This study of thirty representative short stories from 1912-1941 demonstrates the stages of growth in Fitzgerald's writing which emerged from his own mental development, focusing upon his changing attitudes toward women as he reflects these attitudes in his depictions of the dominant female figures in the stories. The above chronology is then divided into four major blocks; in each block the dominant female illustrates Fitzgerald's concept of women at that particular stage of his life, The stories prove to be integral to the whole of Fitzgerald's writing and deserve to be judged independently of the novels. Furthermore, through an examination of Fitzgerald's short stories, the growth periods and the natural course of his changing attitudes become all the more clear and incisive.

The purpose of this paper is to acquaint the reader with the state of the recorder as a musical instrument in this century. Information has been gathered from standard texts and journal articles to gain more recent ideas. The work is divided into three sections: (1) a brief history of the instrument; (2) a biographical sketch of Arnold Dolmetsch, the man who was most responsible for the revival of the recorder in this century; and (3) a detailed examination of the use of the recorder today. This last section includes the recorder in education, music written for it, recorder performance and organizations, and construction of the recorder. An appendix lists recorders that are available to players in this country. It is this writer's conclusion that the recorder today has regained its status as a performing medium.

This thesis studies France"s relations with the Little Entente during the term of Foreign Minister Delbos. It relies primarily on published diplomatic papers and memoirs. It discusses Delbos's background, the histories of Czechoslovakia, Yugoslavia, and Rumania from 1919-1936, and the formation of the Little Entente. The thesis focuses on France's efforts after the Rhineland crisis to strengthen her Eastern European alliances. Delbos chose the Little Entente over the Soviet Union as France's primary Eastern European alliance. Delbos's proposed Mutual Assistance Pact between France and the Little Entente and his Eastern European trip in December, 1937, failed owing to Yugoslavian and Rumanian opposition. German economic domination and intimidation of, and British disinterest in, Eastern Europe contributed to Yugoslavian and Rumanian rejection of France's overtures.

Soffan Wergeland, ritad 1944 av möbelformgivaren Carl Malmsten, har ett traditionellt knutet resårhus och delad framkant. I studien renoveras en soffa av modellen Wergeland och här provas ett nytt sätt att knyta resårer, som visar sig vara tidseffektivt. Att tillverka en delad framkant med vulster på traditionellt sätt är tidskrävande och krångligt och därför används en förenklad metod att bygga upp vulster med hjälp av pressat papper. Metoden ger ett bra resultat och är till utseende jämförbart med det traditionella sättet. Modellen Wergeland har fått sitt namn efter beställaren Hjalmar Wergeland, läkare och norsk motståndsman under andra världskriget, som tvingas fly till Sverige och tillsammans med sin fru Helga bygger de upp ett nytt hem i Stockholm och beställer en soffa av Carl Malmsten. I studien presenteras historiska fakta från 1940-talet då soffan beställs, om Carl Malmsten, Hjalmar och Helga Wergeland och dokument, ritningar och en brevväxling mellan Hjalmar Wergeland och Carl Malmsten.

