In America, the advent of industrial capitalism promised an era of prosperity and progress. For some, however, it had marked a period of hazardous life at home and at work, and social dislocation. Dissenters to this economic arrangement found themselves in opposition to an array of forcessocial, political, economic and intellectual-which buttressed the industrial capitalist order. Their responses in words and in action would substantiate and characterize American social politics. The rise of social politics is a trans-Atlantic phenomenon: a product of the vibrant intellectual exchange of progressive thought during the Progressive era. It sought to restructure the prevailing arrangements of the American political framework to account for social concerns associated with industrial capitalism. During the early twentieth century, a choice was made by many progressives to translate social politics into an explicitly partisan vehicle. The Progressive Party, which emerged in 1912, would be organized and employed by progressives to give a partisan home and a national platform to social politics. The party's role and impact in the progressive movement can be better understood by analyzing and examining how the Progressives acted on the principles of social politics.

Una de las tareas políticas más importantes de inicios del siglo XXI es la implantación de un orden de justicia mundial que dé respuesta a “los grandes males de la historia humana –guerra injusta y opresión, persecución religiosa y denegación de la libertad de conciencia, hambre y pobreza, genocidio y asesinato en masa–”.1 La filosofía, frecuentemente tildada de estéril, puede ayudar en su solución. Por ello, quiero centrarme filosóficamente en uno de esos males: la pobreza. La globalización de la economía no ha generado mejores condiciones de vida para los países que intercambian sus productos “imparcialmente” según el mercado, sino que ha incrementado las desigualdades entre ellos y su relación de dependencia.

Jacques Ferron a écrit 197 lettres dans différents journaux et revues du Québec. De cet ensemble, 47 lettres forment le corpus à l'étude. Toutes ces lettres ont été écrites entre 1960 et 1969 et on les retrouve dans les pages du Devoir. La pratique de la lettre ouverte chez Ferron est méconnue et très peu étudiée. La manière dont Ferron l'utilise pour s'exprimer est au coeur de ce mémoire. Le traitement des cibles et la construction de l'ethos sont les éléments importants qui ont été analysés pour comprendre comment Ferron entre en relation avec ses adversaires et comment il se présente dans les lettres pour assurer la crédibilité de sa parole. Par la suite, le choix d'un discours, polémique ou pamphlétaire, et les conséquences d'un tel choix sur l'écriture ont fait l'objet d'une analyse, tout en tenant compte d'une perspective chronologique. Observer la manière dont Ferron pratique la lettre ouverte nous a amené à constater qu'il entretient des relations conflictuelles surtout avec des cibles ayant un lien direct ou indirect avec le pouvoir. Dans ces confrontations, Ferron tente de présenter l'image de celui qui est instruit et solidaire des préoccupations de la population tout en défendant son indépendance d'esprit. Quant au choix des discours, Ferron semble privilégier, tôt dans la décennie, le discours polémique, voulant ainsi entretenir le dialogue avec l'autre. Par contre, plus la décennie avance, plus le discours pamphlétaire et une forme hybride (présence dans une même lettre du discours pamphlétaire et polémique) s'imposeront comme choix. Il semble évident que le discours public de Ferron dans les lettres aux journaux se radicalise avec le temps.

