The Colored Trainmen of America (CTA) actively challenged Jim Crow policies on the job and in the public sphere between the 1930s and 1950s. In response to lingering questions concerning the relationship between early black labor activism and civil rights protest, this study goes beyond both local lure and cursory research. This study examines the Colored Trainmen's major contributions to the advancement of African Americans. It also provides context for some of the organization's shortcomings in both realms. On the job the African American railroad workers belonging to the CTA fought valiantly to receive the same opportunities for professional growth and development as whites working in the operating trades of the railroad industry. In the public sphere, these men collectively protested second-class services and accommodations both on and off the clock. Neither their agenda, the scope of their activities, nor their influence was limited to the railroad lines the members of the CTA operated within the Gulf Coast region. The CTA belonged to a progressive coalition comprised of four other powerful independent African American labor unions committed to unyielding labor activism and the toppling of Jim Crow. Together, they all worked to effectuate meaningful social change in partnership with national civil rights attorney Charles H. Houston. Houston's experience and direction, coupled with the CTA's dedicated membership and willingness to challenge authority, created considerable momentum in movements aimed at toppling racial inequality in the workplace and elsewhere. Like most of their predecessors, the CTA's struggle for advancement fits within a continuum of successive challenges to economic exploitation and racial inequality. No single person or organization can take full credit for ending segregation or achieving equality. Many who remain nameless and faceless contributed and sacrificed. This study not only chronicles the contribution of a relatively unsung African American labor organization that waged war against Jim Crow on two different fronts, it also pays homage to a few more individuals who made a difference in the lives of an entire race of people during the course of a bitterly contested, never-ending struggle for racial equality in the United States of America during the twentieth century.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

A partir da compressão mais ferrenha da ditadura de 1964 no Brasil, e de um diálogo mais direto com as vanguardas que ocorrem no mundo, após 1968 abrem-se novas perspectivas de criação nas artes e, especificamente, no teatro, resultando numa revolução de comportamento e cultural que, apesar de nascer em pleno \"sufoco\", paradoxalmente apresenta uma riqueza de novas propostas. Tais propostas formarão o triângulo da contracultura (tropicalismo - movimento marginal - cultura alternativa) que marcará espaço na década de 1970 pela diferença. Na conquista do direito de confrontar-se com o estabelecido, em contraponto ao establishment, ao milagre brasileiro e a uma recepção crítica perplexa que, apesar de reconhecer certo mérito nestas manifestações, prioriza diagnosticar irracionalismo e alienação, o novo teatro inaugura muitos dos princípios, técnicas e procedimentos cênicos que abrirão espaço, a duras penas, para a liberdade definitiva da possibilidade de experimentar. A pesquisa que proponho tem como finalidade identificar: o que se entende por teatro experimental em seu nascedouro, no Brasil; como surgiu e operou dentro da arte e da cultura e se podem ser identificados momentos diversos com características próprias. Para uma melhor visualização dessas questões e como amostras de vertentes distintas dentro do teatro experimental no recorte estabelecido aqui, analiso, - de forma mais aprofundada -, os espetáculos Rito do Amor Selvagem, de José Agrippino de Paula e Maria Esther Stockler com o Grupo Sonda, 1969; Gracias, Señor, primeira criação coletiva do Teatro Oficina, 1972; e Trate-me Leão , do Asdrúbal Trouxe o Trombone, 1978. Por meio destes resgates podemos avaliar qual os legados imediatos e os menos visíveis que esses trabalhos e tendências deixaram para as próximas gerações, inclusive a nós que aqui estamos em pleno segundo milênio. / From the more inclement pressing of 1964-Brazilian dictatorship, and the more direct dialogue with the vanguards that emerged in the world, after 1968, new perspectives of creation opened in the arts and specifically in the theater fields, resulting in a behavioral and cultural revolution that, although born under \"asphyxia\", paradoxically presented a wealth of new proposals, which constituted the triangle of the Counterculture (Tropicalism - Marginal Movement -Alternative Culture) that would impress the 1970s with the difference mark. To conquer the right to fight what was already established, as a counterpoint to the establishment, to the Brazilian Miracle and to a mesmerized critical reception - that although recognizing some merit in these demonstrations, prioritizes diagnosing alienation and slavery - the New Theater inaugurates many of the scenic principles, techniques, and procedures that would arduously open space to the utmost freedom in the experimenting possibilities. The aim of this study is to identify what is meant by experimental theatre in its emerging state in Brazil; how did it come forth and operate within art and culture; and if diverse moments with specific characteristics can be identified. To better view these issues and view them as different strands samples within the experimental theatre scope defined hereby, I will analyze in greater detail and depth the plays Rito do Amor Selvagem, by José Agrippino de Paula and Maria Esther Stockler, with the Group Sonda, 1969; Gracias, Señor, the first collective creation by Teatro Oficina, 1972; and Trate-me Leão, by Asdrúbal Trouxe o Trombone Group, 1978. By means of these recovering procedure, we are able to assess what is both the immediate and the less visible legacy these plays and trends left to following generations, including us, here, in the second millennium.