Orientador: Rosa Fátima de Souza / Banca: Antonio Celso Ferreira / Banca: Carlota Josefina Malta Cardoso dos Reis Boto / Banca: Bruno Bontempi Júnior / Banca: Wrnceslau Gonçalves Neto / Resumo: Nas primeiras décadas do século XX, a região que atualmente é conhecida como Noroeste Paulista, à época chamada de Oeste Paulista ou Araraquarense, constituía-se como uma das últimas grandes porções de terras ainda parcialmente intocadas do Estado de São Paulo. Particularmente nas décadas de 1920 e 1930, essa zona viveu um verdadeiro surto de desenvolvimento econômico, cultural e social impulsionado, sobretudo, pelas levas maciças de migrantes e imigrantes que aportavam nas estações de trens atraídos pela prosperidade e progresso, que parecia tocar a todos indistintamente. A economia se diversificava para além da cafeicultura, as ruas se alargavam para a convivência muitas vezes conflituosa entre automóveis, pedestres de diversas etnias e classes sociais, carros-deboi e jardineiras; emergiam inéditos padrões de comportamento e sociabilidade até então inexistentes por essas plagas. No meio desse complexo conjunto de mudanças que então caracterizava a Araraquarense, também passaram a circular diversos jornais produzidos regionalmente e que colaboravam de maneira decisiva para que esse turbilhão de novidades e estilos de vida ecoasse - ou mesmo acontecesse - por entre os pujantes municípios, pequenas cidadezinhas e vilarejos da região. Da análise minuciosa dos jornais A Cidade, de Catanduva; O Municipio, A Noticia, Folha de Rio Preto e Diario da Araraquarense, de São José do Rio Preto; além do Correio de Mirasol, da cidade Mirassol, todos recentemente redescobertos nesta derradeira zona pioneira paulista, duas temáticas em especial foram perscrutadas em função da importância que adquiriram no imaginário regional do período: a contraditória apropriação feminina dos espaços públicos, que naqueles tempos ganhava grande publicidade; e a preservação, educação, exaltação, assistência e ordenação das crianças do sertão. / Abstract: In the first decades of the 20th century, a region currently known as Noroeste Paulista, at the time named Oeste Paulista or Araraquarense, was one of the last large portion of partially untouched land of the State of São Paulo. Specially in the 1920þs and 1930þs, this area faced a fast economic, cultural e social development driven, in major part, by the immigrants attracted by prosperity and progress, which seemed to reach everyone indistinctly. The economy was being diversified at that moment beyond coffee, the streets became wider so that pedestrian from every ethnic background and social classes, cars, carts as well as open buses could live together; There would emerge unknown patterns of behavior and sociability non - existent at the place then In middle of these complex changes that featured Araraquarense at that time, several newspapers published in the region began their distribution, which helped greatly to new life style in towns and villages in the region. From a detailed analysis of newspapers named A Cidade, from Catanduva; O Municipio, A Noticia, Folha de Rio Preto and Diario da Araraquarense, from São José do Rio Preto; as well as Correio de Mirasol, from Mirassol, all recently rediscovered in this pioneer land of São Paulo, two themes in special were studied due to the importance in the imagination of the region at the time: a contradictory seizure of public spaces by women, which at that time gained publicity; as well as the preservation, education, exaltation, assistance and order of the children from the backwoods. / Doutor

O objetivo dessa tese é investigar de que maneira Little Caesar (Mervyn Leroy, 1931) e Force of Evil (Abraham Polonsky, 1947) registram, dentro do gênero gângster, questões como a Depressão na década de 1930, e o macarthismo na década de 1940, ao mesmo tempo em que estabelecem homologias estruturais entre o crime organizado e o mundo dos negócios. Tais questões surgem nesses dois filmes por força da matéria histórica envolvida nas condições de produção. Nossa tese é de que os filmes configuram, em diferentes medidas, estratégias de representação da matéria histórica apesar das tentativas de seu apagamento, como a censura e o macarthismo. / The aim of this thesis is to analyze how Little Caesar (Mervyn Leroy, 1931) and Force of Evil (Abraham Polonsky, 1947) portray, in the gangster genre, historically relevant questions such as the Great Depression in the 1930s and McCarthyism in the 1940s, while establishing structural homologies between organized crime and the business world. These themes arise in both films due to the strength of the historical substance implicated in the conditions of production. Our thesis is that these films depict, in different proportions, strategies of representation of the historical substance in spite of attempts to suppress it, such as censorship and McCarthyism.

J. M. Coetzee's brutal novel Disgrace questions popular understandings of criminality and victimhood by establishing parallels between its various characters and their actions. Through close reading of Coetzee's descriptions of protagonist David Lurie's behaviors and attitudes towards women, non-human animals, and people of color compared with descriptions of the mysterious trio of men who rape Lurie's daughter and coldly kill the dogs in her kennels, I argue that the line Disgrace draws between Lurie and these men is deliberately flimsy, ultimately all but disappearing if we look closely enough at their behaviors and descriptions rather than their justifications. I also argue that the novel's perpetrators rely upon archetypical "rapist" and "criminal" constructs, resulting in an inability for them to ever accurately address their own crimes, despite Coetzee's descriptive parallels. Ultimately, I read Disgrace as suggesting that there can be no resolution for violence so long as these mythical archetypes persist. / by Ashley B. Harrintgon. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