L’objectif général de cette thèse est de contribuer à l’enrichissement des connaissances sur la vie culturelle et musicale des années 1920. En s’appuyant sur l’œuvre de Roméo Beaudry, il s’avère qu’un corpus typiquement associé à la culture anglophone états-unienne peut constituer un jalon déterminant de l’histoire de la chanson populaire canadienne-française. Pour rendre possible une telle équation, les deux premiers chapitres dressent le portrait des lieux de productions et de réception en insistant sur la place octroyée à la diffusion de la chanson. Certaines habitudes et conventions, bousculées au début du XXe siècle, allaient avoir un impact significatif sur le développement des rapports entre les auditeurs, les œuvres, les lieux de réception et les médias. Le chapitre 1 décrit la façon dont ces rapports ont ébranlé les frontières géographiques, langagières et génériques tout en multipliant la diversité musicale et en offrant une plus grande diffusion. Le chapitre 2 suggère que des facteurs dynamiques et complexes tels que les temps de loisirs et les modalités de l’écoute ont pu modifier la réception des œuvres. La pluralité des lieux et des médias contribuait alors à la constitution d’un public hétérogène du point de vue de sa condition sociale et de son mode d’écoute de la chanson. En prenant acte de l’abondance de la musique états-unienne et des chansons traduites en français, la deuxième partie de la thèse démontre que cet imposant répertoire peut signifier autre chose qu’une américanisation, autre chose qu’une forme d’assimilation. Au chapitre 3, j’emprunte à la traductologie, à la littérature et à la musicologie des modèles d’analyse qui permettent l’identification des processus de transformation menant à la traduction d’une chanson. L’adaptation ciblée de la transtextualité de Gérard Genette montre que la transposition d’un texte et la transcription d’une mélodie peuvent maintenir ou modifier radicalement le sens d’une chanson. L’élaboration du modèle et l’analyse spécifique de trois œuvres de Beaudry au chapitre 4 présentent un acteur important du monde de la chanson populaire canadienne-française et font voir comment la traduction et l’imitation peuvent mener à l’appropriation créative d’une œuvre reflétant à la fois une culture locale et continentale. / The overall objective of this thesis is to contribute to the development of knowledge on cultural and musical life in the 1920s. Based on the work of Roméo Beaudry, a repertoire of songs typically associated with the culture of the United States can serve as a milestone in the history of the French-Canadian popular song. In this regard, the first two chapters describe the locations of song production and reception with a focus on the role of music distribution. Habit changes at the beginning of the twentieth century would have a significant impact on the development of relations between auditors, works, reception venues and media. Chapter 1 describes how these relations have shaken geographical, language and generic boundaries while increasing musical diversity and offering a wider music circulation. Chapter 2 suggests that dynamic and complex factors such as leisure time and listening habits may have altered the reception of popular songs. The plurality of locations and medias also contributed to the formation of a heterogeneous public. Noting the abundance of popular music in the United States and the numerous songs translated into French, the second part of the thesis shows that this imposing repertoire can mean something other than Americanization, something other than a form of assimilation. In Chapter 3, translation, literature and musicology studies provide analysis models that allow the identification of the transformation process leading to a song’s translation. The adaptation of Gérard Genette’s transtextuality shows that the transposition of a text and the transcription of a melody may maintain or radically change the meaning of a song. In Chapter 4, the model is applied on three specific songs. At the outcome, Beaudry is defined as an important player in the world of French-Canadian popular songs and it is shown how translation and imitation can lead to a creative appropriation of a work reflecting both local and continental cultures.

Years of psychotherapy practice at university, state, and military hospitals developed the author's interest in the presentation of love relationship problems. Mood and anxiety disorders, as the most prevalent pathologies, were often co-morbid with or secondary to partner relationship issues. Most vexing for clients was a situation of repeated dysfunctional partner selections in which similar problems arose each time. This incubated the idea of a process, probably outside of awareness, that functioned to perpetuate self-defeating partner selection patterns. The author was introduced to Money's `lovemap' concept during studies and identified readily with its principles and mechanisms. The lovemap is defined as a highly individualised, developed, mental template or cognitive blueprint of the ideal lover. It is assumed