Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored. / AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.

In Latin America, the regimes of Fidel Castro and Alfredo Stroessner are indiscriminately posited as representative cases reflecting similarities and differences of totalitarian and authoritarian regimes. This work tests the more general typology by studying the contrasting institutions, processes, and styles of the Castro and Stroessner autocracies, habitually labeled totalitarian and authoritarian, respectively. Totalitarianism emerged as an analytic concept as social scientists attempted to understand characteristics of the Hitler and Stalin regimes distinctive from other forms of dictatorship. While authoritarian regimes are generally based on history and tradition, leaving intact existing arrangements regarding wealth, status, church, family, and traditional social behavior, totalitarian regimes aim to revolutionize and politicize society, culture, and personality. They claim jurisdiction over the whole life of the citizenry and obliterate the boundaries between public and private. Despite the corpus applicable to totalitarianism, authoritarianism, and Latin America, few studies exist melding all three topics in a comparative context. Paraguay has long remained outside the mainstream of serious study by political scientists, yet Stroessner's 34-year dictatorship was one of the world's most durable. This research contributes to a better understanding of a nation and regime begging scholarly attention. Stroessner's downfall leaves Castro's Cuba the Western Hemisphere's oldest non-democracy and provokes analysis revealing organizational resemblances common to both regimes. Divergences relate more fully to sui generis social forces, forms of government, and geopolitics. The work analyzes the differences and similarities between Cuba and Paraguay, linking them to the larger typologies by focusing on four distinguishing variables comprising the totalitarian syndrome: (1) the supreme leader; (2) the nature and ideology of the single, official party; (3) the forms and uses of political force in the state control apparatus; and (4) the scope and degree of societal mobilization and mass legitimacy engendered by the regime. The work concludes by considering the policy relevance and utility of these heuristic paradigms.

The problem with which this investigation is concerned is that of ascertaining whether or not A. C. Pigou led to the development of a modern school of Welfare Economics. This study has a threefold purpose. The first is to examine the welfare criterion of the classical tradition. The second is to examine the welfare criterion of the neoclassical tradition. The third is to develop a synthesis of classical and neoclassical into a modern welfare criterion. This study concludes that A. C. Pigou has founded a modern school of Welfare Economics. Pigou accomplished this by synthesizing the welfare doctrines of the classical tradition with that of the neoclassical tradition.

