MUNIZ, Túlio de Souza. O ouro do mar: do surgimento da indústria da pesca da lagosta no Brasil à condição do pescador artesanal na História do tempo presente (1955-2000). Uma narrativa sócio-histórico marítima. 2005. 133f. Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em História, Fortaleza (CE), 2005. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-09-12T11:13:28Z No. of bitstreams: 1 2005_dis_tsmuniz.pdf: 1409846 bytes, checksum: 80651482983e388bbd2ccf02a6ed9529 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-09-13T11:56:41Z (GMT) No. of bitstreams: 1 2005_dis_tsmuniz.pdf: 1409846 bytes, checksum: 80651482983e388bbd2ccf02a6ed9529 (MD5) / Made available in DSpace on 2017-09-13T11:56:41Z (GMT). No. of bitstreams: 1 2005_dis_tsmuniz.pdf: 1409846 bytes, checksum: 80651482983e388bbd2ccf02a6ed9529 (MD5) Previous issue date: 2005 / The present work deals with the condition of the artisan fishing at the present, of the apropriate of knowledge originated of the confrontation between the artisan fishing and the industrial fishing. The reflections follow around the history of the implantation of industrial fishing in Brazil from the lobster fishing at 1950, standing out an international conflict between Brazil and France in the 1960 and the relation of the artisan fisherman with these events. Finally to look for understand the daily of the fisherman who confrot with alterations of knowledge and at the environment provoked by the facts. / O presente trabalho trata da condição dos pescadores artesanais na contemporaneidade, das reapropriações de saberes decorrentes do confronto entre as modalidades de pesca artesanal e industrial. As reflexões seguem em torno da historicização da implantação da pesca industrial no Brasil a partir da pesca da lagosta a partir da década de 1950, destacando um conflito internacional entre o Brasil e a França na década de 1960 e a relação do pescador artesanal com esses acontecimentos. Por fim procura-se entender o cotidiano dos pescadores que se defrontam com alterações de saberes e no meio ambiente provocadas pelos fatos narrados.

Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em História. / Made available in DSpace on 2012-10-19T17:42:06Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T01:54:26Z : No. of bitstreams: 1 182069.pdf: 50456528 bytes, checksum: 27743cda0ee36cccf28577965560d6ba (MD5) / Trata-se da análise dos anúncios publicitários que fazem alusão à tecnologia e à saúde no cotidiano, veiculados por jornais publicados em Blumenau entre 1935 e 1955, tendo em vista o contexto histórico em que tais anúncios se inserem. Discorre-se sobre dois pontos, a) o uso de anúncios publicitários como fonte para a historiografia, compreendendo que as mesmas não apenas apresentam um reflexo do momento histórico a que se referem como também suscitam discussões sobre esse mesmo contexto ao não serem apresentados de maneira neutra, e b) a forma como a tecnologia e a saúde são vinculadas ao cotidiano das pessoas, apresentando tais questões não apenas como inerentes para a manutenção de uma sociedade tida como "civilizada" e "moderna" como também sugerindo a garantia do sucesso profissional, financeiro, moral e afetivo dos indivíduos. Percebendo o anúncio como fonte histórica, a análise recai sobre sua relação com o contexto histórico ao mesmo tempo em que se remete à sociedade deste mesmo contexto, através de discussões sobre as questões de tecnologia e saúde presentes nos anúncios como metáforas da vida cotidiana. Para tanto, os estudos de Christian Ferrer e Diego Parente sobre as metáforas de tecnologia no cotidiano foram importantes para esta compreensão, enquanto os conceitos e discussões de Jacques Le Goff sobre "antigo", "moderno" e "progresso" estabeleceram o elo historiográfico com as demais leituras bibliográficas sobre o tema (Jeffrey Herf e Nicolau Sevcenko entre outros). Os veículos de divulgação dos anúncios analisados são de Blumenau, portanto, veículos de imprensa regionais, ao passo que os mesmos anúncios circularam também por todo o território nacional. A cidade de Blumenau, entre 1935 e 1955, passou por questões de ordem regional (a perda de uma hegemonia cultural germânica), nacional (a campanha de nacionalização)e internacional (os efeitos da Segunda Guerra sobre os imigrantes de descendência alemã e italiana), as quais ocorreram de forma concomitante e interligadas entre si, ocasionando uma certa ruptura com o passado político e cultural da região. Os anúncios analisados não foram determinantes e nem ocasionaram tal ruptura na região, mas constituíram-se num reflexo do momento histórico pelo qual se estava passando, ou seja, nos acontecimentos que precedem o processo de nacionalização, nas representações da guerra e de todo o contexto que segue ao pós-guerra.

No description available.

No description available.