that every person has a lovemap, and would be able to describe it if asked the right questions. The concept promised to be a useful vehicle for studying self-defeating partner selection patterns, as `errors' might be coded into the lovemap that are expressed in such a presentation. The author identified the need to ground the lovemap concept in recognised psychological theory in order to motivate for its relevance. Kelly's theory of cognitive constructs provided robust links for lovemap as a sophisticated construction system, and the developmental theories of Freud and Erikson situated lovemap genesis within recognised periods of emerging human capacities to love and relate sexually; the stages of puberty to young adulthood. Lovemaps are assumed to function optimally when love and lust co-operate in pairbonding, or the capacity to couple. Extensive literature reviews cover the research fields of romantic love, human sexuality, and pairbonding, affording hypotheses as to lovemap pathology. A qualitative, Phenomenological research design of case studies with six adult persons, who had experienced radical contradictions of original lovemaps, identified when and how lovemap change took place. Thematic analysis of the attributions for change distilled a number of implications for therapy that would encourage certain indicated change processes. An integrative psychotherapy model recognises the cognitively- and socially constructed nature of lovemaps and proposes intervention components that blend cognitive-behavioural and narrative approaches. This model will be tested extensively with a suitable client population. / Psychology / D. Litt. ET Phil. (Psychology)

Andrea Zanzotto (Pieve di Soligo 1921- Conegliano 2011), poète italien parmi les plus marquants du XXe siècle, a privilégié, depuis sa jeunesse, la culture et la langue française. Notre travail met en évidence, à partir de sa poésie, des écrits critiques, de ses traductions et de ses nombreuses interviews, le lien, qu’il a tissé pendant plus de soixante-dix ans, avec la poésie transalpine moderne. Toutefois, c’est seulement à partir des dernières années que la critique littéraire a développé des études comparatives sur l’influence de la poésie étrangère, en particulière française, sur son œuvre. Sa prédilection littéraire commence par Rimbaud, passe à travers le Surréalisme (Éluard), et s’arrête sur certains auteurs appelés « hérétiques » par rapport au mouvement de Breton (Michel Leiris, Antonin Artaud), ou alors sur des auteurs très polémiques (comme Henri Michaux ou Blaise Cendrars avec son poème Pâques à New York) aux quels on a dédié un approfondissement. En ce parcours Zanzotto croise, bien qu’avec moins d’entrain, les contemporains André Frénaud, Alain Borne, Edmond Jabès, Jean Tardieu, Michel Deguy, Yves Bonnefoy, et René Char. Notre thèse, en s’appuyant sur l’examen des textes et sur l’analyse des traductions et des documents inédits, d’une part rends compte du caractère précurseur de Zanzotto pour ce qui concerne la connaissance de certains auteurs et les raisons de son intérêt pour le courant « hérétique » du Surréalisme. D’autre part, ce travail explique l’intersection de sa recherche littéraire, d’un point de vue thématique et linguistique, avec la poésie française et met en évidence le rendu poétique des expressions littéraires et existentielles de l’outrance et de l’absolu d’origine française. / Andrea Zanzotto (Pieve di Soligo, 1921 – Conegliano, 2011), one of the most outstanding poets of the 20th century, showed from an early age a huge interest towards the French linguistic and cultural heritage, above the others. Our thesis highlights how well present his strong relationship with modern French poetry is, testified by his own critical essays, translations and public statements; a connection bound to last for almost seventy years. Only recently the critics have started a comparative approach to the study of the influence of foreign poetry, and French poetry in particular, upon his œuvre. The literary lineage that Zanzotto follows starts with Rimbaud, crosses Surrealism (Eluard ) and then lingers upon a number of authors defined either as heterodox (Michel Leiris, Antonin Artaud,) or extremely critical (Henri Michaux, and Blaise Cendrars, the latter with his short poem titled Pâques à New York, herewith analysed) towards Breton’s movement. Zanzotto also deals with his contemporaries, although with minor depth (André Frénaud, Alain Borne, Edmond Jabès, Jean Tardieu, Michel Deguy, Yves Bonnefoy, René Char). The present research, backed up by textual comparison and the analysis of unpublished translations and documents, focuses on the pioneering features of Zanzotto’s knowledge of all these French authors compared to the subsequent Italian literature, and the reasons behind his ties with the “heretic” current of Surrealism. At the same time, our work explains the intersection, from the linguistic and thematic point of view, with French poetry and shows the poetic outcome of the literary and existential expressions of the Absolute and all-out of French origin.