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Orientador: Maria do Rosário Longo Mortatti / Banca: Rebecca Rogers / Banca: Carlota Boto / Banca: Maria Helena Câmara Bastos / Banca: Rosa Fátima de Souza / Resumo: Visando a contribuir para a história da formação de professores no Brasil e para aspectos ainda pouco explorados da história das disciplinas escolares, desenvolvi pesquisa de doutorado com o objetivo de compreender a história da disciplina Pedagogia no currículo dos cursos de formação de professores das escolas normais do estado de São Paulo, entre 1874 e 1959. Para o desenvolvimento dessa pesquisa, optei por abordagem histórica do tema, centrada em pesquisa documental e bibliográfica, por meio de procedimentos de localização, recuperação, reunião, seleção, ordenação de documentos fontes e de análise da configuração textual do documento selecionado como corpus da pesquisa, pelo seu caráter emblemático. Para apresentar o desenvolvimento da disciplina Pedagogia apoiei-me em documentos, tais como: manuais de ensino de Pedagogia, programas, atas, provas, ofícios e outros documentos. O documento emblemático intitulado O futuro da pedagogia é scientifico, publicado em 1914 e escrito por Oscar Thompson, possibilitou compreender a disciplina Pedagogia em dois momentos. O primeiro, de 1874 a 1900, refere-se a primeira vez que essa disciplina aparece no currículo das Escolas Normais do estado de São Paulo até o momento em que se iniciam modificações nesse currículo relativas as novas bases que iriam guiar o desenvolvimento da disciplina, a partir do século XX. O segundo momento se estende de 1900 a 1959 quando, então, a disciplina Pedagogia aparece pela última vez no currículo das Escolas Normais do estado de São Paulo. É nesse segundo momento ainda que a Pedagogia se constitui e se consolida como disciplina. Os resultados dessa pesquisa indicam que, ao longo do tempo, essa disciplina apresentou mudanças e permanências em sua organização e estrutura e no seu conteúdo e ensino... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Aiming to contribute to the history of teacher training in Brazil and to aspects that have not been well explored in the history of school subjects, I developed this doctorate research with the purpose of understanding the history of Pedagogy as subject in the school curriculum of teacher training courses in normal schools in the State of São Paulo between 1874 and 1959. In order to develop this research, I opted for a historical approach of the topic, focused on documental and bibliographic research through the location, recovery, assemblage, selection, arrangement and analysis of the source documents and analysis of the textual configuration of the document selected as research corpus for its emblematic character. To present the development of Pedagogy as discipline, the following documents have been used as support: Pedagogy teaching manuals, programs, minutes, exams, official letters and other documents. The emblematic document entitled O futuro da pedagogia é scientifico [The future of Pedagogy is scientific], written by Oscar Thompson and published in 1914, has allowed the understanding of Pedagogy in two moments. The first, from 1874 to 1900, refers to the first time this discipline became part of the curriculum of Normal Schools in the State of São Paulo, until the moment changes started being made in this curriculum concerning the new bases that would lead the development of discipline from the 20th century. The second moment goes from 1900 to 1959, when Pedagogy was listed in the curriculum of Normal Schools in the State of São Paulo for the last time. It is still in this second moment that Pedagogy is constituted and consolidated as discipline. The results of this research point out that this discipline has shown changes and permanence in its organization and structure and teaching content along time... (Complete abstract click electronic access below) / Doutor

Durante a escrita deste trabalho buscou-se compreender a aproximação entre literatura e canção, neste caso canção popular brasileira contemporânea, sob o prisma da obra Chão de Lenine Pimentel, popularmente conhecido por Lenine – cantautor brasileiro de prestígio com obra reconhecida internacionalmente e com mais de 30 anos de carreira. A partir de conceitos dos estudos literários foi possível tentar distinguir esses dois objetos estéticos distintos, e que apesar de guardarem bastantes pontos de intersecção apresentam traços distintivos definitivos. A canção necessariamente está ligada à melodia de forma imprescindível não podendo ser enxergada meramente como poesia ou outro tipo de texto literário; a melodia, o ritmo e a harmonia são partes significantes e que lhe conferem sentido e aquilo que se buscou colocar em evidência ao longo deste trabalho. / Mientras si escribía ese trabajo si persiguió comprender el acercamiento entre literatura y canción, en este caso particularmente canción popular brasilera contemporánea, bajo el prisma de la obra Chão de Lenine Pimentel, popularmente conocido por Lenine – cantautor brasilero de prestigio con obra reconocida internacionalmente y con más de 30 años de carrera. A partir de conceptos de los estudios literarios fue posible intentar distinguir esos dos objetos estéticos distintos, y que a pesar de guardaren muchos puntos de intersección presentan rasgos distintivos definitivos. La canción necesariamente está conectada a la melodía de manera imprescindible, así no puede en absoluto ser vista meramente como poesía u otro tipo de texto literario; la melodía, el ritmo, la harmonía son partes significantes y que le confieren sentido y aquello que se buscó poner en evidencia al largo de este trabajo.

No description available.