This thesis -- originally entitled “Reckoning the Unnamed Fabric”, both a cultural study of the poetics of ecological consciousness and the ecology of poetic consciousness -- investigates the post-Romantic legacy informing John Burnside’s (b. 1955) poetry from The hoop (1988) to The Light Trap (2002) as a case study. The thesis argues that a developing aesthetic form and movement in subject derive from Burnside’s increasing involvement with ecological thought and practice. This move to the poetry of the oikos begins with an investigation of the self through the reconciliation of subject with object (or human with nature), and latterly has moved into a sustained reflection upon the idea of dwelling. This thesis relates the chronological development across Burnside’s nature poetry to an aesthetic infused with religious iconography and language, which via an evolving motif-poem of ‘world-soul’ or ‘communal fabric’ increases in its secular and empirical inflection. I read Burnside’s elevation of historical materialism s a progression in Wordsworthian craft and as a result of the poet’s pragmatic reflection on dwelling; I argue that the poetic consolidation of the intrinsic value of nature as an active and guiding spirit promotes nature less as a place for inhabitants than as the site and point of relation. The argument responds to Burnside’s transatlantic perspective from which he questions what it means to live as a spirit, and what a poetics of ecology can achieve in respect to the human subjective lyric and the need to transcend the human into the collective. To address these questions, which are implicit in Burnside's oeuvre, I draw upon Heideggerian poetics and American post-Transcendentalist Romanticism. I locate Burnside’s poetics within philosophical, aesthetic, and ecological frameworks. First, Burnside’s poetry is primarily a poetics of ontology that understands the ‘I’ within the midst of things yet underpinned by epistemology/hermeneutics; second, Burnside exhibits neo-Romantic poetry that has engaged with Modern American poetry -- it is this fusion that I call post-Romantic; third, the ecological constitutes both Burnside’s political stance and his aesthetic-poetic stance. I read the latter as a reflection of Jonathan Bate’s notion of the ecopoem as the “post-phenomenological inflection of high Romantic poetics”, an idea which is most apposite when read in relationship with Burnside’s path towards the metaphysical inscribed in the historical.

No description available.

A dissertation submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation / In this research I examine how the ineffable is addressed and explored in selected artworks by British-Indian artist Anish Kapoor (b 1954) and South African artist Karel Nel (b 1955). I introduce the notion of the ineffable, described as that which is too great or profound to be expressed in words; the ungraspable, indescribable, indefinable. It is often linked to the spiritual, the fluid and unfixed, the transcendent and the notion of the revelatory. I consider it alongside related terms such as the sublime, the numinous, the mystical etc. In examining how it can be seen to link to artists’ aesthetic pursuits, I briefly consider the idea of the shamanistic role of the artist in providing a ‘transformative event’ of bringing the invisible into visible form. My primary focus is on how both Kapoor and Nel can be seen to use their chosen materials, forms, and means of display to engage with ideas that relate to the metaphysical and allude to the intuitive and the spiritual. Their interest in Buddhist philosophy and the notion of reconciliation of opposites as well as their exploration of space and the idea of the immaterial becoming object is related to my discussion of their artworks in terms of evoking the ineffable. Kapoor's biomorphic sculptural forms covered in powder pigments, examples of his reflective stainless steel sculptures and two recent sitespecific installation artworks using smoke and water are closely examined as are examples of Nel's two-dimensional drawings using pastels, powdered earth pigments, carboniferous salts and dust and two of his site-specific installation artworks involving the use of water and refracted/reflected light. I finally discuss my own creative work in relation to the above as presented in my exhibition titled Ātmān / MT2016

Orientador: Newton Cesar Balzan / Dissertação (mestrado)-Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-13T20:22:50Z (GMT). No. of bitstreams: 1 Germano_RaimundaMedeiros_M.pdf: 11849640 bytes, checksum: 4d97c357f5d61c262a943fe9d425aeb8 (MD5) Previous issue date: 1983 / Mestrado

Most Utahns spent the years between Mormon entry into the Great Basin and statehood for Utah pursuing the traditional frontier-rural life, a mode which had been an integral part of the American experience since earliest colonial times. After the Mormon capitulation and statehood, Utah moved into a transitional phase, a phase between the traditional and the modern in which elements of each were mixed and mingled. This phase ended with the Second World War. This transition to modernity affected migration behavior. Seen in light of migration theory, the Utah experience is something of an anomaly. One theory says that migration is the result of pushes from one place-- unemployment, low wages, poor climate, and similar conditions--and pulls to other places--available jobs, better pay, and lots of sunshine. The history of Utah migration during prewar years suggests another kind of pull, the pull not from outside to leave but from within to stay. The need and commitment to remain in what some call Zion {the Mormon culture region} was strong until the Second world War. After the war other needs and commitments intervened. Government-funded G.I. Bill education and a new sense of personal efficacy caused some to leave Utah for larger industrial and commercial centers. This study concludes by focusing on the experience of a few Utah veterans who migrated to California during the early 1950s.

Texte remanié de : Dissertation : Literaturwissenschaft : Marburg : 1985 : "Thomas Mann und die Geschichte. / Bibliogr. p. 232-241. Index.