Made available in DSpace on 2016-04-26T20:48:55Z (GMT). No. of bitstreams: 1 Bruno Beltrame.pdf: 550537 bytes, checksum: dd98c2c17868e3f8b2d425a2f8ed1be8 (MD5) Previous issue date: 2009-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this dissertation is to inquire in what sense it is reasonable to locate in Kenneth Arrow s social choice theory and in John Rawls theory of justice the two main theoretical roots of Amartya Sen s capability approach. It will be argued that Arrow s social choice theory had the role of revealing the main deficiencies of the welfare economics theory. Thus, Arrow s analysis points the limitations to be fulfilled in order to arrive at satisfactory theory of social choice indicating, in this sense, the paths to be pursued. In the same manner, it is argued that Ralws theory of justice provided important elements that inspirated certain ethical positions present in Amartya Sen s thought, which appear in his approach to the problem of social choice. To conclude, the main features of the capability approach that can be directly associated with these two theoretical origins are exposed, and it is argued that Sen s theory simultaneously solves the deficiencies pointed by him in the theoretical structure of Arrow s social choice and embodies, even though in a modified way, elements of Rawls thought / O objetivo dessa dissertação é investigar em que sentido é pertinente localizar na teoria da escolha social de Kenneth Arrow e na teoria da justiça de John Rawls as duas principais raízes teóricas da abordagem das capacidades de Amartya Sen. Argumentar-se-á que a teoria da escolha social de Arrow cumpriu o papel de explicitar as deficiências da teoria econômica do bem-estar. Desse modo, as análises de Arrow apontam as limitações a serem superadas para se chegar a uma teoria satisfatória da escolha social indicando em certa medida rumos a serem seguidos. Da mesma maneira argumenta-se que a teoria da justiça de Rawls forneceu elementos importantes que inspiraram certos posicionamentos éticos evidentes no pensamento de Amartya Sen e que se refletem em suas análises da escolha social. Por fim são apresentadas as principais características da abordagem das capacidades que podem ser diretamente associados a estas duas origens teóricas, e será argumentado que a teoria de Sen ao mesmo tempo soluciona as deficiências apontadas por ele na estrutura teórica da escolha social de Arrow e incorpora, ainda que de forma modificada, elementos presentes no pensamento de Rawls

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Acompanha: Proposta pedagógica crítica: articulação entre o teatro do oprimido e o ensino de ciência / Este estudo foi motivado em torno da seguinte inquietação, como o ensino de ciências, em uma perspectiva crítico-problematizadora, no serviço de acolhimento institucional, pode contribuir para a formação científica e educacional de adolescentes em condição de vulnerabilidade? Essa questão tem por objetivo geral analisar a contribuição do ensino de ciências desenvolvido em ambiente de acolhimento institucional, em uma perspectiva crítico-problematizadora freireana, para a promoção do conhecimento científico às adolescentes acolhidas e identificando como o processo de significação conscientizadora, do qual as acolhidas são autoras, colabora para a sua transformação individual e social. A presente investigação busca auxiliar significativamente na preparação e na formação das adolescentes para sua autonomia ao chegarem aos dezoito anos, essa ação educacional vem promover o conhecimento científico, a partir do acesso ao ensino de ciências no acolhimento institucional, como também, apoiá-las no processo de ruptura do ciclo de violência na história de suas vidas. Nessa perspectiva, a pesquisa é embasada na educação problematizadora e transformadora com pressupostos freireanos, com as contribuições da Pedagogia do Oprimido. Como procedimentos metodológicos da pesquisa-ação, utiliza-se o desenvolvimento de duas das técnicas, sendo o Teatro Imagem e o Teatro Fórum, do método teatral conhecido por Teatro do Oprimido, criado por Augusto Boal. Posteriormente, articula-se a promoção do conhecimento científico pautado nos Momentos Pedagógicos, referenciados por Delizoicov, Angotti e Pernambuco. Para analisar os dados e informações trazidos pela pesquisa de campo se recorre à Análise Textual Discursiva, considerando a audiogravação realizada em cada encontro com as adolescentes, destacando-se as categorias a priori e as emergentes manifestadas no estudo. Concluindo com a apresentação dos resultados, nos quais foi possível verificar a contribuição do ensino de ciências, em espaço de educação não formal, como também identificar o processo de significação conscientizadora, em que notou-se a presença da consciência crítica ao final do percurso da pesquisa de campo. / This study was motivated by the following disquiet, how can teaching science, in a critical-problematizing perspective, in the institutional reception service, contribute to