Orientador: Cláudio Henrique de Moraes Batalha / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T20:56:22Z (GMT). No. of bitstreams: 1 Guerra_CaioCesardaSilva_M.pdf: 1940289 bytes, checksum: e4eeac6c4c16b726049676b192b4c1d0 (MD5) Previous issue date: 2015 / Resumo: A historiografia do trabalho tem analisado a relação entre o "velho" e o "novo" sindicalismo há pelo menos duas décadas, relativizando a ideia de ruptura total entre o movimento sindical do pré-1964 e aquele que teria surgido no final dos anos 1970, especialmente no que diz respeito a suas estratégias de organização e de luta. Esses historiadores têm demonstrado a existência de significativas continuidades entre um momento e outro do sindicalismo brasileiro e desconstruído a imagem negativa sobre o "velho" sindicalismo, em grande medida, associada a seu vínculo com o PCB e às disputas políticas no campo da esquerda durante os anos 1980. Essas análises trataram, sobretudo, dos casos de São Paulo, do ABC e do Rio de Janeiro, mas, em geral, pouco se dedicaram ao período do chamado "novo sindicalismo" e/ou ao caso de categorias de trabalhadores fora de seu epicentro e caso paradigmático, o ABC. Com o objetivo central de compreender a singularidade do chamado "novo sindicalismo" no caso dos metalúrgicos de São José dos Campos, este trabalho investigou as trajetórias, formas de organização e de luta dessa categoria entre meados dos anos 1950 e o final da década de 1980. Esses trabalhadores foram protagonistas de uma importante greve em março de 1979, que transformou consideravelmente a história de seu sindicato, até então dirigido pelos chamados "pelegos". Durante os anos 1980, ao contrário das décadas anteriores, ondas grevistas tomaram as fábricas metalúrgicas e os trabalhadores empregaram repetidamente a tática de ocupação dos locais de trabalho até concretizarem suas reivindicações. Além das particularidades desse sindicalismo, investigou-se a atuação de organizações de esquerda entre os metalúrgicos da cidade e suas disputas pelo sindicato, notadamente entre a Articulação e a Convergência Socialista (CS), então correntes internas ao Partido dos Trabalhadores (PT). Buscou-se, finalmente, compreender como se tornou possível a vitória da CS nessa disputa contra o grupo majoritário de um PT que crescia substancialmente na sociedade brasileira. Essa vitória pode ser considerada o início da hegemonia da CS ¿ posteriormente Partido Socialista dos Trabalhadores Unificado ¿ na direção do Sindicato dos Trabalhadores Metalúrgicos de São José dos Campos e Região / Abstract: Labor historiography has analyzed the relations between "old" and "new" unionism for at least two decades and has put in question the idea of a complete rupture setting apart the union movement before the 1964 military coup and the one emerging in the late 1970¿s, above all concerning its strategies of organization and striking. Those historians have showed significant continuities among these two moments in brazilian unionism and have contested the negative image of the "old" unionism, often related to its connection with Brazilian Communist Party (PCB) and the political disputes in the left wing during the 1980¿s. However, those analyses focused, above all, the case studies of São Paulo, ABC, Rio de Janeiro and didn't pay the same attention to the so called "new" unionism period and/or the working branches out of its epicenter and paradigmal case, the ABC. In order to understand the singularity of the so called "new unionism" in the case of the metalworkers of São José dos Campos, this dissertation has explored its¿ trajectories, forms of organizing and striking between the middle 1950¿s and the end of the 1980¿s. These workers were the actors of an important strike in March 1979, which transformed considerably its¿ union history, until then heads by the so called "pelegos". During the 1980¿s, contrasting with the previous decades, striking waves took control of the plants as this workers used repeatedly the workplace¿s occupation tactic until their demands were complied. Beyond these peculiarities, this work examined the left wing organization¿s roll among the metalworkers and its contest for the union, mostly opposing two factions inside the Worker¿s Party (PT): Articulation and Socialist Convergence (CS). Finally, it was also inquired how CS has won this dispute against the major group in a PT that was growing substantially in brazilian society. This victory may be considered the beginning of CS¿s hegemony ¿ afterwards the Unified Workers¿ Socialist Party (PSTU) ¿ on the lead of the Metalworkers Union of São José dos Campos (SMSJR) / Mestrado / Historia Social / Mestre em História

Aus der Einleitung S. 7: „...Das Verhältnis der DDR zur Volksrepublik Polen war darüber hinaus aber mehr als nur verkrampft. Seit 1956 entwickelten sich die beiden sozialistischen Länder völlig konträr, was ihre innere Stabilität durch Sozial- und Konsumpolitik sowie geheimdienstliche Repression anging...”