Against the backdrop of the 1933 and 1959 Cuban Revolutions, dance became highly politicized as performers interacted with the state and expressed ideas choreographically about race, gender, and social change. Starting in the 1930s, citizens invested in ballet as a means for cultural progress. In the 1940s and 1950s, a growing cadre of ballet professionals and their supporters advocated for the government to subsidize the form. Simultaneously, carnival, cabaret, and concert dancers sparked widespread discussion about nation and racial formation, specifically the place of blackness and whiteness in Cuba. As a result, performers and patrons established the political valence of dance as means for reflecting on larger questions about self and society. After 1959, dancers adapted to the regime change while pursuing longstanding projects. Ballet dancers performed aggressive choreography in fatigues, along with traditional ballets from Europe and Russia, as part of their revolutionary repertoire. Dance teachers built upon previous pedagogical efforts and contributed to new social engineering projects to “improve” Cuban youth. In parallel, modern and folkloric dancers choreographically critiqued patriarchy and race relations in a supposedly post-racial society. These performances developed a Cuban way of dancing and watching dance, the latter characterized as engaged and talkative. Dancers and publics built a vibrant establishment that eventually transcended national borders with Cubans dancing and teaching abroad in the 1970s and 1980s. Meanwhile, dancers contributed to the growing tourist industry and pushed for institutional changes at home in the late 1980s. In 1990, Cuba entered a crisis that destabilized the relationship between dance and politics that had developed over the previous six decades. During this period, different dance forms including cabaret, carnival, ballet, modern dance, and folkloric dance received various levels of public and state support. I argue that there were important continuities in dance hierarchies with ballet holding the greatest cultural and political capital starting in the 1930s. I also contend that dancers of different genres employed similar tactics to navigate sociopolitical shifts and expressive parameters across the decades. They consistently shaped dance institutions and asserted the value of their work to revolution and nationhood. This social and cultural history of Cuban dance sheds light on the reach and limitations of state power in Cuba as numerous constituencies engaged with the revolution, maneuvering for agency within a limited public sphere.

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L'historiographie se rapportant à la famille et à l'enfance traite d'une période de plus de deux cents ans en Europe, aux États-Unis et au Canada. Cette étude se situe à l'intersection de cette vaste historiographie avec celles relatives à la consommation, à la publicité, aux mesures sociales et à l'État-providence. C'est par le croisement de celles-ci que nous cherchons à éclairer un pan de l'histoire de l'enfance et de la famille montréalaise. À Montréal, au lendemain de la Deuxième Guerre mondiale, que révèlent les discours des publicitaires et des «experts» de la famille concernant les enfants et la consommation? À l'aide d'une analyse de contenu des publicités parues dans le quotidien La Presse et dans le mensuel Revue moderne ainsi que des écrits des experts dans la revue L'École des parents et dans différentes publications, nous avons tenté de répondre à cette question. À cette époque, les publicitaires misent sur plusieurs stratégies pour rejoindre les parents et leurs enfants. Ils s'appuient essentiellement sur le sentimentalisme des parents quant à leurs enfants en insistant sur les notions de santé, de sécurité et de bonheur. L'enfant est alors utilisé davantage comme un argument de vente que considéré comme un public cible. Il est ainsi intégré au monde adulte et est très peu souvent représenté comme étant indépendant de sa famille. Les experts, quant à eux, cherchent à présenter aux familles montréalaises un modèle de consommation à l'intérieur duquel elles doivent s'inscrire afin d'accéder à cette normalité que l'on cherche à construire au lendemain de la Deuxième Guerre mondiale. Dans les discours des experts de la famille, ce sont encore une fois les parents qui devraient consommer pour leurs enfants, ces derniers ne bénéficiant pas d'une autonomie consommatrice. On tente donc d'informer et d'éduquer les parents pour que ceux-ci consomment «de la bonne façon» pour leurs enfants. Ces constatations nous poussent donc, à l'instar des analyses récentes de certains chercheurs canadiens, à remettre en question la «consommation débridée» associée à l'après-guerre. Même si, dans les discours des publicitaires et des experts, la consommation est loin d'être restreinte, elle n'est pourtant pas poussée à son maximum en ce qui concerne les enfants. Trois enquêtes nous amènent encore une fois à relativiser l'atmosphère de consommation de l'après-guerre à Montréal. À cette époque, tous ne profitent pas de cette période de prospérité, particulièrement les familles ouvrières aux prises avec une situation économique précaire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Histoire, Québec, XXe siècle, Discours, Consommation, Publicité, Famille, Enfance, Experts.