The primary purpose of this study is to examine the effects of the social and cultural revolution in post-World War One American society on gender relationships in F. Scott Fitzgerald's novels and a selection of his short stories. In his fictional works, Fitzgerald becomes a kind of social and cultural historian, reflecting the fundamental changes that began to occur in the 1920s. There were many factors that contributed to this Jazz-Age revolution in "manners and morals": the emancipation of women, giving rise to the American New Woman; the influence of Freud and his psychoanalytic theories on the already blossoming sexual revolution; and the mechanization and commercialization of all aspects of life in the machine age, drastically altering the way men and women had traditionally thought, behaved, and, communicated with one another.

Dans ce mémoire, nous analyserons le roman Passages de l'écrivain québécois d'origine haïtienne Émile Ollivier selon les poétiques hybrides et impures associées, d'une part, au paysage littéraire québécois des années 1980 et 1990 - période durant laquelle les « écritures migrantes » constituent le courant dominant -, ainsi qu'au postmodernisme et à l'époque postcoloniale d'autre part. En nous basant sur les travaux de plusieurs critiques littéraires québécois contemporains, mais également en considérant les grandes lignes des théories sur la littérature haïtienne et antillaise, nous développerons le thème de la « contamination réciproque », expression empruntée à Pierre Nepveu, comme une poétique des « écritures migrantes ». Divisée en trois chapitres, notre étude s'attardera d'abord à la double trame narrative du roman d'Ollivier qui alterne sa focalisation entre Haïti et Montréal. Nous observerons l'échange réciproque des paradigmes du Sud et du Nord qui s'opère dans les deux premières parties du roman alors que, dans la troisième partie, la narration se concentre à Miami. Dans le deuxième chapitre, nous nous nourrirons des théories de la « transculture » afin d'en dégager les poétiques principales. À travers trois thèmes présents dans Passages et liés à cette pensée née dans les pages de la revue Vice Versa, à savoir le mouvement, l'espace et la mémoire, nous verrons que la « contamination réciproque » s'inscrit au sein des théories de la « transculture » qui redéfinissaient à la fois la société et le paysage littéraire québécois à l'époque où les écrivains migrants investissaient massivement le corpus québécois. Enfin, dans le troisième chapitre, nous aborderons la place du corps dans Passages. La construction identitaire des différents personnages se fait à même le corps, celui qui s'énonce dans l'espace, mais également celui qui met en jeu son identité par rapport à l'altérité, en une forme d'interfécondation. Nous verrons enfin que le roman Passages prend forme en différé à travers la mort qui situe évidemment le corps à l'avant-plan. Nous nous nourrirons d'autres ouvrages d'Émile Ollivier ainsi que de plusieurs textes d'écrivains migrants afin d'accentuer l'importance et la pertinence de la « contamination réciproque » comme poétique des « écritures migrantes ». ______________________________________________________________________________

Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007

Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007

Uppsatsen är en fallstudie av landstriderna kring Narvik 1940 analyserade utifrån degrundläggande förmågorna med perspektivet att ta emot stöd.Trots tillskyndande stöd från allierade förband kunde inte de norska och allierade förbanden komma till ett avgörande mot de numerärt underlägsna och tillsynes avskurna tyska förbanden i fjällen kring Narvik. För att belysa de förutsättningar som rådde på taktisk nivå så används tre frågeställningar: -Hur fördelade sig de grundläggande förmågorna hos tyska förband respektive allierade förband under det studerade händelseförloppet? -Vilka förmågor var särskilt framträdande för de olika förbandens strid? -Vilka eventuella svårigheter att ta emot stöd i striderna kring Narvik är relevanta för svenska förhållanden? Resultatet av studien visar att avsevärda brister i förmågan till ledning hos de allierade förbanden förelåg varvid det tillskyndande stödet blev ineffektivt. Dessutom var de tyska förbandens goda förmåga till skydd samt uthållighet, viktiga faktorer för de allierades svårighet att komma till ett avgörande. / This study is a case study of the land war in the vicinity of Narvik 1940, analysed in perspective of the six basic capabilities of combat; effect on target, protection, mobility, command and control, sustainability and intelligence. The main angle is the challenges of receiving support. How come the Norwegians and supporting allied units weren’t able to defeat the outnumbered German troops in the mountains? To be able to filter out the essential factors on a tactical level the following questions are used: -How did the basic capabilities of combat appear among the allied and the German units? -Which capability was most decisive for the outcome of the battle between the opponents? -Which difficulties in receiving support are relevant for Swedish conditions? The result of the study reveals that severe mistakes in the command and control among the allied units caused ineffective support from the allied units. It also reveals that the protection and sustainability among the German units had an important role for the outcome.

