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My dissertation asserts that folklore under the Iberian fascist regimes portrayed a distorted mirror of the peoples of the Iberian Peninsula. In this operation, social deviance was a key category for political folklore in order to address wider audiences. Staging Deviant Traditions argues that the Spanish Francoist regime (1936/39-1975) and the Portuguese Estado Novo (1933-1974) utilized folklorists and folk performers who deviated from the social identities privileged by fascism. These folk ensembles reified traditional dance and music while deliberately ignoring the popular communities that produced and circulated vernacular repertoires. This dissertation not only places the Iberian politics of folklore within the broader frame of interwar fascist cultural policies but also follows the evolution of these politics during the Cold War by focusing on three cases: the Coros y Danzas of Sección Femenina, the Bailados Portugueses Verde Gaio, and the Ballet Gallego Rey de Viana. Staging Deviant Traditions begins by studying, in its Introduction, the politics of folklore under the Rome-Berlin Axis. Nazi Germany and fascist Italy massively institutionalized folklore through technology to control the narrative about the essence of the people and used tradition to construct a new fascist art through reactionary modernism. These experiences shaped the folklore of the time and inflected processes of traditional culture appropriation in the Iberian regimes, as explored in the three chapters that follow. In Chapter 1, “Coros y Danzas and the Political-Affective Reinvention of the Folklorist Role,” I study how Sección Femenina, the female elite of the Spanish fascist party, and its work in the Coros y Danzas women’s troupes intervened in the folklore transmission circuit to make themselves indispensable to the fascist government by recreating folklore, notwithstanding a regime that disavowed women’s political agency. Establishing its members as folklore agents who researched and collected autochthonous music and dance, Coros y Danzas managed to appropriate that traditional repertoire according to a gendered vision of women as vessels of vernacular culture. Coros y Danzas transformed folklore into fetishized sentimental spectacle drawing on affects and emotions as social practice so that their reified productions became associated with them affectively and politically. These reified productions, performed outside Spanish borders, used folk music and dance to create a sentimental Spanish community that sought to overcome dissidence and generate acceptance of the dictatorship; this movement enabled the organization to further secure its own position within Francoism. Chapter 2, “Verde Gaio: Queering Folk Dances for the Elite,” centers on the Estado Novo’s use of the Grupo de Bailados Portugueses Verde Gaio (1940-1983) as a cosmopolitan tool to promote a deceptive modernist image of the regime before select audiences. The head of the SPN/SNI (Secretariado de Propaganda Nacional, Secretariado Nacional da Informação), modernist intellectual António Ferro, aimed to create a state-owned ballet company following Ballets Russes’ homoerotic art. He chose queer dancer Francis Graça, trained at the revue, as Verde Gaio’s principal and choreographer. In preceding decades, the Orpheu intellectuals paved the way for queer modernism, and select artists were active in establishing the Verde Gaio. Despite the repression of sexual deviance under the Estado Novo, the Verde Gaio deployed queer aesthetic sensibilities and homoerotic images as a glamorous tool for diplomatic and domestic political affairs. At the same time, the Secretariado obliterated more vulgar sexual references in the vernacular repertoire, from which Verde Gaio took inspiration, while appearing to move with the times of cosmopolitan arts. Finally, in Chapter 3, “Negotiating Subalternity: The Ballet Gallego Rey de Viana against Flamenco,” I trace how the folklore troupe Ballet Gallego Rey de Viana (1949-2006) instrumentalized the Celtic and the Galician matriarchal myths to guarantee Galician privileged position within Francoist cultural diplomacy. However, these topoi, promoted by Spanish centralist circles, contributed to deactivating Galician ambitions of political autonomy and fostering Spanish internal colonialism in Galiza. By inserting Galician vernacular culture within the Celtic community, Rey de Viana pursued securing a more European image of the regime abroad than the exoticized picture provided by flamenco as the Spanish national dance. Through this operation, Rey de Viana aspired to oust flamenco by portraying a desirable gendered image of Spain abroad while cementing the Galician subaltern position within Francoism. Relying on diverse archival sources, such as correspondence, administrative documents, video footage, and newsclippings, Staging Deviant Traditions shows how Iberian fascist regimes depended on deviant social identities performing in folk ensembles so that reified music and dance traditions would become aesthetically and affectively associated with the dictatorships.

