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The marketing and distribution of pre-recorded music for sale and public consumption is a cultural development as profound as any in the twentieth-century musical world. It is especially relevant to late-1950s American rock and roll, in terms of the music's capture in the rapidly-evolving environment of the recording studio, its release into the marketplace via independent record labels, and its enthusiastic embrace by the burgeoning youth culture of the era. Within this multi-dimensional context, Zoom Records, a tiny, independent record label, was born in Tucson, Arizona. A unique convergence of technological, artistic, and commercial developments and historical events gives special import to the Zoom Records story, as a lesson in entrepreneurship, artistic expression and personal transformation.

The dissertation consists of a critical preface and a novel. The preface analyzes what it terms “polyvocal” novels, or novels employing multiple points of view, as well as “layered storytelling,” or layers of textuality within novels, such as stories within stories. Specifically, the first part of the preface discusses polyvocality in twenty-first century American novels, while the second part explores layered storytelling in novels responding to World War II or the terrorist attacks of 9/11. The preface analyzes the advantages and difficulties connected to these techniques, as well as their aptitude for reflecting the fractured, disconnected, and subjective nature of the narratives we construct to interpret traumatic experiences. It also acknowledges the necessity—despite its inherent limitations—of using language to engage with this fragmentation and cope with its challenges. The preface uses numerous novels as examples and case studies, and it also explores these concepts and techniques in relation to the process of writing the novel After the Planes. After the Planes depicts multiple generations of a family who utilize storytelling as a means to work through grief, hurt, misunderstanding, and loss—whether from interpersonal conflicts or from war. Against her father’s wishes, a young woman moves in with her nearly-unknown grandfather, struggling to understand the rifts in her family and how they have shaped her own identity. She reads a book sent to her by her father, which turns out to be his story of growing up in the years following World War II. The book was intercepted and emended by her grandfather, who inserts his own commentary throughout, complicating her father’s hopes of reconciliation. The novel moves between two main narratives, one set primarily in 1951 and the other in the days and weeks immediately prior to September 11, 2001.

Science fiction films may be viewed as existing as threads within a web, and at the same time constituting the web. The metaphor is apt: texts and contexts and their relationship have a difficult accommodation with each other, an interdependent and dynamic relationship. The text is a thread in the web, as are elements of context, yet the threads are in a symbiotic and constantly changing relationship with each other, as the web is constantly in a state of renewal and change. At the same time, the text itself is a web, as are the various contexts. The threads are both ephemeral and fleeting, while incredibly strong. This thesis is about the polysemy of science fiction film: its subject is the films of the fifties that belong to the genre of science fiction. But the area of study began as an investigation of the science in science fiction films; the way in which films construct that science, the end result of that construction and the totality of the discourse of science in relation to other discourses of power and influence. The investigation of those issues involves a multi-layered investigation into science fiction, in a similar way to Tulloch and Alvarado's approach to the Dr Who television series.1 Approaching science fiction films from a perspective of genre, as in chapter one, uncovers a set of arguments about the science in science fiction, as well as establishing the global nature of some science fiction. These concerns lead into the discussion in chapter two of the social and historical context of the fifties, specifically in the US. Science plays a major role in these contexts, in the sense of the importance of science in creating these contexts (from this perspective) as well as the effects of the application of this science. But the historical and cultural contexts tend to suggest that science fiction films are in large part both a response to the social and historical context, and also create that context. This would not be quite accurate: the production of many science fiction films mobilise other arguments, arguments relating to the industry of Hollywood, and the specific industrial context that gave rise to some very financially successful science fiction films, as well as some films where the budget was good for a few days filming. Science and technology are sometimes important elements in this industrial context as well. Part II traces the nature of science in these films, using the contexts in Part I to anchor the science and its implications and effects. Foregrounded is the debate in which science is both key player and, in many cases, antagonist. The debate is traced and the various representations of science and its nature are tracked and highlighted. Science can cause change, by virtue of its nature of uncovering superstition, but the worth or desirability of that change is open to question. The control of science is a related issue. The thesis examines science at a period that saw the efflorescence of science fiction films. The examination of those films tells us a great deal about the concerns of the time, as well as the science that figures so powerfully in the webs of culture of the fifties.