SAMPAIO, Abrahão Antônio Braga. Propedêutica à categoria do despertar histórico nas passagens de Walter Benjamin. 2010. 121f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2010. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-07T14:28:51Z No. of bitstreams: 1 2010-DIS-AABSAMPAIO.pdf: 842803 bytes, checksum: c5b2dad1380b340f94b291b6b9c4c54b (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-07T17:37:40Z (GMT) No. of bitstreams: 1 2010-DIS-AABSAMPAIO.pdf: 842803 bytes, checksum: c5b2dad1380b340f94b291b6b9c4c54b (MD5) / Made available in DSpace on 2013-11-07T17:37:40Z (GMT). No. of bitstreams: 1 2010-DIS-AABSAMPAIO.pdf: 842803 bytes, checksum: c5b2dad1380b340f94b291b6b9c4c54b (MD5) Previous issue date: 2010 / The Arcades Project (Das Passagen-Werk, 1927-1940), an unfinished study conducted by Walter Benjamin (1892-1940), composed of a series of fragments and quotations, is related to the unfolding – in the conditions of the high capitalism – of the concept of the good’s fetish character, in order to debate a critical social theory. The basis of his research is the interpretation of the visible phenomenon of Paris, the Capital of the Nineteenth Century: passageways, iron buildings, the kinds of illumination, sceneries, the interior of bourgeois abodes, fashion and the Jugendstil, feuilletons, stockade fights deriving from the social movements, the Haussmann urban reforms, social types as flâneur, the collector and the player, the technical productions of Saint-Simon and Fourier’s utopian socialism, also Baudelaire’s poetics in particular, and etc. The German Author focuses especially on the contradiction between the development of the production forces and the use of these forces by the society in the capitalistic relations of production. This contradiction expresses itself in the symbolic space of oniric images, which interpenetrates the old and the new, and configures all buildings in modern society. The methodological picture sketched in the paper on the Parisian commercial galleries has as a basis the analogy proposed between the psychoanalytical interpretation of dreams and the interpretation of collective phenomena seen as oniric forms. The problem of the reified social appearance acquires whole elaboration in the constitution of the methodological statute of the dialectical image, based on the suspension of ambiguous elements in the fetish cultural phenomena. We present in this paper the master lines of historical awakening’s political category that, while interpretation process and history critique, operates a conceptual summary (constellation) that dialectically interrelates the complex group of theoretical categories: the good’s fetish character, the expression concept, the distinction between oniric and dialectic image, as well as the awakening itself. Thus, Benjamin sets the basis for a critical social theory and of a new understanding of the historical knowledge in the landmarks of a materialistic historiography. / O projeto das Passagens (Das Passagen-Werk, 1927-1940), estudo inacabado de Walter Benjamin (1892-1940), pois composto de uma série de fragmentos e citações, trata do desdobramento – nas condições do “alto capitalismo” – do conceito do caráter fetiche da mercadoria, no intuito de articular uma teoria social crítica. A base de sua pesquisa situa-se na interpretação dos fenômenos visíveis da Paris, capital do século XIX: as passagens, as construções de ferro e os tipos de iluminação, os panoramas, o interior das moradias burguesas, a moda e o Jugendstil, os folhetins, as lutas de barricadas decorrentes dos movimentos sociais, as reformas urbanas de Haussmann, tipos sociais como o flâneur, o colecionador e o jogador, as produções teóricas do socialismo utópico de Saint-Simon e Fourier, bem como a poética de Baudelaire em especial etc. O autor alemão enfoca especificamente a contradição entre o desenvolvimento das forças produtivas e o uso delas por parte do coletivo nas relações capitalistas de produção. Essa contradição se expressa no espaço simbólico das imagens oníricas, as quais interpenetram o antigo e o novo, e configuram todas as construções da sociabilidade moderna. O quadro metodológico esboçado no trabalho sobre as galerias comerciais parisienses tem por base a analogia proposta entre a interpretação dos sonhos psicanalítica e a interpretação dos fenômenos coletivos compreendidos enquanto formas oníricas. O problema desta aparência social reificada ganha plena elaboração na constituição do estatuto metodológico da imagem dialética,com base na suspensão dos elementos ambíguos dos fenômenos da cultura do fetiche. No presente trabalho são apresentadas as linhas mestras da categoria política do despertar histórico que, enquanto processo de interpretação e crítica da história, opera uma síntese conceitual (constelação) que inter-relaciona dialeticamente o conjunto complexo das categorias teóricas: o caráter fetiche da mercadoria, o conceito de expressão, a distinção entre imagem onírica e imagem dialética, bem como do próprio despertar. Desse modo, Benjamin lança as bases para uma teoria social crítica e para uma nova escrita da história nos marcos de uma historiografia materialista.