This study explored the relationship between the dramatic and the educational theories developed by Bertolt Brecht and selected twentieth-century theories of pedagogy. A survey of Brecht's life and works revealed that although the stimulus-response theories of the associationist psychologists were inappropriate to Brecht's concepts, the three principal aspects of Gestaltism—perception, insight, and life space, as formulated by Max Wertheimer, Kurt Koffka, Wolfgang Kohler, and Kurt Lewin—seemed profoundly related to Brecht's concern with man's ability to perceive and to learn about his environment. Brecht strove to create perceptual images of historical environments. The characters, who represented various ideologies and philosophies in situations which stimulated insightful learning, struggled with life spaces that accurately resembled life outside the theatre. Thus, Brecht utilized elements of the theories of perception, insight, and life space in his dramas as he strove to force his audiences to perceive the characters' environments, to grasp the significance and relationships between the characters' environments and their own social milieu, and to recognize those influences in one's life space which attract or repel the individual. The study also suggested that Brecht's works might be amenable to empirical study.

The thesis deals with thought, mentality and conceptions of the higher education students. It focuses especially on discussions and controversies between students and party, state or universities authorities and aims at frictions which spread in official discourse and arose from student demands on more space for autonomous activity. Its main concern is the way in which these controversies were related to power transformations in the Central-European dictatorship since 1956. As an example of young intelligentsia, activists of youth and student organizations at higher education institutions in Warsaw, Prague and Bratislava have been chosen. The thesis is divided into three parts. The first part researches on the conceptions of intimate, especially problems of youth sexuality, student marriage and living conditions of young families. The second part deals with the conceptions of equality in relation to centralized work-placement of graduates. The power authorities in the state-socialist society laid stress on social equality of all citizens, but paradoxically it produced strong inequality at a local level and undermined work, social and transnational mobility. The third parts researches on conceptions of difference. In this case, authorities claimed generation unity and culture uniformity for the whole...

En 1935, el artista César Moro organizó una exposición que tuvo un carácter innovador y vanguardista que no ha sido debidamente valorado por la Historia del Arte peruano. Tal es la tarea que este proyecto de tesis se ha propuesto. En esta investigación, se describe y explica el contexto artístico de la época en el que la pintura indigenista se había constituido como arte hegemónico frente al cual Moro irrumpe con su nueva propuesta Surrealista a partir de la exposición mencionada. Esta aproximación implicará reconocer su base intelectual y artística, es decir, el interés manifiesto por el psicoanálisis que pudo cultivar por su cercanía al Hospital psiquiátrico “Víctor Larco Herrera” y a través de su experiencia con el grupo surrealista en su estadía en Francia. Para ello, su proceso creativo se analiza e interpreta de forma minuciosa en este trabajo aplicando el método retórico con lo cual se demuestra la interpretación que tenía Moro de la realidad artística, además de su intención de insertar nuevos procedimientos a las artes plásticas en el Perú. / In 1935 the artist César Moro arranged an exhibition that had an innovative and avant-garde character, which has not been enough valued by the History of the Peruvian Art. Through this research, the artistic context of that time is described and explained, where the pictorial indigenism had become a hegemonic art. It is also seen how Moro’s new surrealist proposal emerges from that exposure taking as intellectual and artistic basis his own interest in the psychoanalysis, his research in the psychiatric hospital “Victor Larco Herrera”, as well as his experience with the surrealistic european group. His creative process is analyzed and interpreted in detail along this work through the rhetorical method, which shows the conception that Moro had of the artistic reality not forgetting his intention to insert new procedures to the plastic arts. / Tesis

Esta tesis propone que el amor en la poesía de Moro es un proceso de verdad que también está caracterizado por el exceso y la falta. En primer lugar, el sujeto poético busca acceder a través del amor a “lo sagrado”. Este consiste en el disfrute de la experiencia excesiva y experimentada como fines en sí misma, es decir, el amor en Moro le permite a la voz poética vivir sin límites ni prohibiciones. En segundo lugar, el amor erótico también está marcado por la falta, ya que produce la esperanza de alcanzar satisfacción y goce; sin embargo, los amantes descubrirán que el deseo constituye el ansia de desear. Finalmente, el amor es también entendido como un acontecimiento, es decir, un proceso de verdad mediante el cual los amantes construyen y reinventan sus realidades juntos a partir de la experiencia de la diferencia. En suma, el amor es un proceso de conflicto que contiene en sí misma la potencia subjetiva de la eternidad.