Las elecciones generales de 1956 constituyen un importante hito en la historia de la democracia en el Perú; pusieron fin al autoritario régimen del general Manuel Odría (1948- 1956) y dieron inicio al mayor periodo democrático hasta ese entonces (1956-1968). Nuestra investigación es la primera en examinar la coyuntura electoral 1955-1956 de manera comprensiva y a partir de un uso intensivo de fuentes primarias; permitiéndonos plantear una interpretación consistente y articulada sobre cómo ocurrió este trascendental proceso de apertura política. / Tesis

Québec Université Laval, Bibliothèque 2013

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

Thesis (M. Th.)--University of Stellenbosch, 2006. / CONCLUSION: Everyone of us who call ourselves Christians are faced with the perplexing questions with regard to the church’s self understanding and how that is interconnected and related to culture. We either ignore these questions, or we seek to work out what that means in an ever changing and dynamic world. McLaren has sought to do this and for this he must be commended. Although throughout this work one might feel that in my evaluation I have been too generous, or that I have tempered my criticism where others would have felt I could have been more critical, I am still convinced that anyone who is at least asking these questions is worthy of respect and only tempered criticism. My bias of course is obvious as McLaren’s work has helped me make sense of my world and the nature of church. Despite this I have shown throughout where I believe McLaren might be lacking or where he could be placing more focus. I have also shown where I believe much of his early work was skewed in certain directions and how over time his perspectives have become more rounded and holistic. Of course I have been liberal in my praise for many of the areas where I believe he is doing well. I have attempted to capture the core of McLaren’s practical theology by utilizing Hendrick’s practical theological methodology. This has helped us get to grips with his view of God and Church, the nature and interpretation of global and local cultural contexts and how we discern our practice in tension with tradition and scripture. We have also been able to explore McLaren’s views of the kingdom and transforming action within society. The future of the Church has demanded such a discussion and will always require such a conversation into the future. My hope has been that by understanding the core of McLaren’s theology the benefit would be both personal and corporate. Personal in the sense that I would be challenged and informed in my own praxis as I wrestle with personal concerns around culture and ecclesiology. Corporate in that others who are facing similar challenges would be able to dialogue with McLaren in a way that will be helpful and informative for those dealing with the same questions I am. I believe that McLaren’s work is vital for this process and for the health of the church and the world.

Nonfiction, Documentary, and Family Narrative:
 An Intersection of Representational Discourses and Creative Practices explores the role of personal memory, family history, and inter-generational storytelling as the basis for making a nonfiction film. The film, American Boy, tells the story of my mother’s immigration to the United States after the failed Hungarian Revolution of 1956, opening a discussion of four generations of my family life in the context of historical events, exile, self re-invention, and identity formation. As a media producer and nonfiction author, I narrate my understanding of these events to my infant son, as a way of communicating my grandfather’s role in the revolution, my mother’s childhood, and my own mediation of my family’s trauma. Through the use of archival footage including newsreels and commercials, as well as my own archive of family photos and documents, I re-construct the existing materials to build my own associations concerning time, memory, and place. The film, as my creative practice, leads to a theoretical analysis of representational discourses which inform the work. This deconstruction of nonfiction and meta-analysis includes my study of several practitioners in the craft of non-fiction: Kati Marton, Robert Root, Primo Levi, Eva Hoffman, Patricia Hampl, Dinty W. Moore, Peter Balakian and others.

After the Czechoslovak coup d'état of 1948, the cultural politics of the Communist Party became the only power that should organize, regulate and evaluate cultural affairs. This brouht radical changes of the status of artists. That artists who belonged to the rank of intellectuals had to follow needs of the new kind of society. They accepted orders from above and their activity was strictly controlled. Proletarian amateurs and folk art were officially encouraged. The examples of the progressive art were found in the USSR and also among personalities from the history of the national culture. Cinematography, to which was placed a requirement of topicality, also presented the new image of the artist. The most noticeable results were reached in biografical films about our classics and films exposing folklore and cultural life of the working class. The integration of an intellectual artist into the new society became a pivotal theme in movies Písnička za groš and Nezlob, Kristino. As episodic characters, we can find also completely negative types of artists - enemies of that new society. This spectrum corresponds to a general typology of people that was used in art, journalism and public speech in general: mature, confused and totally inadaptable (designed to be displaced). Exeptional cases of...

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.

Despite the fame the prolific impressionistic, confessional poet, novelist, literary iconoclast, and pioneer of the Beat Generation, Jack Kerouac, has acquired since the late 1950’s, his written letters are not recognized as works of literature.  The aim of this thesis is to examine the different ways in which Kerouac develops and employs the poetics he is most known for in the letters he wrote to friends and publishers before becoming a well-known literary figure.  In my analysis of Kerouac’s poetics, I analyze 20 letters from Selected Letters, 1940-1956.  These letters were written before the publication of his best-known literary work, On The Road. The thesis attempts to highlight the characteristics of Kerouac’s literary control in his letters and to demonstrate how the examination of these poetics: repetition, language, and narration merits the letters’ treatment as works of artistic literature. Likewise, through the scrutiny of my first novella, “Trails” it then illustrates how the in-depth analysis of Kerouac’s letters improved my personal poetics, which resemble the poetics featured in the letters.