Made available in DSpace on 2016-04-15T23:48:40Z (GMT). No. of bitstreams: 4 Tais Lie Okano1.pdf: 2584839 bytes, checksum: 092573a711e1668449c12dca384bc306 (MD5) Tais Lie Okano2.pdf: 2191302 bytes, checksum: 00d04c61fab249d5ff9f941dade8555b (MD5) Tais Lie Okano3.pdf: 1942547 bytes, checksum: dfb44e4b589e81a4304e0f5cab414424 (MD5) Tais Lie Okano4.pdf: 1741169 bytes, checksum: 91a8269c1a3610c883f8145adcddbaa5 (MD5) Previous issue date: 2007-10-01 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The present work discusses the vertical growth in São Paulo and the constitution of Modernity. The analysis has focus in the period of 1940 and 1957, entering many aspects: economics, politics, culturals and suitable legislations to the process of the city vertical growth. This process contributed for the establishment of the metropolis, certifying the technological and productive capacity to it, the intensity of the industrial activity. Through the system organization and the analysis of this work studied object, the part of the buildings constructed with elevator between 1940 and 1957, three sub periods in the São Paulo vertical growth were characterized in the transition from eclectic buildings till modern architecture which will dominate after the 50s. / O presente trabalho estuda a Verticalização em São Paulo e a constituição da Modernidade. A análise tem foco no período de 1940 a 1957, levantando-se aspectos econômicos, políticos, culturais e legislação pertinente ao processo de Verticalização da cidade. Esse processo contribuiu para a formação da metrópole, lhe atestado a capacidade tecnológica e produtiva, a intensidade da atividade industrial. Através da sistematização e da análise de parte dos edifícios construídos com elevador de 1940 a 1957, objeto de estudo deste trabalho, foram caracterizados três subperíodos na Verticalização de São Paulo, da transição dos edifícios ecléticos até a arquitetura moderna que passa a predominar a partir da década de 50.

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CARVALHO, Cid Vasconcelos de. Melodrama e nação no cinema brasileiro dos anos 1940. 2007. 322f. Tese (Doutorado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2007. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-23T13:59:59Z No. of bitstreams: 1 Tese de Cid Vasconcelos de Carvalho_noPW.pdf: 14054104 bytes, checksum: 382b8d022a78b464526e2ec9117eeae0 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-01-09T12:57:42Z (GMT) No. of bitstreams: 1 Tese de Cid Vasconcelos de Carvalho_noPW.pdf: 14054104 bytes, checksum: 382b8d022a78b464526e2ec9117eeae0 (MD5) / Made available in DSpace on 2012-01-09T12:57:42Z (GMT). No. of bitstreams: 1 Tese de Cid Vasconcelos de Carvalho_noPW.pdf: 14054104 bytes, checksum: 382b8d022a78b464526e2ec9117eeae0 (MD5) Previous issue date: 2007 / I wanna to realize an approach about brazilian film production linked with Estado Novo values. The movies are the feature films Birds without Nest (1939) by Raul Roulien, Clay (1940) by Humberto Mauro and Forbidden Romance (1944) by Adhemar Gonzaga. My key matter is to show the easy or difficult relations of those ideological values with the melodramatic structure of its dramaturgy. I use, above all, of the filmic analyses methodology. However, it was important a bibliographical survey under the historical moment and the conceptions of nation and melodrama used. I discovered, in many points, that some constructions of the nation as immagined community, were opposed of the subtitles that could be note on the narratives, specially in some matters like social classes relations and ethnics and gender representations. In respect the last theme, some important matters could be observed in that movies, all of them with women in the main roles. / Procuro realizar uma abordagem sobre a produção nacional cinematográfica ficcional considera mais próxima de valores que diziam interesse ao Estado Novo. Trata-se dos filmes de longa-metragem Aves sem Ninho (1939), de Raul Roulien; Argila (1940), de Humberto Mauro e Romance Proibido (1944), de Adhemar Gonzaga. Minha principal preocupação é observar como tais valores ideológicos convivem com a estrutura notadamente melodramática que acompanha tal produção em harmonia ou não. Para tanto faço uso, sobretudo, da análise fílmica dos filmes em questão, mas igualmente de uma pesquisa bibliográfica sobre a produção em questão e sobre o momento histórico no qual foi produzida e uma pesquisa bibliográfica que fundamente as concepções de nação e melodrama que são trabalhadas na tese. Percebo, em vários momentos, que muito do que é construído em busca de evocar uma nação enquanto “comunidade imaginada” despida de problemas, acaba nas entrelinhas demonstrando uma relação bem mais complexa e difícil na abordagem de temas como a relação entre classes, a representação das raças e a abordagem sobre a mulher, sendo que todas as três produções possuem protagonistas femininas.