La presente tesis examina la forma en que la prensa escrita peruana de las décadas de 1930 y 40 construyó discursivamente los enfrentamientos futbolísticos entre las selecciones nacionales de Perú y Chile. En un contexto histórico y social marcado por el fin del conflicto territorial entre ambos países, partimos de la hipótesis de que en los años posteriores a la firma del Tratado de Lima (1929) no se vivió un clima de animadversión ni recelo total entre ambas naciones y precisamente a ello contribuyó en gran medida el fútbol, convirtiéndose en una suerte de vehículo simbólico para el hermanamiento entre peruanos y chilenos. Nuestro objetivo principal es analizar las enunciaciones deportivas de los tres principales diarios de la época (El Comercio, La Prensa y La Crónica) utilizando para ello diferentes estrategias discursivas provenientes del Análisis Crítico del Discurso (ACD). Este método nos permitirá visualizar la presencia –o no- de relaciones de poder dentro de las texturas de los discursos, elementos de esterotipación hacia el Otro chileno y también la manera en que la propia prensa peruana representaba su estilo de juego, vinculándolo a su identidad nacional. La investigación arroja reveladoras pistas sobre la subjetividad periodística (la parcialidad de los peruanos para con su selección), el nacionalismo deportivo, así como la creencia de que el estilo de juego peruano era superior al de los vecinos del sur. / Tesis

This thesis explores how a cinematographer can reflect his/her own style in the

Made available in DSpace on 2016-04-27T19:30:26Z (GMT). No. of bitstreams: 1 Marcia Juliana Santos.pdf: 3771158 bytes, checksum: 4665b58939795b108185e3d3a66f58c0 (MD5) Previous issue date: 2011-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this work, researching the1930s and 1940 with the aim to identify in natural films, posed, current affairs, documentaries and newsreels produced or commissioned by government agencies, discourses and understandings that were crucial to building diverse images of the city of São Paulo. We investigated several aspects that permeated the time interval between the crisis of fictional production (posed) in São Paulo, from and dated from the early 1930s, until the rise of the studios in São Paulo, from 1949, with the inauguration of Vera Cruz. An important film experience was done in the meantime, over the city, but not investigated or was questioned by historiography. In the period, non-fiction production has intensified, partly to meet a government demand to register, through film, urban change, social policies and they passed the state capital. We started from the practice of domestic and foreign cameraman to identify different cultural references, steeped in historical and social production. From the methodological point of view, work with sources (movies, newspapers, interviews, magazines, reports etc.) at all times sought to follow the paths of realization of these films. Both the government at the municipal, state and federal governments, as the modernist writers of São Paulo, analyze or produce film or immigrants living orders of the films contributed to the creation of images on the capital city. It has been argued by several sources of confrontation that was this production that started in the cinema, a way of telling a story with official advertisement objectives or documentary about the city / Neste trabalho, pesquisou-se às décadas de 1930 e 1940 com o objetivo de identificar, em filmes naturais, posados, atualidades, cinejornais e documentários, produzidos ou encomendados pelo poder público, discursos e compreensões que foram fundamentais para construir imagens diversas sobre a cidade de São Paulo. Foram investigados os diversos aspectos que permearam o intervalo de tempo, entre a crise da produção ficcional (posados), em São Paulo e datada do início da década de 1930, até a ascensão dos estúdios paulistas, a partir de 1949, com a inauguração da Vera Cruz. Uma importante experiência fílmica foi realizada, nesse meio tempo, sobre a cidade, mas que não foi problematizada ou investigada pela historiografia. No período, a produção não ficcional se intensificou, em parte para atender uma demanda do governo de registrar, por meio do cinema, as transformações urbanas, sociais e políticas pelas quais passavam a capital paulista. Partiu-se da prática do cinegrafista nacional e estrangeiro para identificar os diferentes referenciais culturais, históricos e sociais imersos na produção. Do ponto de vista metodológico, o trabalho com as fontes (filmes, jornais, entrevistas, revistas, relatórios etc.) procurou a todo instante seguir os percursos da realização desses filmes. Tanto o governo em âmbito municipal, estadual e federal, quanto os escritores modernistas de São Paulo, que analisavam ou produziam cinema ou os imigrantes que viviam das encomendas dos filmes, contribuíram para a elaboração de imagens sobre a capital paulista. Defendeu-se por meio da confrontação de fontes diversas que foi essa produção que iniciou, no cinema, um modo de contar uma história oficial com objetivos documentais ou de propaganda sobre a cidade