Cette thèse reconstruit la participation des jeunes et les articulations culturelles des jeunes dans les écoles ouest-allemandes à travers une collection de plus de 7 500 journaux scolaires archivés à la Bibliothek für Bildungsgeschichtliche Forschung (BBF) de Berlin. Afin d'aider à façonner la communauté scolaire et d'apprendre à agir de manière démocratique, les journaux scolaires ont été introduits après 1945 par les Alliés en collaboration avec le conseil des élèves, en particulier dans les écoles secondaires. Ce faisant, certaines préformes réussies du passé ont été poursuivies. Pour la première fois, cet ouvrage retrace l'évolution des journaux scolaires dans la première moitié du XXe siècle, puis se concentre sur les développements des années 1950 et 1960. A partir du milieu des années 1950, les rédacteurs en chef des journaux de l'école ont revendiqué avec succès leur indépendance vis-à-vis du conseil des élèves, dont les possibilités de codécision ont été désillusionnées à un stade précoce. Contrairement au conseil des élèves, les journaux scolaires ont témoigné de possibilités de co-design et d'articulation à établir nettement moins problématiques et plus fructueuses et ont ainsi contribué au développement de cultures scolaires plus fortement influencées par la libéralisation et la participation. Il est présenté dans le présent document pour les thèmes de formation au cours de la période couverte : en vue (1) de la discussion sur la technologie et les développements scientifiques et techniques pendant la Guerre froide, (2) de l'occupation avec les Etats-Unis et son influence culturelle, et (3) des confrontations avec les développements culturels des jeunes. L'ouverture croissante de l'école aux expressions culturelles des jeunes est examinée tant au niveau de la thématisation que sur le plan matériel sous la forme d'une analyse des artefacts. A cet effet, la communication symbolique sur les pages de titre des journaux scolaires sera analysée. Les efforts productifs présentés pour la liberté d'opinion dans les écoles illustrent également l'importance des journaux étudiants pour la relation enseignant-élève et le développement de structures participatives dans les écoles. Les travaux confirment la pertinence des journaux scolaires pour la reconstruction des cultures des jeunes ou des cultures des pairs dans les écoles et en tant que source productive pour les jeunes et la recherche scolaire. Les journaux scolaires sont également un phénomène international et transnational. Pour des recherches plus approfondies, ce document fournit un premier rapport de recherche complet pour l'Europe occidentale ainsi qu'une présentation pour la RDA et les Etats-Unis. / Die Arbeit rekonstruiert jugendliche Mitgestaltung und jugendkulturelle Artikulationen in westdeutschen Schulen entlang eines umfassenden Bestandes an Schülerzeitungen. Zur Mitgestaltung der Schulgemeinschaft und zum Erlernen demokratischer Handlungsweisen wurden Schülerzeitungen von den Alliierten zusammen mit der Schülermitverantwortung (SMV) insbesondere an Gymnasien eingeführt. Erstmals wird hier auch die Entwicklung der Schülerzeitungen in der ersten Hälfte des 20. Jahrhunderts nachgezeichnet. Schülerzeitungen zeugten gegenüber der Schülermitverantwortung (SMV) von deutlich unproblematischer und erfolgreicher zu etablierenden Mitgestaltungs- und Artikulationsmöglichkeiten und trugen zur Entwicklung von stärker durch Liberalisierung und Partizipation geprägte Schulkulturen bei. Dies wird für prägende Themen in der behandelten Zeit dargestellt: mit Blick auf (1) die Diskussion von Technik und naturwissenschaftlich-technischen Entwicklungen während des Kalten Krieges, (2) auf die Beschäftigung mit den USA und ihrem kulturellen Einfluss sowie (3) auf die Auseinandersetzungen mit jugendkulturellen Entwicklungen. Die zunehmende Öffnung der Schule für jugendkulturelle Ausdrucksweisen wird sowohl thematisch als auch auf materieller Ebene untersucht. Dazu wird u. a. die symbolische Kommunikation auf Titelblättern von Schülerzeitungen analysiert. Die dargestellten produktiven Bemühungen um Meinungsfreiheit in der Schule verdeutlichen auch die Bedeutung von Schülerzeitungen für das Lehrer-Schüler-Verhältnis. Die Arbeit bekräftigt die Relevanz von Schülerzeitungen für die Rekonstruktion von Jugendkulturen bzw. peer cultures im schulischen Raum sowie als ertragreiche Quelle für die Jugend- und Schulforschung. Schülerzeitungen sind darüber hinaus ein internationales und auch transnationales Phänomen. Für weitere Forschungen wird daher zudem ein erster umfassender Forschungsbericht zu Schülerzeitungen in Westeuropa, in der DDR und in den USA gegeben. / This doctoral thesis reconstructs youth participation and youth-cultural articulations at West German secondary schools. After 1945, the Allies introduced student newspapers along with student councils in order to foster the acquisition of democratic behaviors and codetermination of the school community. This project first offers a thorough documentation of the development of student newspapers in the first half of the 20th century, and then focuses on their development in the 1950s and 1960s. By the mid-1950s, the editors of the student newspapers had claimed independence vis-a-vis student councils. Student newspapers, meanwhile, bespoke far less problematic, and more successful, potentials for participation and youth-cultural articulation. They thereby contributed to school cultures more strongly influenced by liberalization and participation. The following defining themes from the era are presented in these articles: (1) the discussion of technology and natural science/technical developments during the cold war, (2) engagement with the USA and its cultural influence, and (3) involvement with youth-cultural developments. The increasing opening of schools for youth-cultural forms of expression is examined on both thematic and material levels. In addition, newspaper elements such as the symbolic communication in title pages will be analyzed. The productive efforts toward freedom of opinion in schools show the importance of school newspapers in terms of the teacher-student relationship and the development of participatory structures in schools. This project underlines the relevance of school newspapers for the reconstruction of youth cultures and peer cultures in schools in addition to being sources for youth research and school research. Moreover, school newspapers are an international and transnational phenomenon. Areas for further research are indicated in a literature review for Western Europe a consideration of the GDR and the USA.

La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.