This thesis argues for significant correlations in the politics of representation of Chinatown and mother-daughter relationships in two literary texts by Maxine Hong Kingston and Fae Myenne Ng. The two novels do not follow traditional representations of Chinatown and provide critical representations of Chinatown and mother-daughter relationships. First, Kingston's The Woman Warrior reveals how the heroine demystifies a powerful image of her mother and a mystic image of Chinatown in a process of establishing her autonomy. Second, Ng's Bone describes how the heroine tries to free her mother from a dismal image of Chinatown to live her own life outside Chinatown. The analyses of representation of Chinatown and mother-daughter relationships rely on close readings of the textual motifs through a psychoanalytic framework and cultural theories. / Graduation date: 2012

Thesis (MA)--Stellenbosch University, 2013. / Bibliography / ENGLISH ABSTRACT: One of Africa’s longest civil wars ended for the second time in 2005, when the leaders of the government of Sudan and Sudan People’s Liberation Movement and Army signed the Comprehensive Peace Agreement. This action initiated an interim period which culminated with a referendum for the people of Southern Sudan, to decide if they wanted unity or to secede from the north. Through using theories of power sharing and secession this thesis argues that the Sudanese conflict is not resolved after the referendum in South Sudan. The focus of this thesis is to illustrate how the first peace agreement in 1972 failed to deal with root causes and to implement structures that would be acceptable for that part of the population which did not identify with the central elite. Lessons from this process are integral to understand why the secession does not provide the autonomy and prospects of peace that the South and the negotiators intended. This study will provide a thorough assessment of the process from the failure of the Addis Ababa Agreement in 1972 to the making of- and contents of the Comprehensive Peace Agreement in 2005. Although there are many positive aspects to the recent agreement, this study will reveal how the North will keep asserting its dominance through controlling the oil sector and using the unresolved border areas for political gain. In addition, the new structure has changed power structures in both areas, which has left many opposing groups in Sudan in a worse situation than before; thus, the further marginalized people in Darfur, the Nuba Mountains and the Blue Nile are the real losers in the post-CPA era. As often portrayed, the peace in South Sudan does not only depend on development, but on external influence from the region and especially their relationship with the regime in Khartoum, despite the construction of an autonomous state. / AFRIKAANSE OPSOMMING: Een van Afrika se langs durende burgeroorloë het vir die tweede keer geëindig in 2005, toe die regering van Soedan en die Soedanese Burgelikke Vryheidsbeweging en Weermag die Comprehensive Peace Agreement (CPA) onderteken het. Hierdie ooreenkoms was die begin van 'n interim-tydperk wat uitgeloop het op ‘n referendum vir die bevolking van Suid-Soedan, waarin hulle moes besluit of hulle wou afstig van die noorde. Deur gebruik te maak van teorieë op magsdeling en afstigtinglig hierdie tesis die mening dat die Soedanese konflik nie opgelos is na die referendum in Suid-Soedan nie. Die fokus van hierdie tesis was op die illustrering van hoe die eerste vredesooreenkoms van 1972 gevaal het om die sleutel oorsake van die konflik te ondersoek en om strukture in plek te stel vir die gedeeltes van die bevolking wat nie met die sentrale elite geïdentifisee rhet nie. Die lesse van hierdie proses is integraal in die verstaan van hoekom outonomie en vooruitsigte van vrede nie in die Suide kan voortsprui tuit die afstigting van Suid-Sudan soos wat die bedoeling van die onderhandelaars was nie. Hierdie studie sal ‘n deeglikke assesering doen van die proses tussen die Addis Ababa Ooreenkoms van 1972 tot en met die sluit van die Comprehensive Peace Agreement in 2005, asook op die inhoud van hierdie ooreenkoms. Alhoewel