L’objectif de cette thèse est d’analyser comment la littérature et le cinéma ont représenté la ville de Milan au cours de la décennie 1955-1965, qui précède et suit de peu ce que la grande majorité des historiens appelle maintenant « le miracle économique » des années 1958-1963. Avec cette étude, nous avons essayé de retracer le portrait réel et imaginaire d’une ville qui, au moment du « miracle économique », semble connaître et contenir toutes les dynamiques de changement, qu’à une plus grande échelle connaît le pays tout entier. Pour ce faire, nous avons adopté une démarche interdisciplinaire qui nous a conduit à étudier les formes réelles de la ville à travers des ouvrages d’histoire, d’architecture, d’urbanisme et de sociologie pour ensuite les confronter avec leurs représentations imaginaires dans la littérature et le cinéma. Ce choix était dicté par la conviction que la complexité de la ville, en tant qu’objet d’étude, intègre divers niveaux de structuration : physique, économique, social mais également temporel et imaginaire. Cette thèse est composée de cinq parties qui vont de l’analyse de la forme urbanistique de la ville à l’examen de sa composition sociale. Au terme de notre travail nous pouvons ainsi dégager trois « images », en apparence contradictoires, qui semblent définir la ville lombarde : « la ville dynamique », « la ville du capital » et « la ville cristallisée ». Ces trois images s’expriment au travers d’une grande variété de modalités de représentation, de styles et de tons, qui semblent former une vaste mosaïque d’expressions artistiques reflétant la complexité, les relations, les contrastes et les conflits qui caractérisent la ville de Milan au moment du « miracle économique ». / The aim of this dissertation is to analyse how literature and cinema have represented the city of Milan during the decade 1955-1965, which slightly precedes and follows what the majority of historians now call the “economic miracle” (1958-1963). This research attempts to retrace the real and the imaginary portrait of a city, whose experience and dynamics at the time of the “economic miracle”, appeared as a representative sample of Italy as a whole. This topic has been considered from an interdisciplinary perspective through works of history, architecture, urbanism and sociology, focusing first on the real forms of the city. These forms are then subsequently confronted with their imaginary representations through literature and cinema. This choice was dictated by the conviction that the complexity of the city, as an object of study, integrates various levels of structuration: physical, economic, social, but also temporal and imaginary. This dissertation is composed of five parts beginning with the analysis of the urban form of the city and ending with the examination of its social composition. After this investigation, three distinct, yet seemingly contradictory, images appear, which could define the Lombard city as “the dynamic city”, “the city of the capital” and “the crystalized city”. These three contradictory images are expressed through a large variety of modes of representation, styles and tones, which form a broad mosaic of artistic expressions reflecting the complexity, relations, contrasts and conflicts that characterize the city of Milan at the time of the “economic miracle”.

This diploma thesis deals with the history of Kutná Hora in 1950's. It contains a description of the period between years 1948 - 1960. The period, during which the most important political and cultural changes but also the toughest repressions against the people took place all around the Czechoslovakia (majority of the changes and repressions was caused by the communist leadership). These years were the period of huge political purges and processes, violent collectivization and many other precautions which were only meant to provide the communists with all the power over the country. The main aim of this thesis is to introduce the situation in Kutná Hora during 1950's and to give the reader a complex overview of the local political and cultural background. All the institutions which determined everyday life in Kutná Hora are described in this thesis. The author focuses especially on the activity of The Local National Committee, courts and individual cultural institutions. The author used archive funds, historic press and specialized literature.

Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

En France comme au Japon, l’intérêt que les chercheurs portent à la littératurepopulaire comme support pour des recherches autres que littéraires, telle que l’analysehistorique, est très faible. Pourtant, une analyse approfondie des tendances littéraires montreque les lecteurs, selon les époques, ne désirent pas les mêmes intrigues, les mêmespersonnages et n’ont ainsi pas les mêmes besoins. Dans ce contexte, les romans de ninja ouninpô shôsetsu au Japon apparaissent comme un genre particulièrement saisissant.Le shinobi est une figure importante de l’histoire japonaise qui fut longtemps dénigréeface aux valeureux samouraïs. Peu de récits l’employèrent pour distraire le peuple. Pourtant,éclata après l’Occupation un véritable boom du ninja, personnage dérivée du shinobi. Cetteétude analyse le sens de cette diffusion massive à l’heure de la modernité d'après-guerre et del'instauration de la démocratie, alors que le peuple japonais renouait avec la pleine possessionde son territoire.Véritable héros, le ninja représente en réalité une partie du peuple d’après-guerre etl'univers de ces romans semble décrire le Japon de l’époque. Les auteurs s’adressent à unlecteur implicite au passé commun, avec sa propre expérience et vision de la guerre, desévolutions économiques et politiques de la société. Véritable allégorie du peuple d’aprèsguerre,le ninja des années 1950 et 1960 symbolise divers acteurs de la société (salariés,précaires, personnes âgées, femmes). Figure romanesque de l’ombre, il incarne un personnagede contre-culture aux valeurs nouvelles, et relève autant d’un état d’esprit qu’il le construit. / In France as in Japan, the interest that researchers take in popular literature as asupport for other researches other than literary, such as historical analysis, remains weak.Still, a deep analysis of the various literary genre shows that readers don’t look for the sameintrigues, the same characters and therefore don’t have the same needs over time. In thiscontext, ninja fiction or ninpô shôsetsu in Japan appears to be a good example of this.The shinobi is an important Japanese historical figure who was for a long timedenigrated compared to the brave samurais. Very few stories used it to distract people. Still,after the Occupation occurred a strong and sudden ninja boom, a character derived from theshinobi.This work analyses the meaning of this massive diffusion which emerge at the time ofafter-war modernity and of the establishment of democracy, just as Japanese peoplereconnected with their full property of their territory.As true heroes, the ninja represents in reality a part of the after-war population andthose novels’ universe seems to describe the Japan of this time. Authors indirectly address animplicit readership with a shared past, with their own vision and experience of the war,economic and political evolutions of society. Real allegory of the Japanese after-warpopulation, the 1950’s-60’s ninja symbolizes different social roles (salary-man, precariouspeople, elders, women). As a shadowy Romanesque character, he embodies the counterculturepersona with new values and belongs as much as he also established a certain way ofmind.

Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

This essay deals with the question of lines of development within the politics in the rural municipality of Nyed 1950-1962. The aim is to explore how local politics and policies were handled from two perspectives. Firstly the issue of conflict and consensus or majority rule and consensus. Here Arend Lijphard's theory of majority and consensus provides a theoretical base for the essay. Secondly the aim is to explore the actions of the local politicians with regards to leisure time policies to find out whether or not they ideologically belonged to the concept of ”folkhemmets kommun” by Ulla Ekström von Essen. The source material for this essay has been the minutes from the two major bodies of local politics in Nyed, kommunalfullmäktige and kommunalnämnden. The minutes from folkskolestyrelse has also been studied in specific policy cases. An interview with local ex-politician Sven Bjureld (c) has also been conducted to give a fuller view of the topic than the study of minutes can give. In the essay the conclusion is drawn that the politicians were part of the ideology of Folkhemmets kommun and that it was the social democrats that were the driving force in that development. It is furthermore concluded that the level of conflict was relatively low and that the municipality can be grouped as a consensus municipality according to Lijphard's theory. There were however three distinct areas of policy where there were more conflict that others: real estate policy, leisure time policy and education policy. The usage of motions as a political weapon was quite low during the period with 12 motions written. It was primarily the social democrats that used this weapon. The essay also points out the fact that there was a movement during the period with regards to how the task of the local politicians were viewed. In the beginning of the period the politicians primarily saw their role as a passive one whereas in the end they saw themselves as having an active role in making the municipality viewed in a positive way by the inhabitants and other members of the public. With regards to development over time it is concluded in the essay that there was a breach around 1955/1956. After that time politics in Nyeds rural municipality started to follow the lines of political parties.