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The twentieth century has aptly been referred to the century of the refugee.1 In the twentieth century, refugees became an important international problem which seriously affected relations between states and refugee issues continue to play an important part in international relations in the twenty-first century. The refugee crisis created by the Nazis in the 1930s was without precedent and the British government was unsure how to respond. British refugee policy was still in a formative stage and was therefore susceptible to outside influences. This dissertation aims to explain the key factors that drove British refugee policy in the period March 1938 to July 1940, and to evaluate their relative significance over time. I divided the period of study into three phases (March-September 1938, October 1938 to August 1939, September 1939 to July 1940), in order to explore how a range of factors varied in importance in a political and international environment that was rapidly changing. In considering how to respond to the refugee crisis, the British government was hugely influenced by concerns over its relations with other countries, especially Germany. There is little doubt that, during the entire period of this study, the primary influence on the formation and implementation of British refugee policy was the international situation. However, foreign policy did not by itself dictate the precise form taken by British refugee policy. The response of the British government was modulated by economic concerns, domestic political factors, humanitarianism, and by the habits, traditions and assumptions of British political culture. Some factors, like anti-Semitism became less important during the period of this study, while others like humanitarianism increased in importance.

The purpose of this study was to examine the courtroom summation of Clarence Darrow in the Leopold-Loeb Murder Trial by the application of the Burkeian concepts of strategy and pentad. Darrow's primary objective, or master strategy, was to save the defendants from execution. To accomplish this objective, Darrow had to overcome volatile public opinion which demanded the execution of Leopold and Loeb.A major factor in Darrow's rhetorical scheme concerned his decision to enter a plea of "guilty with mitigation of punishment"—a move which by-passed a jury and placed the responsibility squarely on the shoulders of the judge. In order to accomplish the master strategy, Darrow employed a number of minor strategies. The most successful of these strategies were those designed to manipulate Judge Caverly's emotional responses. Darrow's master strategy succeeded because he recognized the rhetorical obstacles and because he employed sound rhetorical judgment to accomplish his objective.

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Submitted by Germana de Araujo (germana_araujo@yahoo.com.br) on 2013-06-11T15:02:47Z No. of bitstreams: 1 APARENCIA CANGACEIRA_TESE FINAL_GERMANA ARAUJO 2013.pdf: 4946643 bytes, checksum: f69695bf0569d97e20319c1cd0cd34fc (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-06-14T20:15:16Z (GMT) No. of bitstreams: 1 APARENCIA CANGACEIRA_TESE FINAL_GERMANA ARAUJO 2013.pdf: 4946643 bytes, checksum: f69695bf0569d97e20319c1cd0cd34fc (MD5) / Made available in DSpace on 2013-06-14T20:15:17Z (GMT). No. of bitstreams: 1 APARENCIA CANGACEIRA_TESE FINAL_GERMANA ARAUJO 2013.pdf: 4946643 bytes, checksum: f69695bf0569d97e20319c1cd0cd34fc (MD5) / A presente pesquisa, intitulada Aparência Cangaceira: um estudo sobre a aparição como aspecto de poder, visa, por intermédio de uma abordagem multidisciplinar, a concatenar fundamentos de campos do conhecimento disciplinar – como a Sociologia, a História, a Filosofia e a Antropologia – com saberes de caráter não-disciplinar – tais como depoimentos, vivências e fotografia – para propiciar o estudo da configuração da imagem pública do indivíduo cangaceiro com a proposição de inserir-se no jogo de poder imanente da cultura do cenário. Para tanto, este estudo foi desenvolvido por meio da leitura bibliográfica; da pesquisa em jornais do acervo dos Institutos Históricos e Geográficos dos Estados de Sergipe, Ceará e Bahia; e da convivência com pessoas que estiveram no Cangaço ou passaram a conviver com o tema por intermédio de estudos e das artes. A partir da observação descritiva e das concepções da Sociologia que favoreceram para um modo flexível do pensar – que tanto entende o indivíduo como sendo fruto de uma complexa rede de relações em um contexto sociocultural, quanto considera os aspectos da individualidade na existência coletiva –, compreendeu-se que o cangaceiro, com o intuito de tornar seu papel convincente perante outros atores do cenário, passou a elaborar com autenticidade – a partir do final dos anos de 1920 – um estilo próprio de vestir-se e comportar-se, provocando autoridade diante de sua aparência exuberante. O estilo do cangaceiro apresenta sinais da influência simbólica de corporações, tais como o Exército e a Igreja, mas, também, deixa evidente o quanto as escolhas sobre o uso de determinados objetos fazem parte da íntima sensação de prazer e da luta pela distinção dentro e fora do grupo. Neste sentido, o cangaceiro cambia de primitivo e selvagem para ser considerado um indivíduo criativo, propositivo e consciente de suas escolhas, diferentemente de como ele é compreendido pela bibliografia regionalista e tradicionalmente cangaceirista. Conclui-se que Lampião tinha noção de que era um jogador que gerava resultados em face da concorrência e que exercia práticas criativas para ter a configuração da aparência cangaceira como parte dos mecanismos de luta, tornando-se um protagonista diferenciado da história do Cangaço. / Salvador

When Karel Čapek´s R.U.R. (the acronymic title is short for ??Rossum?s Universal Robots??) was first performed in 1921, it became a major international success and made Čapek an internationally known playwright. Although R.U.R. may appear slightly dated nearly hundred years later, the concerns expressed by the playwright are still interesting to modern audiences which explains why this play was chosen to be stage designed in the first place.