the scientific and educational formation of vulnerable adolescents? The general objective of this question is to analyze the contribution of science education developed in an institutional reception environment, in a Freirean critical-problematizing perspective, for the promotion of scientific knowledge to the adolescents and identifying as the process of meaningful awareness, of which the receptions Are authors, collaborates for their individual and social transformation. The present research seeks to help significantly in the preparation and training of adolescents for their autonomy when they reach the age of eighteen, this educational action promotes scientific knowledge, based on access to science education in the institutional reception, as well as support them in the Process of breaking the cycle of violence in the history of their lives. From this perspective, the research is based on problematizing and transformative education with Freirean presuppositions, with the contributions of the Pedagogy of the Oppressed. As methodological procedures of the action research, the development of two of the techniques, being the Image Theater and the Theater Forum, of the theatrical method known as Theater of the Oppressed, created by Augusto Boal. Subsequently, articulates the promotion of scientific knowledge based on the Pedagogical Moments, referenced by Delizoicov, Angotti and Pernambuco. In order to analyze the data and information brought by the field research, we use the Discursive Textual Analysis, considering the audio-recording performed in each encounter with the adolescents, highlighting the a priori and emerging categories manifested in the study. Concluding with the presentation of the results, in which it was possible to verify the contribution of science teaching in a non-formal education space, as well as to identify the process of awareness-raising meaning, in which the presence of critical awareness was noticed at the end of the course field research.

Parmi les réponses apportées à la crise du langage définie par Mallarmé, quelle importance peut être accordée à celle des poètes fantaisistes du début du XXe siècle ? Cette thèse propose de réinterroger à nouveaux frais les apports esthétiques d’un groupe pour le moins hétérogène dans le concert des avant-gardes. Il s’agit dans un premier temps de retracer les étapes de la constitution d’une entité collective à l’existence fugace, car la trajectoire du groupe fantaisiste l’apparente à une comète engloutie par le cataclysme de la Grande Guerre. L’approche sociologique, étayée par des archives encore peu exploitées, nous renseigne à la fois sur les prolégomènes d’une expérience commune et les ramifications du souvenir nostalgique longtemps après que le groupe aura cessé d’exister sous sa forme première. Il convient ensuite d’examiner le contenu notionnel de la fantaisie en tant qu’élément fondateur d’une poétique polymorphe qui joint à un respect de la tradition poétique française le refus du dogmatisme et de la théorie. On constate que la fantaisie fonctionne comme un espace vacant qui accueille les spéculations de la critique s’efforçant de pallier le défaut de définition assumé par le groupe, dont la production reste marquée par une indécision entre mélancolie élégiaque et dissonance humoristique. Les poètes fantaisistes proposent-ils une solution à la menace d’obsolescence qui pèse sur la notion de fantaisie ou ne représentent-ils que l’écho d’un phénomène transséculaire dont le dernier avatar se dilue dans le goût du pastiche et de la forgerie ? / Among the answers given to the language crisis triggered by Mallarmé, what consideration can we show to the one promoted by the fantaisist poets of early 20th century? This thesis proposes a new reflection on the aesthetical input from a group nothing short of heterogeneous in its composition amid the emergence of literary avant-gardes. First of all, we will recount the steps of the constitution of a short-lived collective entity, as the group’s trajectory is much alike a comet lost in the cataclysm of the Great War. A sociological approach based on seldom browsed archives informs us both about the prolegomena of a collective experience and the ramifications of nostalgic memories long after the group had ceased to exist in its primitive form. We shall then examine the notional content of fantaisie as the primary element of polymorphous poetics which combine respect for the French literary tradition with the rejection of any dogmatism or theory. We observe that fantaisie works as a vacant slate set to welcome speculations from critics who try and compensate the lack of definition claimed by the group, whose production is branded by the hesitation between elegiac melancholy and humoristic dissonance. Do fantaisist poets offer propose a rebuttal to the threat of obsolescence surrounding the very notion of fantaisie or are they only the echo of a centuries-old phenomenon whose last incarnation melts with the appetence for pastiche and forgery?