die nuwe ooreenkoms baie positiewe aspekte bevat, sal die studie toon hoe die Noorde steeds sy dominansie sal kan handhaaf, vir politieke wins, deur beheer uitteoefen oor die olie sektor en deur onopgeloste grens geskille. Daar benewens het die nuwe struktuur veranderde mag strukture in beide gebiede te weeg gebring wat nou gelei het tot ‘n soms slegter situasie vir oposisie groepe binne Sudan; dus is die verder gemarginaliseerde Darfur streek, die Nuba gebergtes en die Blou Nyl die waare verloorders van die na-CPA era. Soos dikwels uitgebeeld word, sal die vrede in Suid-Soedan nie net afhang van ontwikkeling nie, maar ook van eksterne invloede vanuit die streek en veral van hul verhouding met die Khartoemregime, ten spyte van die konstruksie van 'n outonomestaat.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: In this thesis it is argued that the age-old philosophical "Problem of the Self' can benefit by being approached from the perspective of a relatively recent science, namely that of Complexity Theory. With this in mind the conceptual features of this theory is highlighted and summarised. Furthermore, the argument is made that the predominantly dualistic approach to the self that is characteristic of the Western Philosophical tradition serves to hinder, rather than edify, our understanding of the phenomenon. The benefits posed by approaching the self as an emergent property of a complex system is elaborated upon, principally with the help of work done by Sigmund Freud, Richard Dawkins, Daniel Dennett, and Paul Cilliers. The aim is to develop a materialistic conception of the self that is plausible in terms of current empirical information and resists the temptation see the self as one or other metaphysical entity within the brain, without "reducing" the self to a crude materialism. The final chapter attempts to formulate a possible foil against the accusation of crude materialism by emphasising that the self is part of a greater system that includes the mental apparatus and its environment (conceived as culture). In accordance with Dawkins's theory the medium of interaction in this system is conceived of as memes and the self is then conceived of as a meme-complex, with culture as a medium for memetransference. The conclusion drawn from this is that the self should be studied through narrative, which provides an approach to the self that is material without being crudely physicalistic. / AFRIKAANSE OPSOMMING: In hierdie tesis word daar aangevoer dat die relatiewe jong wetenskap van Kompleksiteitsteorie 'n nuttige bydra kan lewer tot die eeue-oue filosofiese "Probleem van die Self'. Met die oog hierop word die konseptueie kenmerke van hierdie teorie na vore gebring en opgesom. Die argument word gemaak dat die meerendeels dualistiese benadering van die Westerse filosofiese tradisie tot die self ons verstaan van die fenomeen belemmer eerder as om dit te bemiddel. Die voordele van dié nuwe benadering, wat die self sien as 'n ontluikende (emergent) eienskap van In komplekses sisteem, word bespreek met verwysing na veral die werke van Sigmund Freud, Richard Dawkins, Daniel Dennett en Paul Cilliers. Daar word beoog om In verstaan van die self te ontwikkel wat kontemporêre empiriese insigte in ag neem en wat die versoeking weerstaan om ongeoorloofde metafisiese eienskappe aan die self toe te ken. Terselfdetyd word daar gepoog om geensins die uniekheid van die self te "reduseer" na 'n kru materialisme nie. In die finale hoofstuk word daar gepoog om 'n teenargument vir die voorsiene beswaar van kru materialisme te ontwikkel. Dit word gedoen deur te benadruk dat die self gesien word as deel van 'n groter, komplekse sisteem, wat die masjienerie van denke en die omgewing (wat as kultuur gekonseptualiseer word) insluit. Insgelyks, in die teorie van Dawkins word die medium van interaksie in hierdie sisteem gesien as "memes", waar die self dan n meme-kompleks vorm, en kultuur die medium van meme-oordrag is. Daar word tot die konklusie gekom dat die self op 'n narratiewe manier bestudeer behoort te word, wat dan 'n benadering tot die self voorsien wat materialisties is, sonder om kru fisikalisties te wees.