Not available / text

No description available.

From 1925 till his death, Abd al-Hamid ibn Badis, an Algerian who trained in the traditional Islamic sciences, set to reconstruct his society from the decadent state in which traditionalism and colonialism plunged it into to one in which Islamic principles and Modernism could be reconciled.

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.

This thesis has explored the relationship, in terms of parallels and allusions, of the four complete and one unfinished novel of F. Scott Fitzgerald to his own life experiences. The novels used in this study area This Side of Paradise, The Beautiful and Damned, The Great Gat 9 Tender Is the Night, and The Last Tycoon, of which only five and one-half chapters were completed at the time of Fitzgerald's death in December, 1940. This study traced the personal exploitation and the transformation of Fitzgerald's own life experiences, relatives, and acquaintances into his fictional subject matter, characters, and settings.In addition, the thesis has discussed Fitzgerald's friendship with several of his contemporary critics and authors such as: Maxwell Perkins, his publisher; Edmund "Bunny" Wilson, and John Peale Bishop, his Princeton classmates and literary colleagues; and Ernest Hemingway, whom Fitzgerald admired greatly. The influence that these and others had on Fitzgerald's works was also revealed in this study.

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1966. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciencias Humanas, 1996 / Made available in DSpace on 2012-10-16T10:55:26Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T20:57:42Z : No. of bitstreams: 1 105085.pdf: 2857385 bytes, checksum: 07f739781fac1c3f52b49475b78e77e6 (MD5) / Estudo historiográfico sobre a prostituição durante o período de 1900 à 1940, em Florianópolis. Com ênfase na discussão do projeto de modernidade que, visando reformular o espaço público num sentido urbano e social, construiu um discurso no qual as prostitutas foram o alvo principal desse projeto. Dentro dessa problemática, a sífilis surgiu como um dos principais instrumentos da desqualificação da imagem das prostitutas. Contudo, mesmo visadas pelo poder público, elas, na lida de seu dia-a-dia, foram construindo maneiras diversificadas de resistência e preservação de si.

This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.

Made available in DSpace on 2014-06-11T19:33:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2013Bitstream added on 2014-06-13T20:05:31Z : No. of bitstreams: 1 silva_ec_dr_mar.pdf: 11709442 bytes, checksum: 0cf492673747727268a47652c88095a1 (MD5) / A presente tese de doutorado objetiva analisar as apropriações e representações do médico e psicólogo suíço Édouard Claparède no Brasil a partir dos seus livros publicados entre os anos de 1928 a 1973. Como objetivos específicos, buscamos compreender a circulação de suas obras promovidas por diferentes grupos editoriais e analisar as inclusões - principalmente as modificações editoriais - feitas por brasileiros. Pra alcançar tais objetivos analisamos as obras do autor suíço - entremeadas por cartas, textos e documentos - com fins ao entendimento dos modos como Claparède foi, nos termos de Certeau, apropriado pelos editores brasileiros, analisando assim, a maneira como ele foi absorvido e como seus textos foram colocados no mercado. Partindo da pespectiva da circulação de saberes no campo da educação, tomamos, inicialmente, Claparède a partir da ideia de estrangeiro indígena e das ritualizações editoriais para a tradução e publicação de seus textos. Seus tradutores realizaram um processo de naturalização do autor estrangeiro. Assim defendemos a ideia de que a constituição da imagem de Claparède foi mediada por diferentes amalgamações de rituais feitos por Lourenço Filho, Damasco Penna e Helena Antipoff / The present doctoral thesis intends to analyze the appropriations and representations of Swiss psychologist and medical Édouard Claparede in Brazil from their books published between the years 1928-1973 . As specific objectives , we seek to understand the circulation of their works promoted by different publishers their states and analyze the inclusions - mainly editorial changes - made ​​by Brazilians . To achieve these objectives we analyze the works of Swiss author in order to understand the ways that Claparede was appropriated by Brazilian editors, analyzing the way he was absorbed and how his writings were placed on the market. From the pespective of the circulation of knowledge in the field of education , we understand Claparede from the idea of ​​indigenous foreigner and the idea of the rituals editorials for the translation and publication of his texts.Their translators performed a process of naturalization of foreign author. So we defend the idea that the formation of the image of Claparede was mediated by different amalgamations of rituals performed by Lourenço Filho, Damasco Penna and Helena Antipoff