & Senzala, Raízes do Brasil e Formação do Brasil Contemporâneo e seus autores Gilberto Freyre, Sérgio Buarque de Holanda e Caio Prado Júnior, respectivamente, foram discutidos com a finalidade de identificar neles e em suas obras, o papel da Religião e sua importância, para a construção de visões sólidas, claras e científicas do Brasil. A tese procurou analisar o desenvolvimento do pensamento social a partir da matriz portuguesa e seu desdobramento no Brasil. A questão religiosa no Brasil é bastante complexa e variada. A forte influência da religião no cenário brasileiro oferece um campo dos mais férteis para a averiguação do quanto ela foi importante, ou não, como componente desta construção social

O presente trabalho, através do estudo da trajetória dos membros da "geração de 1970", busca explicar como, contando com que recursos e em quais condições um grupo de políticos rio-grandenses logrou, ao final da década de 1920, ascender a posições de poder no Brasil. Definiu-se também os contornos do jogo político no Rio Grande do Sul e no Brasil em termos das práticas e dos recursos que os agentes que nele atuavam deveriam possuir para serem bem sucedidos. Desde os níveis paroquial, estadual e nacional, se pode verificar que este jogo era jogado enquanto uma disputa entre mediadores, que encarnavam posições alcançadas, a partir da liderança sobre parcelas da sociedade que tinham neles seus canais de relação com o mundo jurídico-político. / The present work, through the study of the "generation of 1907" member's trajectories, tries to explain how, counting with which resources and in what conditions agroup of rio-grandenses' politicians achieved, at the end of the 1920, to ascend to powerpositions in Brazil. We also defined the contours of the political game in Rio Grande doSul and Brazil in terms of the practices and resources that the agents that acted in it should possess to be succeed. From the parochial, regional and national levels, it was verified that this game was played as a dispute among mediators, that embodied positions reached through leadership on portions of the society that had in them its relationship channels with the juridical-political world.

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